★★★

“has potential to be hilarious if it goes further into exploiting the ridiculousness of the situation and characters”

Four Women and a Funeral, a new play by Jennifer Selway is a grounded comedy set in Restmore Funeral Home, celebrating the life of Reuben Roffe. Unfortunately, the only people who have turned up for the ceremony are ‘The Widow’ (Donna Combe), ‘The Mistress’ (Eliza McClelland), ‘The Guest’ (Leda Hodgson) and ‘The Celebrant’ (Victoria Jeffrey).

The play introduces us to the premise straight away, introducing the Widow and Celebrant well. We learn of the Widow and Reuben’s relationship to be tricky at times but overall loving, with the Widow consistently praising her dead husband’s work as a writer. Little is established about the Widow’s life outside of her husband’s at this stage, which is a detail that gets missed generally throughout the play. The show’s central plot is centred around the dead husband, and how each character’s lives related to him at some point. A man in whom we discover throughout the show, wasn’t the nicest or most honest to have lived, so the drama in which surrounded him felt slightly unfavourable.

A lot, however, is revealed about the Celebrant early on, information that will later unveil a rather large plot twist. The Guest is also introduced as a colleague of the deceased, but it’s quickly revealed that she is instead an FBI agent and the play transforms from a Farcical sit-com to a witty whodunnit. Leda Hodgson shines in this role, playing the special agent with deep focus and precision, contrasting well to her undercover escapades as the bubbly ex-colleague.

It felt at points that the style of the show was confused. The pacing and comedy of the show felt like an English Countryside farce, yet the play is set in America with the cast speaking in New York-like accents. This resulted in a pace that felt like it was falling behind itself. A more concise script could help with this, to make the action be snappier and move the story quicker.

The show does succeed in representing older women in roles and conversations that often go unrepresented on stage and screen. The women openly talk about sexual topics and there’s even a little woman loving woman representation thrown in there. However there were also moments where this felt at odds with itself; characters talking down about younger women for being young and speaking bad about each other for loving the same mediocre man. While the group – at a certain stage – shares a solidarity from both loving and being hard done by this man, I feel that message of female unity gets confused.

The play has potential to be hilarious if it goes further into exploiting the ridiculousness of the situation and characters. Eliza McClelland performs brilliantly as the mistress, enriching her performance with the melodrama that I think this play requires. With more rehearsal and a tightening of the script, this could be achieved throughout. There were several moments of laughter throughout the show, just too much time between each one.

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

There is a moment in the second act of “Shout! The Mod Musical” when the ensemble cast come together for a rendition of Mary Hopkin’s ‘Those Were the Days’. Shrouded in poignancy, it is quite a moving moment. A mid-tempo number reflecting mid-life melancholy. The only problem, however, is that we are wondering what those days were. There is very little to look back on, such is the shallowness of Phillip George and Davis Lowenstein’s book. Mind you, there’s little room for one amidst the relentless procession of sixties hit songs. More of a musical revue than a musical. And, viewed as such, it is, in fact, multi-coloured, musical magic. The five performers burst with a kind of tutti-frutti charisma, sharing out the songs between them like kids in a candy store, or an eat-all-you-can buffet of mouth-watering harmonies.

We’re in the swinging sixties, with set and costume (uncredited) that place us in something resembling an early Top of the Pops studio. Along with James Davies’ wig and hair design, the authenticity of the period is fully created, aided further by musical director Gabrielle Ball’s no-frills, sample-free, three-piece band. The girls (we can call them that – it is the sixties) all possess an abundance of energy and singing talent that drives the show at speed through the overflowing repertoire. We are in a living jukebox, where the music is interrupted by a series of short, rather lame, comedy sketches. The premise is intriguing though. Throughout the story, the five characters send letters to Gwendolyn Holmes (voiced by Pippa Winslow), an agony aunt who works for the fictitious style magazine ‘Shout!’. They are invariably disappointed by the useless advice they are given to deal with their situations (for ‘situations’ read ‘love life’). They are nameless, identified only by the colour that they wear. Red Girl (Isabella Mason) is the ingenue of the group who has self-image issues while Orange Girl (Lauren Bimson) is the matriarchal figure struggling to cope with a philandering husband. Yellow Girl (Gabrielle Cummins) has come from across the pond, laden with her cargo of self-confidence and romantic memories. Green Girl (Lauren Allan) is the sex maniac (we can say that – it is the sixties), uninhibited, racy and full of seaside town postcard humour. Blue Girl (Madeleine Doody) is the sophisticate; well-heeled and gorgeous – and she knows it, although we later learn that there is something quite specific that she is unsure of.

A rainbow of colourful characters with whom we are able to have tremendous fun, even if there is no pot of gold at the end. There is little in the way of an arc too, so director Joseph Hodges, with choreographer Jay Gardner, rightly focus on the songs, creating a seamless medley of delight and joy. The likes of Burt Bacharach, Tony Hatch, Sandie Shaw, Neil Sedaka – and many others – are all showcased. Even John Barry, during a lovely Bond pastiche where ‘Goldfinger’ is renamed ‘Coldfinger’. True to its ensemble nature, none of the cast outshine each other, yet they all shine individually and collectively. The chemistry is there but unfortunately the script prohibits any real onstage connection. But the singers easily bypass such quibbles with their strong connection to the audience.

Yes, this show is dated. That is the whole point. At one point a rather clumsy and incongruous use of placards attempts to shoehorn in a hint of twenty-first century credo, but the show doesn’t necessarily need it. This is a musical comedy, and the irony should speak for itself. What is clear, though, is that the music not only speaks for itself. It Shouts! So go ‘Downtown’ and forget all your troubles, forget all your cares. If nothing else, it will make you feel ‘aaaaalllllright!’

FOUR WOMEN AND A FUNERAL

Upstairs at the Gatehouse

★★★

“has potential to be hilarious if it goes further into exploiting the ridiculousness of the situation and characters”

FOUR WOMEN AND A FUNERAL

Upstairs at the Gatehouse

Reviewed on 15th August 2025

by David Robinson

Last ten shows reviewed at this venue:

FOUR WOMEN AND A FUNERAL

FOUR WOMEN AND A FUNERAL

FOUR WOMEN AND A FUNERAL

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

Reviewed on 27th June 2025

by Jonathan Evans

Photography by Zac Cooke

Last ten show reviewed at this venue:

SHOUT

SHOUT

SHOUT

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