★★★★★

“warm, sincere, contemporary and very funny”

Jerome K Jerome wrote ‘Three Men In A Boat’ in the late 19th century as a humorous travelogue, providing a social comment on Victorian society and leisure, which went on to become one of the most enduring comic novels in English literature. It has indeed never been out of print and has inspired numerous adaptations for stage, radio and television. The book follows three friends (and a dog) as they embark upon a boating holiday up the River Thames from Kingston upon Thames to Oxford.

This production is a long awaited collaboration of two award winning Berkshire theatres, Reading Rep and The Watermill producing a world premiere of Camille Ucan’s debut play ‘Three Hens In A Boat’ lovingly inspired by Jerome’s classic but with a contemporary twist, focusing on three women – a grandmother, mother and daughter – embarking on a hens do with a difference.

From the moment we enter the auditorium the combination of the muted lighting by Jonathan Chan, the charming riverbank setting designed by Jasmine Swan and the subtle yet effective soundscape by Ella Wahlström, creates a sedative effect on the senses transporting us to a timeless part of the Thames. However the modern city looming in the distance, beyond the tranquil meadows, places us firmly in the 21st century. There is even a decent sized skiff on stage which is of course, so central to the voyage.

I absolutely loved this production, transforming it to an all female intergenerational piece is inspired. The audience witness the physical and emotional meanderings of the women as they not only navigate the Thames but the complex mother / daughter relationships of the three generations, whilst understanding the unconditional love that binds them all together. Not only is Camille’s writing warm, sincere, contemporary and very funny, she also plays the role of the ‘woke’ granddaughter. All three of the women’s performances (Verona Rose as the mother and a scene-stealing Ellen O’Grady as the grandmother) were truly sensational. A nod to the composer Lauryn Redding here, who deftly balances the music to suit the mood and different age groups perfectly.

Abigail Pickard Price’s confident direction and inspired use of the small set, together with a stellar cast and production team has created a real gem of a show – a joyful, hilarious yet poignant journey for everyone

PIAF

Watermill Theatre

★★★★

“Audrey Brisson’s portrayal of Piaf is magnificent”

Piaf is a play by Pam Gems that focuses on the life and career of French chanteuse Edith Piaf, revered as much for her exceptional voice as for her extraordinary life. It is a biographical drama with music and has previously portrayed the singer as a self destructive, promiscuous alcoholic. Born Edith Giovanna Gassion in the slums of Paris to an acrobatic street performer father and singer / circus performer mother, Edith was abandoned at birth by her mother and ended up being brought up by prostitutes at her paternal grandmother’s brothel. Later regarded as France’s greatest popular singer and one of the most celebrated performers of the 20th century she was a woman who in turn experienced glory and degradation.

The Watermill has a rich history of experimental actor-musicianship and in this innovative production the director (Kimberley Sykes) and musical supervisor (Sam Kenyon) have imaginatively used the framework of street performers/musicians together with a clever design (Good Teeth) and sympathetic lighting (Prema Mehta) to portray the many people in her life as well as reconnecting with Piaf’s roots. The simple use of a trombone to mimic a war plane, a sawing cello depicting a motor engine, or Piaf’s foot crashing on a piano keyboard, are some of the remarkable musical devices this talented nine strong ensemble use, not only as accompaniment, but for dramatic sound effects throughout.

The copious instruments played by the versatile actors were constantly being switched around and during ‘L’Accordeoniste’ there were three accordions playing, plus an electric keyboard which created a wonderfully authentic Parisian feel to the song. At the introduction of boxer and Piaf’s lover, Marcel (a very talented Djavan Van De Fliert who also plays Yves Montand and one to watch) the use of drums was particularly evocative and during ‘Mon Dieu’ the two double basses were not plucked as in previous numbers, but bowed, enhancing the legato and sensual feel of this number. The use of A Capella voices to accompany Piaf in ‘Jimmy Brown’ was particularly effective as was the musical staging (Michela Meazza) of ‘Bravo pour le clown’. This production is as much about music as it is about Piaf’s life and the musical arrangements elevated it to a whole new level which made it seem more honest and raw somehow.

But Piaf’s life is a biographer’s dream and this play is a star vehicle for the actress playing the role. Audrey Brisson’s portrayal of Piaf is magnificent – a beautiful observation that is refreshingly honest, warm and funny. She completely captures the unique vocal sound of Piaf without ever becoming a caricature and has a remarkable physical resemblance to her at times. My only slight quibble is that she didn’t convince me of her back-street roots, she was not quite edgy enough.

This is a stand out production, with Brisson’s emotive renditions of some of Piaf’s greatest hits reminding us that she left behind an unforgettable legacy… a voice that became the symbol of love and loss and that you have to pay for true happiness with your soul.

THREE HENS IN A BOAT

Watermill Theatre

★★★★★

“warm, sincere, contemporary and very funny”

THREE HENS IN A BOAT

Watermill Theatre

Reviewed on 27th May 2025

by Sarah Milton

Photography by Pamela Raith

Last ten shows reviewed at this venue:

THREE HENS IN A BOAT

THREE HENS IN A BOAT

THREE HENS IN A BOAT

PIAF

Watermill Theatre

★★★★

“Audrey Brisson’s portrayal of Piaf is magnificent”

PIAF

Watermill Theatre

Reviewed on 9th April 2025

by Sarah Milton

Photography by Alex Brenner

Previously reviewed at this venue:

Piaf

Piaf

Piaf

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