Girls and Boys

Nottingham Playhouse

13^th February, 2025

“In general”

I find it striking how some of the most affecting and engaging pieces of theatre I’ve seen are written for solo performers, particularly women: Phoebe Waller-Bridge’s Fleabag (2013), Gary Owen’s Iphigenia in Splott (2015), Suzie Miller’s Prima Facie (2019). I can now add to this Dennis Kelly’s Girls and Boys, which had an initial run at the Royal Court with Carey Mulligan in 2018. Now receiving its regional premiere at Nottingham Playhouse, starring the city’s own Aisling Loftus, Anna Ledwich’s production carefully unpacks Kelly’s monologue about the traumatic effects of male violence.

“I met my husband in the queue to board an easyJet flight and I have to say I took an instant dislike to the man.” This is the first line in a direct ‘chat’ (as the script refers to them) with the audience. It’s at the beginning of an exchange about the meet-cute with her husband, which introduces us to the character and her background. She’s messy, occasionally confrontational, sometimes self-destructive, spontaneous and astutely observational. A trip to Italy (after three misguided days spent in Southampton) was the result of her resolving to end a period in her life which she refers to as her ‘drinky, druggy, slaggy phase’. A hilarious anecdote about being pushed into a puddle of puke during sex with her flatmate prompts her to reflect that ‘when a sentence like that appears in your life, you know it's time to start looking at your choices’. So here she is, about to board her flight, when she meets her future husband and father to her two children.

Through a series of chats and scenes with her two young children (who Loftus mimes and has conversations with but we cannot see), Kelly slowly builds a detailed picture of this woman’s life. Yes, there are struggles with work and family, but overall, they’re both driven in their careers, have a healthy relationship, and two funny and inquisitive children. Their portrait of happiness is exemplified in the design. Janet Bird’s set, warmly lit in a pink glow by Matt Haskins, has the tell-tale signs of success: an open plan kitchen with a hint of an extension, an island, and chic furniture. And a big reason we warm to this person and her life if because of Loftus’ thrilling performance. In her hands, the character is open, personable and down-to-earth. She revels in the humour of Kelly’s writing, enjoys the light-hearted opportunities to connect with the audience, and takes the time she needs to expose vulnerabilities. Barefoot on the stage, she gives an uninhibited performance that draws us in. And the more we’re drawn in, the bigger the shock when she breaks the fourth wall to reveal something which upends our understanding of the play and its use of dramatic license thus far.

For the remainder of the play, Loftus considers carefully what and how to reveal harrowing aspects of the story, hitting the emotional beats excellently. I don’t want to spoil the plot, but it’s interested in violence specifically at the hands of men. In many ways, this isn’t a shock turn of events as Kelly peppers references throughout: Her toddler loves to pretend play at dropping bombs on his sister’s skyscrapers; she and her husband argue over a mass shooting on the news; she works on a documentary about the failure of patriarchal society and society’s lineage of male violence. Whether through despotic dictators, boisterous toddlers or elderly eccentrics, male violence is a thread throughout.

Statistically what happens shouldn’t be a shock but still is. Afterall, as Kelly highlights several times, ‘any objective look at our world would have to conclude that men are, in general, absolutely cocking awful at being in power: in general’. But the force at which violence is now in this domestic sphere whereas before it was elsewhere – in history, in America, in make-believe – is shocking. The script is well crafted, and on reflection filled with foreshadowing and recalls which flip our perspective of certain lines. ‘This talking, moving dirty-puddle of a man?’ is an abject, almost-physical reaction to her husband, in which the word puddle recalls its humorous use in the anecdote about her flatmate in the opening scene. And there’s a line from the story about the airport queue (‘if that old bitch tries to cut in I will drop her and stomp on her neck’) which is clearly a joke but perhaps foreshadows details later on which are heard in a different context.

Girls and Boys is another success for Nottingham Playhouse after The Children and Dear Evan Hansen last year – a gut-punch of a play which will have you reflecting on our world and Loftus’ performance long after.

Girls and Boys plays at Nottingham Playhouse until 1^st March. For more information please visit https://nottinghamplayhouse.co.uk/events/girlsandboys/ 

Aisling Loftus in Girls & Boys. Photo by Johan Persson.

Kinky Boots

 Curve, Leicester

23^rd January 2025

“The most beautiful thing in the world”

Following a few months off from theatre-going (with good reason – I gave birth to our son back in October 2024!) I was delighted to return to Curve for our first show of 2025. And what a fantastic show with which to break my theatrical fast! Cyndi Lauper and Harvey Fierstein’s joyous musical adaptation of the 2005 film Kinky Boots - based upon a true story about a Northampton shoe factory which boosted business by creating custom heels for men – is given new life in Nikolai Foster’s glitzy revival.

It’s fitting that this first major revival is originating in Leicester, a midlands city that shares Northampton’s historic ties with the footwear industry. Foster wisely doesn’t strive for anything too radical with this new production, retaining and maintaining the show’s feel good charm, crafted through the carefully juxtaposed worlds of Lola and her troupe of drag queens, the Angels, and the small town midlanders of Price & Son. Robert Jones’s cavernous factory set fits the Curve stage perfectly; a red neon-lit box is periodically illuminated to denote scene changes, such as our first foray into Lola’s drag club. Furthermore, Jones’s flamboyant costumes are a sequined tonic to the functional metal and brick of the factory floor. The distinguishing red worn by the Angels is mirrored in the various black costumes donned by the whole company during the finale. The design is a clever way of projecting the show’s message of unity and acceptance while aesthetically allowing the array of red stiletto boots to truly pop.

While I’d argue that Kinky Boots is popular enough not to need celebrity appearances, there’s no denying that the casting of Strictly Come Dancing’s Johannes Radebe as Lola has caused a buzz amongst audiences – entrance applause is a rarity this side of the pond, but Radebe enjoyed a rapturous greeting from the crowd. While Radebe’s voice lacks power at times, he can certainly hold a tune. And his eye-catching poise, charisma and electric dancing demonstrates that he has the necessary stage presence to embody the role. The yin to Radebe’s yang, Dan Partridge gives a spirited – if a tad intense – performance as factory owner, Charlie, coming into his own during the contemplative rock ballad, ‘Soul of a Man’. I was particularly impressed with Courtney Bowman’s Lauren; likeable, relatable and naturally humorous, her rendition of ‘The History of Wrong Guys’ is a knockout. Amongst a strong ensemble, Scott Paige also stands out, making the most of his small role with some witty asides.

Lauper’s score remains a personal favourite, as her sparkling disco numbers and euphoric power ballads are consummately hummable and uplifting. Highlights here include the touching ‘Not My Father’s Son’, and the sassy ‘Land of Lola’ and ‘Sex Is In The Heel’. Kinky Boots is a modern classic and Foster’s production is the perfect New Year pick-me-up, guaranteed to uplift audiences even on the coldest, greyest of January days. I’ve no doubt that audiences nationwide will don their most bedazzled attire and flock to see this exuberant treat of a musical.

Kinky Boots plays at Curve, Leicester until 25^th January before embarking on a UK and Ireland tour. For full tour dates please visit: https://kinkybootstour.com/

Johannes Radebe and Dan Partridge in the artwork for Kinky Boots.

Top 10 Theatre 2024

“I've been here/ For the show”

We had a baby in October! Swapping late nights at the theatre for sleepless nights at home has meant we reviewed fewer shows last year. We’re discovering that being parents is probably the most challenging, tiring and joyous thing we’ve ever done. Theatre can happily take a back seat for a little while. But fear not, we’re planning on making the most of our NT at Home subscription, have already introduced the baby to Sondheim (he loved ‘Giants in the Sky’), and are planning to see the occasional show in 2025, time permitting.

We filled our boots with some great theatre trips in 2024. So, for what it’s worth, here’s our Top 10 list in the order we saw them:

1.      The Hills of California, Harold Pinter

A new Jez Butterworth play is always a hot ticket. Rich with detail and characters that were layered with their own inner lives, The Hills of California explored the legacies of abuse and the way we use stories to shape our lives. Stories can be told differently on each outing. They can be used as projections of our own aspirations, suits of armour to hide shame, weapons to cast guilt, vehicles to convince ourselves we’ve found peace. One of the questions I took from the play was how much do we change? Interestingly, and rarely for a London-New York transfer, the play itself changed significantly ahead of its Broadway outing last Autumn.

2.      Jesus Christ Superstar, Curve Leicester

Eight years after Timothy Sheader’s Olivier Award-winning production opened at Regent’s Park Open Air Theatre, we finally saw this simultaneously strange, terrifying and fixating show. Sheader’s production was full of visual metaphors including Judas’ hands dripping in silver, stained for the rest of the show as a physical sign of his betrayal and guilt. And in the lead up to the title song, Jesus’ 39 lashes of golden glitter were brutal, striking and oddly fabulous at the same.

3.      An Enemy of the People, Duke of York’s

In a production which blurred the line between fictional drama and political reality, Ibsen’s enthralling play was made even more engaging by Thomas Ostermeier’s production. But in a production which perhaps foregrounded the satire, however rousing and provocative the staging, did it really inspire change? As Stockmann, Matt Smith was affable, persuasive and showed the doctor’s weaknesses – a fine orator who slipped into antagonistic grumbling. Also excellent was Paul Hilton acting his brother’s superior. He was supercilious and pernickety, wiping the furniture before sitting down. The way he dragged out the word ‘blog’ at the patronising suggestion that Thomas will write a post about the water (who would lower themselves to such a thing!) was telling.

4.      Standing at the Sky’s Edge, Gillian Lynne

Set in Sheffield’s famous Park Hill estate, Standing at the Sky’s Edge followed three of its occupying families across six decades. A love letter to Sheffield and its people without romanticising the past, Bush and Hawley’s writing was full of heart without succumbing to easy sentiment. Sheffield is more than just its setting: it’s the musical’s DNA, its source of conflict and its beating heart. And whilst it is intrinsically Sheffield-centric, it also prompted in me a proud connection with my own home city. Place at a local level is an important part of one’s identity and it’s great to see that explored on stage – on local, national and commercial stages. Profound, uplifting, inspiring theatre!

5.      Hadestown, Lyric

Set between a New Orleans-style jazz club and the fiery pits of Hadestown, Anaïs Mitchell has (to forge another theatrical comparison) done for the Greek Myths what Andrew Lloyd Webber and Tim Rice did for the Bible with their rock opera Jesus Christ Superstar; combining modernity and lore to make that stuffy literature once studied at school seem relevant and cool again. When we saw the show at the National in 2019, we hoped it would continue evolving. The London cast put their own stamp on the show to create an iconic sound, from the Irish tones of Dónal Finn’s Orpheus to Melanie La Barrie infusing her Hermes with a Trinidadian accent.

6.      The Children, Nottingham Playhouse

A woman stands in the kitchen of a friend she’s not seen in 38 years with blood pouring out of her nose. This opening image, both comic and dark and full of intrigue, was typical in a play full of similarly striking moments. The play’s closing image was as intriguing as the first: Hazel performs a yoga routine whilst Robin mops up water; one focusing on self-preservation, the other cleaning up the mess around them. It was a refinement of the play’s central question and provides opportunity for the audience to reflect on the responsibility we carry in our time on this planet. Plaudits go to Nottingham Playhouse for reviving The Children, helping to cement its status as a contemporary classic. They’re due to stage another regional premiere of a contemporary play, Dennis Kelly’s Girls and Boys, next month.

7.      Till the Stars Come Down, NT Dorfman (NT @ Home)

Like The Hills of California, another play about sisters was Beth Steel’s hilarious and well-observed comedy of a family wedding in her native Mansfield. It is well worth a watch on NT @ Home. A comedy focusing on working class characters at a wedding had the potential to veer into a cheap farce like Fur Coat, No Knickers. But the love and tensions which underlined the relationship between the characters, particularly the main trio of sisters, was compelling. Steel demonstrated a fine ear for dialogue which translated brilliantly in production. I can still hear the way Alan Williams’ Tony calls for his daughter Sylvia.

8.      A Chorus Line, Curve Leicester

Nikolai Foster made some tweaks which made this revived production a step up from its previous incarnation in 2021 – money had obviously been spent on upgrading the wigs, and the tin foil backdrop had been scrapped from ‘The Music and the Mirror’ in favour of a more natural aesthetic. The production was topped off by Ellen Kane’s sublime choreography. The dance routines are the kind that leave those who can dance wanting to learn the numbers, and those who can’t dance (eg. me!) wishing they could. In all, A Chorus Line was a great example of triple threat theatre. The stamina of those involved in the show was outstanding and the affection the cast and creatives have for it was palpable.

9.      Next to Normal, Wyndham’s

The UK premiere of Tom Kitt and Brian Yorkey’s Pulitzer-winning Next To Normal has been a long time coming. Rights issues have put a hold on production plans for years, but at long last fans of the heart-breaking rock musical could indulge in the transfer of the critically-acclaimed Donmar Warehouse production. An intense but gripping watch, Kitt and Yorkey’s score married hummable melodies with often searingly truthful lyrics, delivered by a cast that bleed every drop of emotion in what must now be considered a modern classic. In the Wyndham’s, this intense musical felt like it had more space to breathe.

Mental health is a heavy subject to tackle in a musical, but Kitt, Yorkey and co. do a commendable job of portraying Diana (and her family’s) struggles in a sensitive manner without sugar-coating it. Next to Normal acknowledges that there will be ups and downs, and while we leave Diana, Dan and Natalie in a state of flux, there is a sense that, while hopeful, both the characters and the audience can’t be sure of where things will eventually lead. This is not a happy ending, but a pragmatic one as evidenced in the lyrics to the closing number, ‘Light’. Funnily, the finale that this brings to mind, rather perversely, is that of Avenue Q’s ‘For Now’, highlighting the transience of life and all the emotions it entails.

10.  The Real Thing, Old Vic

I’m not convinced that Stoppard’s kaleidoscopic 1982 play is as much of a comment on love and betrayal as some critics have argued. What I am more convinced of is that it’s an entertainingly clever metatheatrical examination on the process of making art. Max Webster’s stylish production, starring Bel Powley, James McArdle and Susan Wokoma, retained the 80s setting but felt modern, and McArdle in particular did a great job of making an apathetic and egocentric character likeable.

Notable mentions:

On the road

At a time where cynicism seems to reign supreme, revisiting the UK tour of Come From Away reminded us how theatre can restore one’s faith in humanity.

In October, Adam Penford’s new production of Dear Evan Hansen freed the show of the shackles of the original production and provided a more dynamic staging.

On Screen

We were lucky enough to see Samuel L Jackson and John David Washington in August Wilson’s The Piano Lesson on Broadway in 2022. The pair now reprise their roles in Malcolm Washington’s film, streaming on Netflix.

Matthew Warchus’ deliciously witty 2019 revision of Noel Coward’s Present Laughter is finally available on NT @ Home. Andrew Scott sets the tone just right, leading a fine cast where he plays up the hammy ridiculousness of actor Garry Essendine whilst creating moments of depth.

The lows

We were less impressed with the New York transfer of Jeremy O. Harris’ Slave Play. With 12 Tony nominations from the Broadway run, its reputation preceded it. However, I found much of it an indulgent slog.

Slightly less disappointing was Benedict Andrews’ production of The Cherry Orchard at the Donmar. Andrews had stripped the play of any historical trappings and gave it a contemporary sentiment. The intended effect, I suppose, was to mine the emotional and intellectual depths of the play, to unlock new meaning and appeal to new audiences. The actual effect, despite it being an immensely watchable production, was to dampen the play’s dramatic tension. The production transfers to St Ann’s Warehouse, New York in the Spring.