Jacob Zuma was the President of South Africa, but now he isn’t, and he’s in hospital unable to urinate. His old ally and adversary Ronnie Kasrils is across the hall, having a suspicious skin blemish checked out.
The Ice Cream Boys speculates on what might happen if these two old men have a conversation again: whether old scores will be settled or soothed, whether political points will be scored, whether old wounds with raw edges will be ripped open.
Zuma and Kasrils both appear confident men on the surface, trading insults and barbed observations with an indulgent smile. Both snakes, circling for the kill with a smile, except neither now has power or relevance unless to needle each other.
Andrew Francis is Zuma, Jack Klaff is Kasrils. Their portrayals are intelligent, expressive, feisty and never weak. They spar like tired old animals who have spent years walking together then pacing around seperate cages.
Old men talk of the past (and with lower lighting and the hard work of third cast member Bu Kunene, we see those shadowy figures from years previous), of health, food, sex, ambition, and the future – even if that seems uncertain. We see that despite appearances and assertions, these two have some common ground: the last good Communist and the capitalist tribesman.
In a set with black and white squares which reflect the chess game they start to play, we see the fuzzy edges of the political game, the seeds of resentment which come from both white privilege and the black African sense of entitlement.
Gail Louw”s play deftly brings the bigger picture down to two men and their nurse (“a good Zulu woman”) in a room. It’s an engrossing game of cat and mouse where the winner perhaps doesn’t matter.
The Ice Cream Boys runs at the Jermyn Street Theatre until 2 November. It is directed by Vik Sivalingam. Photo credits Robert Workman.
Fresh from a run at the Stephen Joseph Theatre in Scarborough, this reworking of Oscar Wilde’s classic novel (one of four permutations using the same cast of four) comes to London with a female Dorian.
While this works well with the dominant relationship between the beautiful and unspoiled Miss Gray and the dissolate Sir Henry, it doesn’t quite come off in the section concerning Sibyl Vane, the teenage actress Dorian promises to marry and then callously casts off.
Lesbian relationships were problematic at the time (see Anne Lister as one example, in the current TV series Gentleman Jack) and would have caused social ostracism, but there could have been no legal contract of matrimony, and Gray’s nickname of ‘Prince Charming’ makes little sense when she is a woman.
Basil Hallward’s infatuation with his artistic muse, though, is clearly indicated and the use of sound and light (floating microphones that echo and distort, bulbs that flicker and illuminate) is well done, as is the minimal set – two mirrors, one depicting the infamous painting which is represented by illuminated water, more red as the years progress; one depicting reality, with one moment where Dorian sees through her reflection right into her soul.
Wilde’s seminal queer text stands up to redefinition, and in turning Adrian Singleton to Adriana and Alan Campbell to Allie, it puts the female gaze centre stage. It may be gruesome to think of a young man taking a life of debauchery, but a young lady, with all her refinements and natural delicacy (in 19th century tradition) feels much worse.
I found all four performances (Richard Keighley’s Henry, Helen Reuben’s Dorian, Augustina Seymour’s Sibyl, Stanton Wright’s Basil) very strong, and although the ghostly narrative of unconnected words from characters on the fringes of the scene felt odd at first, they gained power as the piece progressed.
Other combinations in the quartet of plays allow Keightley and Seymour, and Reuben and Wright, to swap roles. Picture B, with a female Henry and male Sybil, sounds particularly intriguing, although really the play (or prose) is the thing.
Welcome to a new monthly feature on loureviews.blog – this is The Mix, where I’ll pull out some items of London theatre news, big and small, which have caught my eye.
A is for Above the Stag. This sparkling and vibrant venue, once found behind the Victoria Palace Theatre, is now in residence in Vauxhall, and is fast building its reputation as one of the finest LGBT+ theatres. In a main house and a studio, it presents a variety of shows – Grindr the Opera, and [title of show]: a musical about musicals, are next in line. To find out more, to sign up to the newsletter, or to book tickets to this valuable space, go to http://www.abovethestag.com/vxl/.
B is for Bread and Roses. This innovative and award-winning pub theatre in Clapham High Street recently showcased The Vagina Monologues and seems particularly supportive of new writers, women writers, and fringe comedy. As a relatively new venue the space is actively seeking donations and support to allow it to grow – for more, and for a taste of its upcoming productions, including Adam Gwan’s new musical Ordinary Days, which runs from 5th-16th March, go to https://www.breadandrosestheatre.co.uk/.
C is for Chichester. The festival, while taking place some miles outside the capital, has transferred a number of hit shows in over the past few years including Fiddler on the Roof, Caroline or Change, Half a Sixpence, King Lear, and Guys and Dolls. Although we are still waiting for news of the mooted transfer of the Noel Gay/Stephen Fry musical Me and My Girl, keep your eyes on this year’s big production of Rodgers and Hammerstein’s classic Oklahoma, which may be London-bound in due course.
D is for Departures. All good things must come to an end, and we say goodbye to several shows this month, including the English National Opera’s La Boheme on the 22nd, Pinter Seven at the Harold Pinter Theatre on the 23rd, True West at the Vaudeville Theatre on the 23rd, Nine Night at the Trafalgar Studios on the 23rd, the glorious Songs for Nobodies at the Ambassadors on the 23rd, and The Wider Earth at the Natural History Museum on the 24th.
E is for Earnest. As an honorary Yorkshire girl, having lived there for a decade, I’m sad to miss out on Th’ Importance of Bein’ Earnest at the Drayton Arms Theatre on Old Brompton Road. It runs to the 23rd February and promises “Oscar Wilde meets Shameless” on a Yorkshire council estate, with no afternoon tea or starched collars in sight. For more information, go to https://www.thedraytonarmstheatre.co.uk/the-importance-of-being-earnest.
F is for Fabulous. Three divas are coming to town to perform their shows, and I’m going to put them all together here. On 18th March, Liza Pullman, formerly one third of Fascinating Aida, sings Streisand at the Lyric Theatre, following a run at The Other Palace. You can purchase tickets at https://www.nimaxtheatres.com/shows/liza-pulman-sings-streisand/ and “give yourself reasons to smile this Spring”.
Finally, the legendary Tony award-winner Bernadette Peters is back in town, at the Lyceum Theatre in Covent Garden, and her show takes place on the 10th June, as part of a UK tour. I’ll be covering this event in the summer, and if you want to be there too, you can find more details and book tickets at https://www.atgtickets.com/shows/bernadette-peters/lyceum-theatre/.
G is for the Globe, specifically the Sam Wanamaker Playhouse, where a new production of Richard II opens on the 22nd February. Adjoa Andoh and Lynette Linton direct the first ever company of women of colour in a Shakespeare play on a major UK stage, in a production which has the Windrush scandal and the Brexit crisis very much in mind. This sounds as if it will be an important production of a play which does lend itself to reinterpretation. For more information, go to https://www.shakespearesglobe.com/whats-on-2018/richard-ii.
H is for Harvey. There’s no getting over the fact that London will play host to two plays using the allegations against film producer Harvey Weinstein as inspiration this year. Currently running at the Playground Theatre on Latimer Road, Harvey is the brainchild (literally, given it is set in Weinstein’s head) of playwright-performer Steven Berkoff, who shows no signs of mellowing in his ninth decade. More information and booking at https://theplaygroundtheatre.london/events/harvey/. Later in the year John Malkovich returns to the West End stage for the first time in more than thirty years in David Mamet’s Bitter Wheat, which concerns the character of one “Barney Fein”. This will run at the Garrick Theatre from 7th June to 14th September. Find out more at https://www.nimaxtheatres.com/shows/bitter-wheat/.
I is for Inspiration, or lack of in this case, as not one, not two, but three productions of Githa Sowerbury’s 1912 Rutherford and Son are in production during 2019. One is up in Sheffield and currently running, one has just closed at Ealing’s Questors Theatre, and one is due in the National Theatre’s 2019-2020 season (starring Roger Allam). It’s a modern classic about generational strife in a family industry, which I last saw at the Oldham Coliseum in 1987. I’ll be at the National’s version in May – more information on that production at https://www.nationaltheatre.org.uk/shows/rutherford-and-son.
J is for &Juliet. There’s been a lot of publicity for this musical, which comes into London towards the end of the year. Everyone knows the tragic story of Romeo and Juliet, but what if Juliet survived and was able to tell her own side of the tale? In the spirit of Six, this show will utilise pop music – this time the work of Max Martin, who wrote for Britney and others – to craft and “irreverent and fun-loving” show, and it opens at the Shaftesbury Theatre on 2nd November. If you’re up North, you can catch its run in Manchester from 10th September. Find out more about the London run at http://www.shaftesburytheatre.com/shows/juliet-2/.
K is for the King’s Head. This theatre pub in Islington goes from strength to strength, and two new musicals running in late May-early June look fun, Trump: the Musical and Boris: the Musical. If parodies of current politics are not your cup of tea, you can catch the classics, too, as there are some short pieces by Tennessee Williams running in late July and through August. For more information see https://www.kingsheadtheatre.com/.
L is for Lipstick. Lipstick: a Fairy Tale of Iran runs at the Omnibus Theatre, Clapham Common, from 26th February to 24th March, as part of the ’96 Festival, celebrating queerness and theatre. Part theatre, part drag cabaret, this show fuses storytelling, vaudeville, theatre, lip-synch and “boylesque”. Nathan Riley plays Mark, Siobhan O’Kelly plays Orla. This story of “rage, redemption and weaponised whimsy” promises to be a very special event. For more, see https://www.omnibus-clapham.org/lipstick/.
M is for Maggie Smith. She’s returning to the stage for the first time in twelve years in a one-woman play, at the Bridge Theatre, this April. The new play is A German Life, based on the real life testimony of Brunhilde Pomsel, who once worked for Joseph Goebbels. If you are under 25 and a member of the “Young Bridge” scheme there are some tickets available for £15. More information at https://bridgetheatre.co.uk/whats-on/a-german-life/.
N is for Nunn, Trevor. Following an acclaimed run at the Ustinov Studio at the Theatre Royal, Bath, Nunn’s new production of Harvey Granville Barker’s recently rediscovered play Agnes Colander has just opened at the Jermyn Street Theatre (near Piccadilly Circus) and runs until the 16th March. For more details see https://www.jermynstreettheatre.co.uk/show/agnes-colander/.
O is for the Orange Tree Theatre. Richmond’s smallest theatre has a mix of old and new productions, and is currently showcasing Rose Lewinstein’s new play Cougar (which I will report on later in the week), with Terence Rattigan’s While the Sun Shines running through June and July. The Orange Tree could always use donations and support if you are unable to attend performances. Find out more about the theatre at https://www.orangetreetheatre.co.uk/whats-on.
P is for the Park Theatre, in Finsbury Park. Martin Sherman’s new play Gently Down The Stream has its press night tonight and runs through to the 16th March. I’ll be going in early March, and am very much looking forward to this production, directed by Sean Mathias and starring Jonathan Hyde, Ben Allen and Harry Lawtey. The play follows “the remarkably moving and brilliantly funny love story of Beau, an older American pianist living in London, and Rufus, an eccentric young lawyer, celebrating those who led the way for equality, marriage and the right to dream”. More details at https://www.parktheatre.co.uk/whats-on/gently-down-the-stream.
Q is for Queens. Six: the Musical continues its run at the Arts Theatre until January 2020. If you haven’t been yet, and you need something to whet your appetite, this article from BBC Newsbeat might get you in the mood. You can book tickets for Six at https://www.sixthemusical.com/ to see “Divorced – Beheaded – Live in Concert!”.
S is for Sunday Night Socials. A new series of monthly concerts at the Union Theatre, near Southwark, these are being advertised as “very informal and relaxed” and will feature a whole host of West End performers over the next three months. For more information – and for details of main productions Can-Can and Othello – see http://www.uniontheatre.biz/whats_on.html.
T is for Transfers. Come from Away at the Phoenix Theatre has its press night tonight, Waitress at the Adelphi Theatre on the 6th March. These transfers from old Broadway will soon be joined by a third show, Dear Evan Hansen, at the Noel Coward Theatre, for which early booking will be open at the end of this month. I visited Come from Away earlier this month and see Waitress next week.
U is for Underground, specifically The Vaults, beneath Waterloo Station. The Vaults Festival is currently in full swing until the 17th March, with a diverse programme of theatre, comedy, film, and late shows. You can find out more about the Festival at https://vaultfestival.com/.
V is for Vic, Old. The grand old lady of The Cut is currently undergoing a refit which will improve the foyer and more importantly, the loos! In the meantime, if you’re visiting, there’s portakabins instead. I just have to share this delightful video from their Twitter account – https://twitter.com/oldvictheatre/status/1063045610570506240 – #MORELOOS!!!!
W is for the West End, and the Official West End Theatre Guide for the huge, the overpriced, and the spectacular shows on in the big houses – https://guides.ticketmaster.co.uk/west-end-theatre/. By all means support as and if you can, but remember there are literally thousands of places and performances in our metropolis.
X is for is Dock X, at Surrey Quays. If you’re creating a special and unique event, this new multi-use space might be just the ticket. The industrial space lends itself to brand activations, car launches, conferences, award dinners, cultural pop ups, experiential and team building events across its vast 34,100 sq. ft reach. Perfect for creatives! More at https://venuelab.co.uk/venues/dock-x-london/.
Y is for Youth. The Unicorn Theatre, on Tooley Street, London Bridge, is dedicated to developing work for young audiences. In 70 years of children’s theatre, it also has a vibrant Schools’ Programme, workshops, and this week is running some special events for half term. Find out more at https://www.unicorntheatre.com/whatson.
Z is for Zoo. Watching and learning about animals in a caring and natural habitat is a form of theatre, whether you are in Regent’s Park, Battersea or my local little zoo at Hanwell.