Thursday 1 March 2018
Pippin, Southwark Playhouse | Review
Pippin
Southwark Playhouse
Reviewed on Wednesday 28th February 2018 by Olivia Mitchell
★★★★
Based on the real-life story of Prince Pepin and his father, King Charlemagne, Pippin tells the story of a young prince who longs to find adventure, fulfilment and passion in his life. To prove himself to his distracted father, Pippin goes to war. He finds no fulfilment there so when the Leading Player convinces him to fight tyranny, Pippins kills his father and takes over the throne.
With music and lyrics by Stephen Schwartz, book by Roger O Hirson and original direction by Bob Fosse, Pippin brings spectacle, comedy and whimsy to the transformed Southwark Playhouse. Maeve Black's set complete with a false proscenium and footlight bulbs around the tongue of the stage, has transformed The Large into a magical, slightly decrepit playground of mystery.
Braving the snow, I enjoyed this production despite feeling it took a little while to get into. The story is fast paced and full of intricacies but the varying styles and scenes are a bit too much of a mish-mash to be fully cohesive.
However, the performances are stellar across the board. Genevieve Nicholas is absolutely outstanding as the Leading Player. Poised to pounce and vocally faultless she commands the stage every second she's on it. She is very dynamic alongside Jonathan Carlton in the title role who sings the role perfectly as well as having great comic timing and stage presence. The two bounce off one another and have a sort of unsettling relationship.
Mention must also go to Bradley Judge as Lewis, Pippin's brother, and Mairi Barclay as Fastrada and Berthe who both nailed the comedic side as well as providing some scene stealing vocal moments. As director, Jonathan O'Boyle has done a wonderful job of bringing the small cast together to create something electric and well as showcasing individual talents.
Choreographer William Whelton has stuck to the shows iconic past, with Bob Fosse's choreography central to the action but has brought a somewhat modern twist with some sharp, almost frantic movements at times.
Whilst the jumpiness of the book does let this show down at times, this production is like nothing else I've seen on a London stage recently and for that reason it must be applauded. The cast do an outstanding job and the razzle-dazzle of the costumes and in-your-face lights by Aaron J. Dootson do a wonderful job of wowing the audience.
For a magical, mystical, whimsical show that will surprise, make sure you get along to the Southwark Playhouse for the limited run of Pippin.
photo credit: Pamela Raith
Wednesday 28 February 2018
Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review
Beautiful: The Carole King Musical (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 27th February 2018 by Olivia Mitchell
★★★★★
The New Victoria theatre was a buzz last night as an excited audience took their seats to take a trip down memory lane with the sentimental songs of the 60s. I must admit when I sat down I wasn't really a Carole King fan having never really been exposed to her music, but two and a bit hours later I was well and truly a lover of all things Carole and have been playing Tapestry on repeat all morning.
Beautiful opens with King (played expertly by Bronté Barbé) sitting alone on stage behind a piano and singing her heart out to a packed audience at Carnegie Hall. Suddenly the piano moves out of view and we are thrown into a Brooklyn apartment where a 16 year old Carole with big dreams and songs to sell arrives on stage.
From here we follow Carole through the ups and downs of her life from the energetic teen to mother, wife, divorcee and Grammy award winner. From the opening scene to the very end, Bronté's Carole is endearing, humourous and engaged with the audience. Her incredible voice, acting and spot on accent hold the show up and our hearts really ache whenever Carole experiences a set back.
The show mainly focuses on the relationship between Carole and her husband/lyricist, Gerry Goffin. Played by Kane Oliver Parry, the character is raw and passionate and the chemistry between the pair is compelling to watch. Alongside we see their best friends and writing rivals, Cynthia Weil (Amy Ellen Richardson) and Barry Mann (Matthew Gonsalves) who are comedic as well as being fantastic singers. The rendition of their hit 'You've Lost That Loving Feeling' was a standout as well as a clear audience favourite.
Beautiful cleverly transitions from the song-writing to the actual performance with the artists appearing to perform the songs as soon as the final chords and lyrics were written. These moments were humourous as well as being genuinely good and allowed the audience to revel in the delightful music by the likes of The Drifters and The Shirelles.
This production is indeed Beautiful and the perfectly moving, magical, sentimental way to spend a few hours. Myself, my mum and those around us found ourselves smiling throughout, just proving that this show has what it takes to enrapture audiences of all generations. The talent of Carole King is undeniable and I can't help but think that no 2000s artist will stand the test of time to have a musical made about them in the future! Whether you think you're a fan of Carole or not, you're sure to recognise many of the hits and leave feeling elated, with a new sense of love and appreciation for the songwriting industry.
Beautiful runs at the New Victoria Theatre until March 3rd before continuing it's tour.
Tuesday 27 February 2018
Harold and Maude, Charing Cross Theatre | Review
Harold and Maude
Charing Cross Theatre
Reviewed on Monday 26th February 2018 by Shaun Dicks
★★★★★
‘We come in with nothing, we go out with nothing.’
This may be the truth in life but not when it concerns Harold and Maude. The home of the show is the Charing Cross Theatre, one of London’s hidden gems. The show is filled with a plethora of joys, including an Actor Musician element which gave a movie like feel. We follow the story of eccentric characters Harold and Maude; Harold, the young man who acts out multiple suicides and Maude, the free spirited and law bending hippie pensioner. The story tells us of these two quirky characters and their unconventional, blossoming relationship.
The show is full of many joys. To begin with, the story written by Colin Higgins, is incredibly well crafted. The script is littered with quotable lines that uplift the soul and the story warms your heart. The direction by Thom Sutherland – whose work I have followed for years – was assured and inspired. With the multiple moving parts and minimal space, Sutherland succeeded in maintaining fluidity. Another incredible factor was the Actor Musician ensemble, their multi-rolling and musicianship was outstanding. Mrs Chasen portrayed by Rebecca Caine was a particular highlight, her comedic timing and character work was incredible.
Harold played by Bill Milner was very well pitched. The use of dark humour with his character was perfect – giving an Alan Ball type feel - and the evolution of his character was a sight to behold. The crowning glory of this piece was Sheila Hancock as Maude. Hancock gives a masterclass on how theatre should be done. She is balanced, hilarious, endearing, truthful and tender. Her creation of Maude is so well-rounded and makes you feel all the emotions in the two hours you spend with her.
This is a story of non-conformity, love and life. It portrays a beautiful relationship between a man in the beginnings of adulthood and a woman nearing the end of hers. This show breaks down generational divides and shows the beauty of friendship. The line Maude says, ‘We don’t need to build anymore walls, let’s build more bridges.’, covers this show in a nutshell.
Harold and Maude is so full of happiness and magic. This gem cannot stay hidden, it is too special to stay hidden, it needs the recognition it deserves. In a dreary winter, treat yourself to this ray of light.
Harold and Maude runs at the Charing Cross Theatre until 31st March 2018
photo credit: Darren Bell
Monday 26 February 2018
Madama Butterfly, New Theatre Oxford | Review
Madama Butterfly (UK Tour)
New Theatre Oxford
Reviewed on Friday 23rd February 2018 by Donna Meredith
★★★★★
Being new to Opera, I arrived at the New Theatre Oxford keen to experience Ellen Kent’s production of Puccini’s Madama Butterfly.
The story of young Japanese girl, Cio-Cio-San, who sacrifices her Japanese roots and traditions when she marries Lieutenant Pinkerton of the American Navy immediately captivated me.
As the opera starts, the matchmaker Goro is showing Pinkerton round the home he will share with Butterfly.
The marriage ceremony is beautifully portrayed amidst much excitement as the bride is prepared for her nuptials. The vibrant colours and costume design are mesmerising.
The arrival of Cio-Cio-San’s Uncle Bonze marks a change in mood as he clearly displays his intense displeasure with her choice of husband and her contradiction of ancient customs.
Despite her uncle’s anger Cio-Cio-San enters in to the marriage idealistically, for lifelong love. The flighty Pinkerton however sees the marriage as a short-lived affair. He inevitably leaves the country promising to return in one year. Three years later Cio-Cio-San is still patiently waiting, believing that one day he will return and they will be reunited. Cio-Cio-San’s servant Suzuki is her loyal companion during Pinkerton’s long absence
In Act 2 Consul Sharpless arrives announcing the expected arrival of an American ship, Cio-Cio-San is filled with joy at the prospect of the imminent return of her beloved husband. She proudly introduces Consul Sharpless to her and Pinkerton’s son: Sorrow. Consul Sharpless does not have the heart to destroy Butterfly’s joy, by sharing the news that Pinkerton has remarried whilst in America.
In anticipation of her husbands return Cio-Cio-San joyfully begins decorating her home with flowers. Whilst Suzuki and the child sleep Cio-Cio-San waits eagerly for Pinkerton's return. As the hours pass Cio-Cio-San gives in to exhaustion and joins her servant and child to sleep.
Sharpless and Pinkerton arrive at Cio-Cio-San’s home accompanied by Pinkerton’s new American wife. Cio-Cio-San is overjoyed when she wakes to hear her husband’s voice. Her joy at the sight of her beloved Pinkerton is clear to see. It is left to the ever-faithful Suzuki to explain to Cio-Cio-San the true intentions of Pinkerton’s visit. The realisation the he has not returned for her, but to take her son from her, and raise him with his new wife in America is met first with disbelief and then acceptance.
The overwhelming sorrow that Cio-Cio-San experiences at the loss of her son leads the heart-breaking climax of this sorrowful tale as she takes her own life.
I found the whole performance beautiful,mesmerising and ultimately painfully sad. The stage setting is simple and in fact the same for both acts. Clever lighting by Valeriu Cucarschi subtly uses shadow on the paper walls to give great visual impact. The Korean soprano Maria HeeJung Kim as Cio-Cio San gives an impressive performance, ably supported by Giorgio Meladze as Pinkerton and Zara Vardanean as Suzuki.
A mention must also go to Vasyl Vasylenko’s superb conducting of Puccini’s music.
It was a pleasure to have the opportunity to speak with Ellen Kent after the performance and congratulate her on bringing together a very talented cast and succeeding in making opera accessible to the masses. I arrived as a first time opera goer and left as a firm fan – next stop Tosca!
Sunday 25 February 2018
West End Live Lounge, The Other Palace | Review
West End Live Lounge (Concert)
The Other Palace
Reviewed on Sunday 11th February 2018 by Olivia Mitchell
★★★★
If you're a regular reader of this site, you'll know that I am a huge West End Live Lounge fan, I've been going since they started and feel so proud watching them get bigger and better. The most recent concert was the biggest to date, taking over the main stage at The Other Palace; hosting a number of uber talented performers and providing a wonderful, chilled out, musical night. For anyone that doesn't know, West End Live Lounge is a concert every few months featuring some of the best the West End has to offer who perform a variety of non-musical theatre songs to entertain and raise money for a specific charity. This time, the musical theatre performers united to raise money for the charity Barnardo's. Our compère for the night was the fantastic Ian Stroughair (who wowed me before Christmas with his Velma Celli show) who opened the show with a bang and set the tone for the talent and joy to come.
As always every performance was top notch so I'm just going to mention a few stand outs instead of turning this into an essay! Firstly, the stunning Jodie Steele, fresh off her stint on BBC One's All Together Now, performed 'Castle on the Hill' with ease and smooth riffs which left us all wanting more. Equally riff-tastic was Emma Kingston who joined the West End Live Lounge family during her brief break from touring with Evita, to wow us all with her performance of Lady Gaga's 'Edge of Glory'. The always hilarious Natalie McQueen brilliantly put her own twist on the classic 'Hot N Cold'. All three ladies continually blow me away with their vocal performances.
Kayleigh McKnight was definitely an audience favourite with her breathtaking performance of 'Creep' which showed off her vocals perfectly and Cleve September brought back his signature loop pedal to create an eerie but stunning vocal performance of 'Spirits'.
Superstar Natalie Green gave a beautiful rendition of Adele's 'When We Were Young' whilst Brady Isaacs Pearce channeled Demi Lovato gloriously with her effortless performance of 'Skyscraper'. My final mention goes to Joel Harper-Jackson who's ridiculously long note in 'Wicked Game' should be put into the World Record books- glorious!
The West End Live Lounge concerts are truly joyous to be a part of because they not only celebrate the fantastic talent the West End has to offer but raise money for fantastic causes. I cannot wait to see what's in store for the next concert; my only hope is that the intimate feel can somehow be brought back. With the previous concerts there has been a very informal vibe but bringing the performance into a theatre did distance it somewhat and the audience stuck to the 'normal' theatre etiquette rules more. Obviously it's amazing to be able to fill a bigger space and allow more people to see and hear these outstanding performances but it's hard to strike a balance between having more space whilst still maintaining an intimate feel.
Regardless, this was a wonderful concert and I know the upcoming ones will be to so do yourself a favour and follow @WELiveLounge on twitter so you can snap up tickets as soon as they go on sale!
Thursday 22 February 2018
In Conversation With... Ben Adams | Flashdance, Eugenius | Interview
Ben Adams found fame as the lead singer in the pop group A1 but since then has been writing and producing for various artists, as well as working on his own music, starring in the UK tour of Flashdance and writing the new musical, Eugenius. Ben and I had a chat about all of those things and more...
You’ve had such a varied career, what have some of your highlights been?
Gosh I've had so many highlights, it's quite hard to choose just a few of them. I think I'm living through my ultimate highlight right now! I've always wanted to write a musical and for it to be going on in the West End right now is ridiculous, I mean, who gets to do that?! And the fact that it's going down so well is like a dream so I'm actually living through it right now.
Aside from that I've travelled the world, I've won Brit awards and MTV awards and Smash Hits awards and had number one singles- just so many things that I can't even pinpoint one thing... or even a few things that would be highlights. There's just so many and I've had a great life.
That is a pretty good life!
I know! I feel like I've smashed 10 lifetimes into 1. I'm 36 which is kinda old to some people but it's been amazing!
What attracted you to this production of Flashdance?
Well, I'd been in the studio writing for other artists for the first six months of last year and as much as I love doing that and it is a lot of fun, I did kind of feel that I was getting itchy feet and wanted to do more performing for a while. Every time musical theatre things had come my way I'd always turned them down cause I thought they looked like a lot of hard work and I had a lot of other things going on at the time so I didn't really have time to do it. Then this came at a period where Eugenius wasn't on till January and I had a good six month slot where I could try it and see if I enjoy doing musical theatre.
I remember Flashdance from when I was growing up and you know it's very 80s inspired and I love the 80s music and so I thought I'd give it a go. I was only contracted until December but I loved it so much and they wanted me to continue with it so I signed up to carry on until October [2018].
Are you anything like Nick Hurley?
The character of Nick is the rich kid who doesn't really have too many responsibilities. There are probably elements of the character which I can relate to. I mean I've never owned a steel works so that's not something I can affiliate with but he's not too dissimilar from myself really. It's not an amazingly tricky part for me to play where I have to change my entire personality.
Other than yourself, who would you like to see play Nick Hurley?
Oh gosh, who would I like to see play Nick... that's a tricky question. What about... I have absolutely no idea! Okay, what about Warwick Davis cause he'd probably do it completely different to me. It would be really fun to see what his take on it would be!
Who in the show would you say is most like their character?
I guess Carol Ball as Hannah cause she's got a lot of experience with dance and acting and a lot of knowledge that she passes on in real life like her character does to Alex in the show. Jo [Clifton] and I probably act out a lot of stuff that is pretty similar to our characters as well- it's pretty well cast!
Your new show Eugenius is a huge hit, why do you think audiences are loving it so much?
I think because it taps into a really feel-good side of everybody. You don't have to love comic books, you don't have to love 80s music, you don't have to know anything about that era to love it. It's for those people of course cause there's a lot of references to it but it not specifically for those people. It's just full of joy.
Of course there are different reasons for going to the theatre, but you know if you want to go to something really thought-provoking and dark then don't go see Eugenius but if you want something to leave you joyful and elated about life in this miserable world that we live in and two hours of escapism then come.
I don't think I've seen anyone walk out of Eugenius without a massive grin on their face and that's what it was about for me and Chris writing it. We had such a brilliant time and to see that energy being seconded by the cast and then the audiences it's just amazing.
The show has a goodie and a baddie (or two); if you were in a comic book would you rather be the hero or the villain?
Well in everything I'm cast in I always seem to play the goodie. I always play the hero, you know the Robin Hood... or Nick Hurley, but I always look at the baddies and see how much fun they seem to be having. Ian Hughes and Cameron Blakely who play the villains in Eugenius have so much fun with their parts, not that the others don't, but there's something fun about playing a baddie.
Sadly Eugenius is closing on the 3rd, what’s your biggest dream for the future of it?
It's so crazy to think that in a weeks time it closes when there's so much love for the show. My biggest dream, in a similar way to The Rocky Horror Picture Show is that it has a huge life and it lives on, not just in the UK but all over the world. People have been coming over from all different countries who are wanting to put it on all over so that's exciting.
We just have to be careful and make sure that we do everything properly and take our time to make sure that every single production of it in the future is as good as it is now. We don't want to cut corners and we want the casting to be amazing.
One of my favourite things about it is doing things that are purposefully shit! Like when you have the babies at the start, I love that there's the crappy UFO flying across and Kevin the Robot looks like he's made of cardboard- those things are great. It's that same way that I felt when I saw Rocky Horror because those things are knowingly done shit... if that makes any sense?!
It's very self-aware, it's not trying to be a big budget thing. It's just there as a whole bunch of fun and I love that and wouldn't want to lose that.
What’s a fun fact people may not know about you?
I will always have an olbas oil bottle in my pocket or beside the stage. I'm absolutely addicted to it to a point where if I don't have it I'll probably have a panic attack!
If you could go back to any era, when would you go to and why?
Probably the 80s! It was such a fun time that was so flamboyant and wasn't about being cool or trendy. You could just do anything you wanted and the movies were great, the music was great and it was such a brilliant era so I'd probably go back there.
What’s your best piece of advice for someone aspiring to be in the theatre industry?
Create your own luck. Be in the right place at the right time and learn your craft and when you go up for auditions make sure you know it like the back of your hand- that's what they're looking for. I've been on both sides of the table, auditioning for stuff and auditioning people and it makes such a difference when someone comes in and just commands the lines and songs they've been given. It gives the people casting them the confidence that they're going to do an amazing job.
A huge thank you to Ben for taking the time to do this interview. Flashdance is touring until October 20th and Eugenius is at The Other Palace until March 3rd.
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Jubilee, Lyric Hammersmith | Review
Jubilee
Lyric Hammersmith
Reviewed on Wednesday 21st February 2018 by Shaun Dicks
★★★★
Real but unreal. Fearless, provocative and unapologetic. These are the words I choose to describe the Royal Exchange Theatre transfer of Jubilee. In the world of theatre where everything is imitation, this was stone cold reality. This show is a story of gender and sexual fluidity, the punk movement and the state of society. This story follows a group of punk, free spirits led by Travis Alabanza as Amyl Nitrate; it follows them as they tackle social and political issues like race, gender, sexuality and politics.
Chris Goode’s script that was adapted from Derek Jarman and James Whaley’s original screenplay is well crafted. The dialogue between characters was realistic and the multiple monologues were insightful, passionate and is fuelled by a generation’s angst. The delivery of this powerful script was paramount, and this energetic cast rose to the occasion. There was no particular weak link in this young cast, but Amyl Nitrate portrayed by Travis Alabanza was the stand out. This didn’t feel like a character but an extension of Alabanza; there was a passion in the way they spoke that made it real. The words didn’t feel scripted for them, it was like a protest on the streets.
Despite all the shows positives, the one downside was that with the anarchic style that is synonymous with the punk movement, there was a few sloppy moments within the show that hurt the pacing a little bit.
What I truly loved about this show, and is a major selling point for it, is the Political Incorrectness. The willingness to say things that others – in a world of political correctness and censorship – wouldn’t say, was bold. The breaking down of British history, full frontal nudity and extreme opinions was refreshing. It was sex and anarchy at its finest. The world would be a better place if we had the room to express like Jubilee did. The honesty and severity of this piece is its crowning glory. I highly recommend Jubilee.
Jubilee runs at the Lyric Hammersmith until March 10th 2018.
Photo credit: Johan Persson
Tuesday 20 February 2018
Flashdance (UK Tour), New Victoria Theatre | Review
Flashdance (UK Tour)
New Victoria Theatre
Reviewed on Monday 19th February 2018 by Olivia Mitchell
★★★
If you want some ab-inspiration then Flashdance is the show for you. I saw the show in Wimbledon back in October and wasn't the biggest fan, however, knowing what to expect I was pleasantly surprised. Everyone seems a lot more settled into their roles and there was much more of a flow throughout.
Flashdance centres around the story of Alex, a welder who dreams of being a dancer and attending the distinguished Shipley Academy. On her journey she meets a dapper love interest who also happens to be the boss' son. Aside from this there are some other side plots such as Jimmy who wants to make it big as a comedian, his girlfriend Gloria being pulled into a seedy drug filled world at a rival club and the imminent job cuts for all the apprentices. With regards to these I feel the same as previously that they're not really explored enough to be of that much importance but I totally get that they have to be in there to pad out the show.
But Flashdance is all about the classic, big money numbers which are delivered with spades of energy and commitment. Hits such as 'Gloria', 'What A Feeling' and 'Manic' are instantly recognisable and work brilliantly to hype the audience up and draw them into the Flashdance world.
A lot of the other songs are a little unmemorable but they vigour they are performed with makes up for it. Joanne Clifton is exceptional as Alex. From Strictly fame she's of course known for her dance but seeing her on stage performing Matt Cole's choreography is extra special. She's magnetic and draws you in even when performing a group number. Her vocals are strong although at times I found her diction lacking but she is certainly cut out for the role and I can see why she has abs of steel from being that full out every night! As her rich-boy boyfriend, Ben Adams is equally as strong. Whilst his pop vocals are not commonplace in the musical theatre world, they are strong and fit with the character. The pair have a lovely chemistry and really draw you into the story.
I have to mention Colin Kiyani as Jimmy who again gave me Ben Platt vibrato vibes and Hollie-Ann Lowe who was versatile and vulnerable as his girlfriend, Gloria. Again, the two have a sweet chemistry. Sasha Latoya is vocally breathtaking and equally humourous whilst Sia Dauda and Demmileigh Foster (who is literally Victoria Hamilton-Barritt reincarnated) were full out in their high octane numbers as Kiki and Tess.
There were a few technical issues such as mics being too quiet and the irony wasn't missed when one of the girls' top wouldn't stay done up when singing about keeping her clothes on! Totally no ones fault though and a very small detail in a big production. I'm also not a big fan of megamixes at the end of shows but there's no denying that it got everyone up on their feet and in a good mood as they left the theatre.
Flashdance isn't the most astounding piece of theatre but it's high energy from start to finish with some memorable songs that'll definitely get stuck in your head. For a fun night out that'll leave you smiling and in my case, dancing round the house, then be sure to pay a visit to this 80s classic on stage.
Flashdance runs at the New Victoria Theatre until February 24th before continuing it's UK Tour.
Saturday 17 February 2018
The York Realist, Donmar Warehouse | Review
The York Realist
Donmar Warehouse
Reviewed on Wednesday 14th February 2018 by Olivia Mitchell
★★★★
Peter Gill's 2001 play is a beautifully moving and genuinely funny look at same-sex love. This glorious revival by Robert Hastie is natural and manages to say more in 130 minutes than many plays say in 3 hours. Nothing is force fed or overdramatic but by the end we genuinely care for the characters and believe what they're going through.
The York Realist is about an assistant director who's putting on an amateur production of the mystery plays. Ben Batt plays George who's starring in the play but hasn't been attending rehearsals so John (Jonathan Bailey) the young, well-spoken London director visits George's Yorkshire farmhouse to persuade him to return to rehearsals. There he meets George's family and the two form a relationship. This is a show all about detail; it's explores a gay relationship of course but there's an equal amount of exploration about class, family, identity and grief. It looks at the feeling of identity in terms of where you live and were brought up, with Gill's writing having it's own identity with it's glorious portrayal of Yorkshire and the community there.
The family kitchen feels truly authentic as we meet George's mother, sister, brother-in-law, nephew and family friend. The conversation flows and the intimacy of the Donmar Warehouse allows us to appreciate every moment and enjoy this understated piece of theatre.
Ben Batt is outstanding as the calm, buff Yorkshireman who struggles to leave his home and comforts behind; he manages to be strong but sensitive and gives a truly heart-warming performance. Jonathan Bailey is an extraordinary delight who perfectly gives off the big-city vibe without ever being over the top or annoying to watch. Both actors show off their vulnerabilities to devise an intricate, touching world.
The snug Donmar Warehouse transformed by Peter McKintosh's delightful cottage set provide a perfectly evocative setting. The detailed kitchen set is the perfect home for the cast of seven who seem as though they've spent their entire childhoods drinking tea in there.
This is a glorious show which creeps up on you slowly, naturally and beautifully. I couldn't think of a better way to spend 130 minutes.
photo credit: Johan Persson
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