Theatre review: Firewing

Tim (Gerard Horan) is an established wildlife photographer - well-regarded and sometimes award-winning, but not quite successful enough to have made an international career out of it: He's spent much of his life in the same wooden hut by a lake near where he grew up, taking photographs of birds and urban foxes. In recent years he's become keen to find a successor he can pass on the tricks of the trade to, and perhaps even replicate an image that has, for better or worse, defined his career: A rare Siberian Firewing that somehow made it to England, an event so unlikely he was accused of forging the photo. He's begun advertising a weekend apprenticeship programme for aspiring photographers, and after various disappointing applicants he's hoping Marcus (Charlie Beck,) a young man from the same, still-deprived area as him, will be the one.

Theatre review: King James

After being very disappointing in 2023, Hampstead Theatre has been getting back into my good books this year, and a strong autumn season continues with King James. Hot on the heels of the Guards at the Taj revival, Rajiv Joseph gives us another two-hander about a platonic male friendship, although while this one also reaches a crisis it's a mercifully bloodless one. We also get to see the relationship right from its inception, as it begins in the Cleveland wine bar where Matt (Sam Mitchell) works. His wages there certainly don't cover the amount of debt he's in, because he's having to sell the remaining games on his season ticket for the local basketball team, the Cavaliers, seats he and his father have sat in all his life. What makes it particularly heartbreaking is that this is the 2003-4 season, in which after decades without any silverware the team has signed teenager LeBron James, a player who went on to become so famous even a British audience is likely to have heard of him, even if we couldn't tell you his full history with the "Cavs."

Theatre review: The Harmony Test

Writer Richard Molloy and director Alice Hamilton were the team behind low-key favourite Every Day I Make Greatness Happen in 2018 so their return to Hampstead Downstairs has to be worth a look: The Harmony Test takes us out of the classroom and into the kitchen, but if kids don't show up on stage they're on everyone's minds: Kash (Bally Gill) and Zoe (Pearl Chanda) are trying for a baby; their friends Naomi (Jemima Rooper) and Charlie's (Milo Twomey) only daughter has gone to university, leaving them wondering what's next. Charlie makes an offhand suggestion that Naomi join a gym to get her endorphin hit, something she does with gusto - almost immediately starting an affair with greased-up personal trainer Rocco (Sandro Rosta.) She leaves her husband and moves into Zoe and Kash's spare room, just as the couple get some major news.

Theatre review: Out of Season

Back to Hampstead and this week I'm Downstairs for its latest commission, Neil D'Souza's Out of Season and a midlife crisis comedy that gently takes in some themes you don't often see on stage. Thirty years ago, a trio of university friends went on a memorable holiday to Ibiza. Now, to celebrate his 50th birthday, Chris (Peter Bramhill) has asked that they recreate the trip - right down to the same room in the same hotel. Regardless of how many times he and Dev (D'Souza) say it's been done up since they were last there, the grubby walls and fading paint of Janet Bird's set suggest both the fact that they might have unrealistically romanticised their original holiday, and that they, like the room, have seen better days. Once in a band that came within sight of success only to miss their chance, manchild Chris still plays gigs in pubs, while Dev has become an academic and music historian, grumpily putting himself through a week he didn't really fancy for his old friend's sake.

Theatre review: Something in the Air

Veteran playwright Peter Gill's latest play could be said to join the ranks of the new generation of AIDS stories most prominently including It's A Sin and Cruise, although its focus is slightly different: Part of the theme of those stories has been the generation of queer elders who barely exist because of the pandemic of the 1980s and '90s wiping them out, but Something in the Air brings us a pair of men who've survived into old age and, with the rest of their community long-gone, have found some comfort in each other. Colin (Ian Gelder) and Alex (Christopher Godwin) live in the same retirement home where they've become friends and, to the consternation of Alex's son Andrew (Andrew Woodall,) have started holding hands while they sit in their armchairs. Colin's niece Clare (Claire Price) is more sanguine about it, and in fact has some news for Andrew: The pair have asked to be moved into the same room, but as they're not always lucid, it needs to be run by their families.

Theatre review: The Dumb Waiter

"It's not like Pinter where you can more or less say what you like so long as you leave enough gaps."

In what I suspect will be a pretty short window of time to catch live theatre in London before we get bumped up a tier, a classic Pinter makes a surprisingly swift return to the stage - it's less than two years since The Dumb Waiter was in the West End, but Hampstead Theatre were keen to mark the 60th anniversary of a show that premiered there in its own debut season. Planned to run last spring as part of the theatre's 60-year retrospective season, it does of course also feature a bubble-friendly cast of just two, with Alec Newman as Ben and Shane Zaza as Gus, a pair of mobsters who've been holed up all day in a basement room waiting for the instruction to carry out a hit on an unknown target. But when instructions do come, via the titular miniature elevator, they're confusing and increasingly extravagant food orders, seemingly intended for a restaurant kitchen that's long since closed.

Theatre review: Every Day I Make Greatness Happen

Launching Hampstead Theatre's autumn season Downstairs is a play by high school teacher and comparatively new playwright Richard Molloy. Sticking to the tenet of writing about what you know and reaping the results, he sets Every Day I Make Greatness Happen in a little-used, leaky-roofed classroom in a North London school, where students are not allowed to join the Sixth Form unless they've passed their English GCSE. For three students who failed it, the Head of English, Miss Murphy (Susan Stanley,) has agreed to coach them through a re-take while they also take their AS-level classes. They have six weeks to make their second chance count and be allowed to stay on. Iman (Josh Zaré) is timid and nerdy but a bit slow, and has spent the last five years at school being relentlessly bullied by Kareem (Moe Bar-El.)

Theatre review: While We're Here

Barney Norris is an up-and-coming playwright who's presumably got a big change of style in store - this time next year his Nightfall will be playing at the new 900-seat Bridge Theatre. For now though things remain super-intimate again as he opens another new space, the Bush's Studio which aims to recreate roughly the size of the original pub theatre. While We're Here takes place in a cosy living room (designed by James Perkins) in Havant, a town near Portsmouth which, if the play is anything to go by, seems more like the middle of nowhere. Carol (Tessa Peake-Jones) has lived there, and in the same house, almost her entire life. Eddie (Andrew French) is more of a drifter, literally so in recent years when he's fallen on hard times and been sleeping rough. The two had a brief relationship twenty years ago soon after Carol's divorce, and have now reconnected by chance when they bumped into each other in a park. Carol has invited him to stay at hers until he can get himself settled.

Theatre review: Orca

Not a 1970s movie made up largely of stock footage from Seaworld, this Orca is the latest Papatango winner, a playwrighting award that seems to have a weakness for scripts with a dark fantasy or sci-fi touch. But Matt Grinter's play only features the supernatural as part of its mythology, the actual immediate threat is all too inevitably human. The setting is a remote Scottish island, the time could be almost any part of the last hundred years, and the atmosphere is one of determined isolation: Fishing is naturally the main occupation, but while the boats go out to sea every day, it's very unusual for anyone to visit one of the neighbouring islands, let alone the mainland. Orca pods have been spotted in the ocean over the centuries, and are blamed for scaring off the fish whenever times are bad; the islanders have created a mythology and an associated annual ritual to protect their catch.

Theatre review: German Skerries

Time for another round of Robert Holman roulette: For a hugely influential playwright* he has one of the most understated styles imaginable. It means I don't like to miss his plays because on the right day they can be gently, powerfully moving; but it feels risky because on the wrong one you get something like the notoriously dull Making Noise Quietly. But I was also interested to see German Skerries if only because the Bush Theatre uses the script to wallpaper the urinals in the gents', so if nothing else I was familiar with the title. The titular German Skerries are a treacherous collection of rocks by the mouth of the River Tees, so named when a Luftwaffe pilot fell foul of them during World War II. By the late '70s when the play is set, they're mainly frequented by cormorants, so a nearby outcrop with a good view of the skerries is a popular spot for bird-watchers.

Theatre review: Orson's Shadow

Just as there's a disproportionate amount of novels about writing novels, and films about making films, theatre too has a fondness for shining its light on itself. Austin Pendleton's off-Broadway hit Orson's Shadow, getting its London premiere at Southwark Playhouse in a production by Alice Hamilton, does so with a self-mocking wink at the big personalities and bigger egos the stage attracts: Laurence Olivier (Adrian Lukis) is soon to become the first-ever Artistic Director of the National Theatre, and the respected critic Kenneth Tynan (Edward Bennett - tonight half a dozen of last Christmas' RSC ensemble had come along to watch him) wants to be one of his advisors. But he doesn't really know Olivier that well, and to impress him he decides to find him a director for his latest project, the UK premiere of Ionesco's Rhinoceros at the Royal Court.