Theatre review: The Prince

In addition to the usual pre-show information most theatres send to audiences a couple of days before the show, the email from Southwark Playhouse about Abigail Thorn's The Prince also comes with an added warning that tickets will be checked multiple times, and audience members must not attempt to interact with the cast after the performance. It's depressingly easy to guess what this might be all about, and indeed the cast list confirms that, with a number of trans and non-binary cast members and a corresponding theme in the play itself, there's extra security because of threats from terven. Two trans women also find themselves in danger in the story itself, but the violence is both more immediate, and more surreal, as Sam (Joni Ayton-Kent) and Jen (Mary Malone) materialise on a battlefield at the start of Shakespeare's Henry IV Part 1.

Theatre review: Wolf Cub

Ché Walker wrote Wolf Cub in Atlanta, in the aftermath of Donald Trump's election in 2016. While people around the world wondered how it could have happened, for Walker it seemed obvious the seeds were sown decades earlier, by another Republican President who was a celebrity before he was a politician, who used polarising language to turn Americans against each other and demonise the poor and minorities. Crucially for this story, Ronald Reagan also survived an international scandal, in which in order to interfere with a foreign nation's election results, both arms sales to Iran and an influx of drugs into the US were fair game as fundraisers. Wolf Cub tells the story of the Reagan (and Bush) years through the experiences of Maxine (Clare Latham,) who when Reagan first comes to power is a nine-year old living with her father in the rural South. Her mother having apparently fled years earlier, she's left alone to deal with her father's physical and emotional abuse.

Theatre review: Time is Love/Tiempo es Amor

It’s got to be something of a coup for a 50-seat theatre to land a recent Olivier winner – in a supporting role no less – but there’s a couple of reasons Sheila Atim might be happy to lend a bit of star power to the fringe: Not only has she worked with writer/director Chè Walker before, she’s also composed the original music for his latest play, Time Is Love/Tiempo es Amor. Walker’s Been So Long, recently reinvented as a Netflix film, had a strong flavour of London but the playwright subsequently moved to Los Angeles, and that’s the location, and the atmosphere he tries to capture here. This is partly through a film noir-ish feel to the story of Blaz (Gabriel Akuwudike,) who spends three years in prison after a robbery goes wrong. His friend Karl (Benjamin Cawley) was the one who talked him into it, but managed to get away; but apart from missing his friend he doesn’t seem to have much regret for what he got him into, if anything acting like he’s the wronged party.

Stage-to-screen review: Been So Long

If my theatregoing currently appears to be at something like normal human frequency that's because I've been stuck at home with bronchitis, but Netflix have filled in the gap a bit by releasing their film adaptation of Been So Long - Ché Walker and Arthur Darvill's first musical (maybe you shouldn't hold your breath for their second one to get filmed too soon) which I saw when it premiered at the Young Vic in 2009. From that original cast only Arinzé Kene has returned to play Raymond, released from prison and finding nobody to celebrate with him because while he's been away all his friends have got partners and families. Instead he ends up alone at a bar that's days away from closing, where he meets single mother Simone (Michaela Coel,) who's as attracted to him as he is to her, but has put up a lot of barriers to protect herself and her disabled daughter.

Theatre review: Doubt, a Parable

The Catholic Church is famous for its choirboy-abusing priests, but a lesser-known fact is that there’s also a system of religious beliefs attached to it. John Patrick Shanley’s Doubt, a Parable uses the former to look into questions of the latter, in a story set in a New York convent school in 1964. Headmistress Sister Aloysius (Stella Gonet) is a stern disciplinarian who’s fiercely opposed to change, ball-point pens, the song “Frosty the Snowman,” and either teachers or students actually enjoying their lessons. Her mission to crush all the joy out of young teacher Sister James (Clare Latham) has to be interrupted as she needs her help to investigate the school priest Father Flynn (Jonathan Chambers,) whom she suspects of taking an inappropriate interest in the pupils. The school has just taken on its first-ever black student, and Flynn seems keen to get particularly close to him.

Theatre review: Klook's Last Stand

There's a film noir-ish feel to Klook's Last Stand but it's a tongue-in-cheek one, as the snappy back-and-forth in the bar where the leading man picks up the leading lady is present and correct, but it's a juice bar and Klook (Ako Mitchell) is buying Vinette (Sheila Atim) a carrot juice (hold the ginger.) An ex-con who's drifted around the USA getting fired from a number of jobs, Klook's journey has led him here to a much younger woman, who may be his soulmate or even his salvation. Ché Walker's play with songs follows the pair's spiky but mutually supportive relationship, the two actors backed by Rio Kai on guitar, keyboard and double bass. The skeletons in both their pasts threaten their relationship but those in Klook's could present a much more literal threat when his creepy boss takes a shine to Vinette.

Theatre review: The Lightning Child

Euripides' The Bacchae features an antagonist threatened by sexuality, particularly that of women, whose plan to defeat this perceived threat involves him dressing as a woman himself. Throw in that popular Greek tragedy mainstay, the hermaphrodite seer Teiresias (Bette Bourne,) and it's not hard to see why it might have something to say to transgender people to this day, and be ripe for adaptation. Hence The Lightning Child, the final new premiere of the season at Shakespeare's Globe, and the latest collaboration between Ché Walker (book and lyrics) and Arthur Darvill (music and lyrics.) A disco-infused musical adaptation of the gory classic, The Lightning Child opens with Neil Armstrong (Harry Hepple) being cautioned by his wife that his planned mission is hubristic. Armstrong, of course, goes anyway, and in a scene left out of the history books encounters the man in the Moon, aka the Ladyboy Herald (Jonathan Chambers.) An acolyte of Dionysus, the Herald tells the astronaut of another case of hubris that upset the god.

Theatre review: His Greatness

Inspired by an apocryphal story about Tennessee Williams near the end of his life, Daniel MacIvor's His Greatness (which doesn't name the characters in the actual dialogue but makes no secret of who they're based on) spends two days in late 1980 in a Vancouver hotel room with three gay men. The Playwright (Matthew Marsh) is in town for the opening of his latest play - actually just a rewrite of an earlier, critically panned work. Already feted as a Great American Playwright for his early plays, his most recent work has met with derision, which he responds to by burying himself in whiskey and cocaine. A former lover, now his long-term Assistant (Russell Bentley,) steers him through his schedule, his main job seeming to be keeping the Playwright sober for any public appearances. As tonight is opening night, his job also involves hiring a Young Man (Toby Wharton) to escort the Playwright to the theatre, as well as providing other services later in the evening.

Theatre review: Fog

Actor Toby Wharton's first play is co-written with veteran playwright Tash Fairbanks, who was his mother's partner, and was born out of piece they wrote for his (successful) audition for RADA. So as Wharton was raised by a lesbian couple Fog can't be too directly autobiographical, dealing as it does with problems faced by children raised in care. After his mother's death, Gary (Wharton) and his sister Lou (Annie Hemingway) were left in care and their father Cannon (Victor Gardener) spent the next decade in the army. As the play opens, Cannon is suddenly back in town, renting a flat at the top of an East London estate, from where Gary can see the care home he spent many unhappy years in.

Although it still betrays the fact that it was written as a showcase for its lead actor, Fog also offers opportunities for the rest of the cast to make their mark. Gary's relationship with best friend Michael (Benjamin Cawley) is nicely played, and heartbreaking when cracks appear in it. Kanga Tanikye-Buah provides good comic relief as Michael's businesslike sister, and the whole play has moments of lightness to balance out the pretty dark accusations it makes about the care system. Ultimately of course it is the lead who's the most fleshed-out character, and Wharton gives us a teenager with an aggressive, cocky attitude (the title comes from the MC name Gary unsuccessfully demands he be called by) which barely conceals the fragile child he still is. At times the play is a bit heavy-handed with its politics, and sometimes sticks with the same groups of characters for longer than is interesting. But there's certainly some affecting stuff in Ché Walker's production too, and by the end you feel for Gary and his likely bleak outlook.

Fog by Tash Fairbanks and Toby Wharton is booking until the 28th of January at the Finborough Theatre.

Running time: 1 hour 30 minutes straight through.