Theatre review: Eugenius!

Since its 2016 concert debut Ben Adams & Chris Wilkins' (book, music & lyrics) musical Eugenius! has been popping up in various concerts and full stagings; I have a feeling I was planning to catch its West End transfer, but that became a lockdown casualty. But the show's become known for developing an instant cult following, so instead we now get Hannah Chissick's revival at the Turbine Theatre, which may in fairness be a better home for a comic book musical much of whose appeal comes from a likeably thrown-together feel. Set at some point in the 1980s in a generically John Hughes Ohio high school, Eugene (Elliott Evans) is a bullied geek who dreams of an intergalactic superhero called Tough Man (Dominic Andersen) and his evil nemesis Lord Hector (understudy Louis Doran) by night, and turns the stories into comic books by day.

Theatre review: Mother Courage and Her Children

Mother Courage is, apparently, the role Josie Lawrence has most wanted to play her whole career, and now she's got the chance she doesn't waste it, bringing a whole new level of nuance to Bertolt Brecht's antiheroine. Hannah Chissick's production of Mother Courage and Her Children at Southwark Playhouse uses the Tony Kushner translation from the last National Theatre outing, right down to the Duke Special versions of the songs that intermittently break into the narrative. Nominally set during the Thirty Years War, allowing for an epic scope both in time and ranging across Northern Europe, the play follows Lawrence’s Anna “Courage” Fierling as she travels from battlefield to battlefield, lugging a cart filled with food, drink and random provisions she sells to the desperate soldiers. She’s come to dread the possibility of peace, as war is what her entire livelihood depends on.

Theatre review: Side Show

A 1997 musical with the dubious reputation of having been produced on Broadway twice and tanked both times, writer Bill Russell and composer Henry Krieger's Side Show finally arrives in the UK in the version from the 2014 revival, with additional book by Bill Condon. Based on the story of the real-life Hilton sisters who appeared in Tod Browning's Freaks, it opens with conjoined twins Daisy (Louise Dearman) and Violet (Laura Pitt-Pulford) as the star attraction in a freak show during the Depression. The show's owner Sir (Chris Howell) is also their legal guardian for life and essentially treats them as his property as well. When vaudeville impresario Terry (Haydn Oakley) visits the show he spots the twins' potential as performers, as well as the abusive situation they're in, and helps them mount a successful court case to be liberated from Sir. He does succeed in making them stars, for a while, and they also seem to find a chance at love, but their disability gets in the way of both in the end.

Theatre review: Marry Me A Little

There's no shortage of Stephen Sondheim works but there always seems to be an appetite for more; hence the 1980 show Marry Me A Little, in which Craig Lucas and Norman René compiled a number of Sondheim's songs into an hour-long revue. Some, like the title song which comes from Company, are familiar but the majority were cut from earlier drafts of his shows. They're largely either love songs or heartbreak/breakup songs so lend themselves to a vague framework of a story about a couple. There's no dialogue, and looking up the show online it seems that it's down to the individual production to decide exactly what story it's telling. So Hannah Chissick's production at the St James Theatre's downstairs Studio space makes it the story of a couple who are just in the process of breaking up.