Theatre review: Sheppey

I'd always thought of Somerset Maugham as a novelist and short story writer who'd also written the odd play, but it turns out in the early part of his career he was quite a prolific and successful playwright. He did give up the theatre for the last three decades of his life though, and 1933's Sheppey was his final play. It's a satirical, political comedy on issues that are sadly timeless, and starts in a barber's shop where Sheppey (John Ramm) is assistant to Mr Bradley (Geff Francis.) His sense of humour makes him popular with the customers and his ability to sell Bradley's various potions to pretty much anyone is legendary. He's always said he was born lucky and it's proven when he wins the £8,500 jackpot in the sweepstakes. But this financial fortune comes at the same time as a health scare, and when he recovers from what might have been a mini-stroke, he's significantly changed his mind about what to do with the money.

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: Salad Days

Other theatrical bloggers and tweeters have raved about its past runs at Riverside Studios, so I decided to check out Bill Bankes-Jones' production of Salad Days, back by popular demand (although tonight a bit quiet, the post-New Year lull meaning only about a half-full house.) 1950s musicals aren't high on my must-see lists, but this one proved to be worth making an exception for as it turns out to operate on a level of silliness that manages to stay the right side of twee, while occasionally veering into outright insanity. As we enter, it's the graduation ceremony at Oxford University, 1954, and the audience are handed diplomas congratulating us on passing our degrees - which, it turns out, have included a module on Suspension of Disbelief which will prove handy. Graduates Jane (Katie Moore) and Timothy (usually played by Leo Miles) are now faced with the problem of returning to their families: Her mother has lined up a number of eligible suitors to marry her off to; his wants him to take a job with one of his many uncles. A husband for her and something to keep him busy would give them the excuse to keep their independence.