Theatre review: Harold and Maude

Colin Higgins' Harold and Maude was another show I hadn't originally planned on seeing, but when a friend had a matinée ticket she couldn't use, she passed it on to me. Set in early 1970s California, Harold (Bill Milner) is a 20-year-old from a wealthy family, aimless in life and using his unlimited free time to indulge his morbid streak - the play opens with him hanging himself, one of a series of elaborately faked suicides he stages for attention. This fascination with death also sees him attending the funerals of people he doesn't know, at one of which he meets the hippyish 79-year-old Maude (Sheila Hancock,) an Austrian Countess whose colourful life has taken her around the world. Harold just wants to be left alone, but Maude keeps showing up in his life, quickly becoming a major part of it.

Theatre review: Grey Gardens

One of my last shows of 2015 was The Dazzle, a story based on a real-life pair of wealthy, reclusive hoarders, and I kick off 2016 with another one, this time in musical form. Edith Bouvier Beale was the aunt of Jacqueline Kennedy Onassis, who in the 1970s found notoriety when she and her daughter were found living in a dilapidated mansion filled with junk and cats. Named after the house where the two holed themselves up for decades, Doug Wright (book,) Scott Frankel (music) and Michael Korie's (lyrics) Grey Gardens looks at how a family of Hamptons socialites turned into crazy cat ladies, by taking us back to 1941: Edith (Jenna Russell) is organising an engagement party for her daughter Little Edie (Rachel Anne Rayham,) and putting herself at the centre of it with a plan to perform a number of songs. Little Edie has landed a Kennedy of her own, JFK's older brother Joseph Jr* (Aaron Sidwell,) but when her mother realises she'll end up alone, she sabotages the engagement.

Theatre review: Barking in Essex

How funny is the idea of Sheila Hancock saying "cunt?" Barking in Essex is confident that it will stay funny for a little over two hours. Spoiler alert: It doesn't. It's not often a new play opens directly in the West End, and this one is new in the sense of "new to the stage" as opposed to "newly written" - unless Clive Exton was such a workaholic that his death six years ago didn't slow him down. An opening scene that revolves around jokes about Who Wants To Be A Millionaire and the long-since cancelled Weakest Link is a reminder that there wasn't a huge rush to bring this one to the stage. Was it a lost gem just waiting for the right cast to become available? Or was it gathering dust until the popularity of The Only Way Is Essex made producers sniff cash in anything with the county's name in the title? Well, I haven't exactly been subtle in my introduction, clearly it's going to be the latter.