Paul in London

Just like you can't keep Baby in the corner, you also can't let the West End live without the musical Dirty Dancing for long. Dirty Dancing - The Classic Story on Stage is back in the West End at the Dominion Theatre . I'm assuming the classic story has been added to the title since more time has elapsed since the film came out and today than when the film came out and the period where the action takes place.  Dirty Dancing has been a regular feature on the West End since it first premiered here in 2006. But in the space of the Dominion Theatre, everything about it enhanced and enlarged. The theatre is big. The volume is cranked up, so you feel the bass. The dancing is full of high kicks. The mousy role of Baby, here played by Kira Malou, seems even mousier. And Michael O'Reilly playing the Patrick Swayze role, is so big that when he appears in his underwear in one scene you wonder where the show is going. But don’t worry this is a family show. The only thing dirty in t

Death is the final word in Dust, a one-woman show written and performed by Milly Thomas that hits you with humour and grief in equal measure. Inspired by Thomas’s own struggles with depression its raw and provocative. It’s currently at the Trafalgar Studios following its sell out runs in Edinburgh in 2017 and the Soho Theatre earlier this year. Life for Alice was unbearable and so she decides to kill herself. And now she has to describe the aftermath of her actions and family and friends cope and move on.  We’re introduced to Alice in what looks like a morgue. There’s a stainless steel table and harsh lighting. Thomas is in a skin coloured body suit and describes how strangers are undressing her. They’re getting her ready. At first it seems like it’s getting her ready for the start of a wonderful new chapter. She’s been dead for a few days and she describes as family and friends gather to grieve. She’s the focus of their lives. Fragments of her short life emerge. The boyfriend who is

You get the sense you’re witnessing the birth of a new cu lt musical at Eugenius. Some audience members appear to know the choreography, songs and b ad jokes in advance of those experiencing it for the first time. And this isn’t such a bad thing. Particularly with its supercharged cast and uplifting eighties-inspired soundtrack this show rocks. It’s back at The Other Palace after a successful run earlier this year.  The book music and lyrics are by Ben Adams and Chris Wilkins. The songs are inspired with their upbeat eighties sound. Keyboards, sax solos and electric guitars abound. And there are a mix of ballads and hilarious songs to keep things irresistible. But they have to compete with a convoluted story seems like a mash up of Blood Brothers, Rock of Ages and Galaxy Quest. Teenage boy Eugene (Rob Houchen), dreams of a distant world where superhero Tough Man and Super Hot Lady fight against the Evil Lord Hector. His nerdy friends Janey (Laura Baldwin) and Feris (Daniel Buckley) e

Love is in the air in Strictly Ballroom, currently playing at The Piccadilly Theatre . It’s the musical based on Baz Luhrmann’s 1992 movie about a boy daring to dance his own steps in the cut-throat world of amateur ballroom dancing.  T h e movie was full of irony and light-heartedness with its corny follow your heart and ugly duckling storylines. Here the musicalisation hits this message over your head as if you’re watching the fall of communism. Jonny Labey and Zizi Strallen in the lead roles as the unlikely dance couple give the show style and pizazz. He’s a rebel, she’s an ugly duckling. There is also a thrilling paso doble danc e sequence to close the first act. They even get to sing two lines and sound terriffic. But the show is superfluously narrated by Will Young. He’s also the band leader singing all the songs. While this isn’t necessarily a bad idea, here it gives the impression you’re watching the Will Young musical. And often his light vocals are lost in the theatre. The

Corruption, greed and murder never seem to go out of style in Chicago. The Kander and Ebb musical returns to the West End’s Phoenix Theatre after a six year hiatus.  It’s pretty much the same show that burst onto the scene in the late 1990s. Back even though it was a revival people saw it resonate with the trial of OJ Simpson. Twenty years on the President of the United States is purportedly a urophiliac. Hookers and porn stars paid off as fast as a the National Enquirer can catch and kill a story.  And you no longer have to be good or competent to rise to the top. Everything old seems new again.  And this show is still a hell of a ride. With the sexy costumes and choreography “in the style of Bob Fosse”, the show oozes sex, rhythm and sensuality.  If you’re not familiar with the show other than the gelded movie with Richard Gere and Catherine Zeta-Jones you’re in for a treat.  If you’ve seen it all before you can lie back and enjoy the performances by Sarah Soetaert and Josefina Gabr

You don’t often expect to go to a show where coughing during the performance is essential part of it. James Graham’s Quiz at Noel Coward Theatre elevates a minor moment in history into a melodrama fit for television. The story is around the trial of Charles and Diana Ingram who were convicted of trying to defraud the quiz show “Who Wants To Be A Millionaire” in 2003. Mostly through a series of well-timed coughs. Cameras roll, music roars, the mob votes on little gizmos. There’s even a nod to the humble pub quiz as its origins. It is fun. But it’s also a night that leaves you thinking about another quiz show. Pointless. The production is drunk on the television gimmicks it’s trying to critique. The glamour of television, instant polls and dazzling lighting.  All come at the expense of character development and a convincing argument about confirmation bias. You get a chance to vote on whether they’re guilty twice. Once before interval and once at the end. It’s set up to get people to be

There’s something irresistibly cute and whimsical about this adaptation of Harold and Maude. It’s not as dark or shocking as the film. But the performances and production of this tale of living life and enjoying every stage of it make it a delight. It’s currently showing at the Charing Cross Theatre . Colin Higgins wrote the script to Harold and Maude as his third year film school thesis. Directed by Hal Ashby and starring Ruth Gordon and Bud Cort it bombed on release. Only later did it develop into a cult following. Higgins, who would go on to write and direct the movies Foul Play and 9 to 5 ,  would later adapt it into the play we have here.  The story centres on Harold. He’s a young man stuck in the straight-jacket of middle-class early seventies suburbia. He stages suicide attempts to shock his mother. He goes to funerals of strangers and has generally withdrawn from life. While at one of these funerals he meets Maude. She’s constantly borrowing things; cars, trees, money from the

Improvised comedy can be hit or miss, but Degrees of Error might be onto something with this do-it-yourself whodunnit. It’s currently at the Leicester Square Theatre on the last Sundays in February, March and April. It could be described as what Agatha Christie might have written if she hit the sherry a bit too much.  Audience suggestions set the scene for the murder and the murder weapon. One person in the audience gets to choose both the murderer and the victim by picking their name from a deck of cards.  The Leicester Square Theatre with its range of bars inside the theatre sets the scene to loosen up the audience with ideas. It seems to work. Much is up for grabs, in this unscripted murder mystery. Not only is the victim unknown until part way through the show to the cast, but so is the murderer.  The end result of this in February was it was at a hen night when the future Bride was murdered by her friend. The murder weapon was a wet tea towel.  It’s fascinating and hilarious to w

What makes The Woman In White interesting is the cast assembled for this tale about imprisonment, nasty men and poor artists. Even if this story makes no sense, it's a chance to be amazed by performers who hopefully will get to go onto bigger (and better) things. It’s having its first revival at Charing Cross Theatre . Pared back from its original production which premiered in the West End over ten years ago, here there are less effects and a bigger focus on the story. But the story doesn’t make much sense. Two young bored women Laura (Anna O'Byrne) and Marian (Carolyn Maitland) trapped in the country enlist the services of an artist, Walter (Ashley Stillburn), to help them draw. The artist sees a ghostly woman dressed in white on the way to their house. Walter falls in love with Laura. But Laura’s engaged to marry Sir Percival Glyde (Chris Peluso) as it was her father’s dying wish. Her father mustn't have liked Laura much as you just know by Sir Percival's facia

  If you ever wondered what eating a light dinner might be like at Julian Clary’s place, Le Grand Mort at Trafalgar Studios gives you an idea. It's a meticulous affair. Everything is stainless steel in Justin Nardella’s sterile kitchen set. As you would imagine a gay man might do to a Notting Hill flat. Food is already prepped and portioned into little bowls or packets. And any spillage is sprayed and wiped up. Based on Clary’s public persona you could assume it is him, even if his character's called Michael. And  while the show and the food may not be to everyone’s taste, it's amusing and disturbing enough to keep you fascinated.

Just how long can you hold a grudge? Well it probably depends on what exactly went down at school. Morgan Lloyd Malcolm's The Wasp is back in the West End. It last appeared in 2015 at Hampstead Theatre and then transfered to Trafalgar Studios. Two years on, it's at the  Jermyn Street Theatre  and just as chilling and just as spooky. Although perhaps having seen it all before, you see more of the mechanics behind the story that evolves over cups of tea.  The story is about Carla and Heather. They were once schoolmates but drifted apart due to their different backgrounds. And one or two horrible incidents. Heather has become a successful businesswoman. She drinks lattes and has nice clothes. Carla is probably just about managing - pregnant and in a track suit - and prefers builders tea. The scene is set for what you think will be a class struggle and then Heather asks Carla if she would help her kill her husband.

Twenty years on, Enda Walsh's Disco Pigs still manages to shock and fascinate with its evocative and provocative world of deprivation. It's currently playing at Trafalgar Studios . But with its endless slang and two unpleasant characters, it's often an an impenetrable world. Even with two masterful performances and slick production values, this is still a journey through hell. The piece is about Pig and Runt. Born on the same day and at the same time in the same hospital, they've been inseparable all their lives. They have their own language, own rules, and exist in a world of petty crime, violence, drinking and dancing... But as they approach adulthood, Pig's feelings for Runt grow. Runt struggles to break away from Pig's advances and the world in which they have built over their lives.

The years have been kind to Jon Brittain's Rotterdam. Since its first outing in 2015 the awareness about transgender issues has grown. Whether it is from Caitlyn Jenner or gender-neutral toilets at the Barbican , it's topical and thought-provoking. And following its win at the 2017 Oliver Awards and a run off-Broadway, Rotterdam is back in London. After catching it again it's great to report that it still feels as funny and bitter-sweet as ever. And don't call it a lesbian-transgender-whatever comedy. That would be too binary to give it a label. It's just complicated and that's probably what gives the show its brilliance.

Out There On Fried Meat Ridge Road is a great title for a play. And it's a laugh out loud hour or so of bizarre antics. After a run in January at the White Bear Theatre it's at Trafalgar Studios . They've transformed the space into a dump of a motel and it's a fabulous experience. There are stains on the walls, mismatched furniture and endless country music. It's difficult to describe the plot without giving away some of the surprises. It opens with JD ( Keith Stevenson ). He's a friendly kind of hillbilly living in this grimy place. Mitch ( Robert Moloney ) arrives answering an ad JD's placed in the paper looking for a roommate. Mitch has lost his job, his girlfriend and his apartment and so is desperate. But he's surprised to find JD living in motel. And then arrive the neighbours. There's the cranky old Flip (Michael Wade), the owner of the motel. Then there's meth-head Marlene ( Melanie Gray ) and her hot-headed boyfriend Tommy (Alex Fer

The search for a great playwright to rescue society seems an odd subject for a musical-comedy. But these are no ordinary times we are living in. A frog called Pepe is now a symbol for the alt-right movement. So now may be the time for a show where frogs appear to be a symbol of conformity, distraction and mediocrity. The Frogs was an ancient Greek comedy from 405 BC by Aristophanes. It became a short musical piece performed in the Yale Swimming Pool in the 1970s by Burt Shevelove. And it is now a somewhat fully fledged musical thanks to Nathan Lane's obsession and fascination with the piece. It is having its UK premiere at the Jermyn Street Theatre .

The St James Theatre gets a new name and a hot new show that never lets up with The Wild Party. They dance, they sing, they party as if it were 1928. Based on a notorious poem by Joseph Moncure March, Michael John LaChiusa with George C. Woolfe turn it into a sung through musical vaudeville.  Kander and Ebb did something similar with Chicago, but it always felt tongue in cheek. Here it's as if the tongue is planted in some other filthier crevice. It's darker. And dirtier. And sometimes horrific. Set over the course of a party hosted by two vaudville performers, it revels in sex and sleaze among their show-biz friends. People arrive. They drink. They do drugs. They fight. They have sex. And with director choreographer Drew McOnie's dance and movement, the piece feels provocative, relentless and breathtaking. Perhaps it isn't a party to suit all tastes. But its frenzied pace, complex score and terrific lineup of talent make it hard to ignore, even if you feel

Top ten things about politics you might learn from catching This House at the Garrick: 1. It's a game of cat and mouse It's a relentless cat and mouse game set in the bowels of the Palace of Westminster as the whips for the conservatives and labour try to keep their members in line. There isn't much drama but an awful lot of comedy in retelling the period of the minority Labour government from 1974-1979. 2. It ends in tears There is so much comedy that it is easy to forget that country was a mass. Mass strikes, garbage on the streets, high inflation, policies failing to pass. It's all fun and games until someone needs to go begging for an IMF loan ... 3. Maybe you just had to be there Whether you understand or care about the show probably does depend on whether you lived through the period. The piece does hurl large chunks of parliamentary tradition at the audience in the guise of dialogue to new members. But ultimately it feels like a memory piece for th

The Sewing Group is a fabulously subversive piece of theatre at the Royal Court . The piece by EV Crowe explores secrets, the impact of technology, the overcomplicated and the over analysed. All within a wooden box-like set lit by candle light. It starts out innocent enough, but then has you perplexed. There are a series of very short (and disorienting) scenes where very little is given away. There are long silences and long blackouts. In one scene all that takes place is a distant fart. It was so distant that it made me wonder whether it came from the audience.

  Stephen Daldry’s enduring production of JB Priestley’s An Inspector Calls is back in London. Catching it this time around - the last time I saw it in 2010 did not leave much of an impression as I had forgotten I had seen it -  had me pondering its enduring popularity. It’s a simple detective story set in 1912. A Detective arrives unannounced to interview a Yorkshire factory owner Arthur Birling ( Clive Francis ) and his family about the suicide of woman. Each scene serves to rub off a little more of the veneer of respectability of their lives. In what could be a tedious premise, the piece starts making you think about broader enduring issues in this country. Soon I found it evoking the polarised politics of the current day, the rise of fashionable far right politics and Scottish independence.

  There are various things you can take from Fool For Love playing at Found111 . There isn’t much of a plot. It is more a series of sparring rounds that serve as a star vehicle for great performances. But you walk away thinking how love fades, horse floats burn well and incest is rife. It’s random in a way but enough to thrill and amuse. The couple in focus are Eddie ( Adam Rothenberg ) and May ( Lydia Wilson ). They take pot shots at each other and then kiss and make up. Along the way there is a mysterious old man (Joe McGann) and a new suitor Martin (Luke Neal). Sam Shepard wrote this piece between love affairs. He covers how two people can simultaneously love and loathe each other. But past injustices give way to more secrets and lies that suggest that old wounds don’t heal. They just get ripped open again and again.