I suppose I was very lucky at school. Although being short, wearing glasses and having ‘FA Cup’ ears, I don’t remember ever being bullied about theses things. Though I did get my ears fixed and once ‘lost’ a pair of NHS glasses as I hated them, so maybe things did get said after all. The point is, that whatever may have happened it was obviously pretty mild and so I’ve forgotten about it. I’m one of the lucky ones. For some people school is a place they go to to be tortured either mentally, verbally or physically. For them, school doesn’t end when they hit 16 and leave. For them, these events may live in their mind for years to come, and this is the premise behind Morgan Lloyd Malcolm’s play The Wasp at the Jermyn Street Theatre.
Outside a nondescript coffee shop, two women sit and drink tea. Heather (Selina Giles) is well dressed and poised, whilst Carla (Lisa Gorgin) is, not to put too fine a point on it, the ultimate definition of a pregnant chav. In appearance and manner, they are poles apart but they are united in a shared history. Twenty years ago, they were students at the same school. As they share memories, it is obvious that their time at school was very different and there had been some major league bullying going on. Still, that was all in the past. The two girls have grown into women and, have matured so all can be forgiven and forgotten can’t it?
From the start, I had a feeling I was going to enjoy The Wasp and I was right. Small, the stage at the Jermyn Street Theatre may be but Set Designer Mike Leopold managed to make it seem much larger – but still keep the intimacy – with his really impressive set. The story itself could be described as a psychological thriller and certainly, there were a few twists and turns from the opening scene to the wholly unexpected climax of the show. However, I do feel that at times the first act was slightly wordy and things did seem to switch between reminiscences, accusations and ‘chumminess’ in a rather random way. Apart from that, the story itself was really gripping.
Turning to the actors and full praise to both ladies for a first rate performance. Lisa Gorgin was the epitome of a working class girl, with a terrible back story. Carla obviously struggles with her multiple children and a drunken husband to make ends meet and is constantly hoping that something would happen to take her away from the humdrum life she led. There were quite a few moments during both acts – but especially the second – when Carla’s tale was told simply by the posture and the movement of the eyes and Lisa brought them out superbly. I don’t think there was any time when I looked at Lisa and could not have taken a stab at what she was thinking.
Selina Giles was the total opposite. Her Heather was virtually always a model middle-class woman. Her voice, gentle and unemotional giving no indication of the thoughts inside her head. Selina’s voice, coupled with her clothing and physical posture served to reassure a nice theatre going audience that, although people like Carla do exist – and one should do everything one can to help them (up to a point) – the world is safe in the hands of Heather and her ilk. However, Like so many such women, especially in literature, be very careful if you cross her and, without giving too much away, Selina really manages to cover the range of emotions and characteristics that Heather requires. Individually then, the actors are really brilliant and together they make their characters quite scarily real to watch and travel with over the length of the narrative.
Director Anna Simpson really has done a good job by not doing too much. There is little movement of the actors during the first two scenes and that is exactly as it should be. From a logical point of view, a 7-month pregnant woman and a middle-class lady having tea, are really not that animated and so the direction is just right. When movement does occur, it is slow and deliberate and, as with the dialogue, sometimes used to throw another red herring at the audience.
So, to sum up. Apart from a couple of issues I found with the story, The Waspis a first-rate psychological thriller. Being me, I correctly worked out about a third of the final ending but the other two-thirds took me completely by surprise. The production is superbly put together and really makes one think about the past and its influence on the present and the future.
Since July 2014, I've seen and reviewed 588 shows altogether. 2017 was a fairly quiet year with a total of 132 shows visited by yours truly.
So, in the best traditions of end of the year ideas, here is my list of the top 10 shows that I've seen this year. Please remember, this is my list not anybody else's and if you don't agree with the pick, well, what can I say?
1.Priscilla Queen of the Desert, Bridewell Theatre This story of friendship and hope took two drag queens and a trans woman from Sydney to Alice Springs, in a big pink bus. Along the way, the met new friends and face rampant homophobia. SEDOS brought every element of the show together beautifully, and to a standard that you would expect to see in the West End. Sold out virtually as soon as it was announced, this was the ‘must see production of the year. 2.La Cage aux Folles, New Wimbledon Theatre This is was a touring production of a show that demonstrates the importance of family and how much a parent will s…
Southern Baptist Sissies
Above the Stag is a theatre that specialises in putting on LGBT+ shows. I’ve been there a couple of times previously and seen some very well produced and very funny plays about gay life. So, I was really looking forward to another visit last night to see their latest show, the European premiere of Southern Baptist Sissies by Del Shores.
This is the story of four people emerging from childhood and becoming adults. These boys are all from the great state of Texas – the ‘buckle’ in the bible belt – and all are regular attendees at their small town Baptist church presided over by a real old fashioned ‘wrath of God’ style preacher (Stephen Parker). The four boys are all really good friends who each bring something different to the group. So, there is preacher’s son Mark (Jason Kirk) the thinker, TJ (Daniel Klemens) the brawn, Andrew (Hugh O’Donnell) the introverted and…
A theatre show is often like a swan. Out on stage, all is serene and beautiful whilst backstage there is a hive of activity going on. There have been various shows written about life backstage at a theatre – Noises Off springs to mind, though I’ve still not got around to seeing it. However, if you would like to see life backstage during a Christmas show, then you can do no better than toodle off to the Waterloo East Theatre to see Shaun Kitchener’s play Christmas Farce.
Thirty minutes – or in theatrical parlance, The Half – before curtain up and Alice (Natalie Lester) is the only person in the Green Room of a regional theatre. The fact it is Christmas is demonstrated not only by Alice’s OTT festive jumper but also with the gaudy decorations festooning the place. These are the handiwork of back-stage worker Makenzie (Marc-Gee Finch) and, while they are a tad tacky, they do add a sort of desperate fe…