PERFORMANCE REVIEW: Great Pretenders

Great Pretenders: The Musical
Upstairs at the Gatehouse, Highgate

You could quite easily sit through Great Pretenders, a small-scale musical about wannabe tribute acts, and be a prude. Or, with even greater ease, you could sit back and enjoy it.

Skepticism is not dispelled by the slightly shaky and underwhelming opening, bizarrely entitled 'When the day is over'. Neither is it dispelled by the introduction of the almost irritatingly idealistic Joyce (Jennifer Saayeng) and the predictably vulgar Irishman, Liam - Luke Jastal. But this is not a show about profundity and obfuscation. It is an energy-fuelled and well-rounded piece about petty rivalry and uprooting secrets that succeeds in the balance and clarity of its story.

Although there is often a feeling of the inevitable - with plot, music and gags - there are definite moments of surprise. The macho PJ, played by Leon Kay, reveals himself to be a Liza Minnellli impersonator, and to have a deeper crisis about the acceptance and tolerance of this than we might at first imagine. So too, the tense reunion between Rebecca Bainbridge’s Paula and Andy (David Higgins) - the most convincingly played storyline in the show - is compelling, despite its sentimentality.

The fantastically detailed set, designed by Gemma Harris, enhanced the plausibility of the dressing room scenario. Graffiti on the inside of the toilet door, postcards round the mirrors and cluttered coffee cups give the sense of a backstage area that has been used and abused.

Great Pretenders is superficial, but this is overridden by the fact that it is undeniably entertaining. Escapist, yes, but pretentious it is not.

Helena S. Rampley

Great Pretenders: The Musical runs until 15th November

FEATURE: Suspense Festival at Jacksons Lane

Puppets can divide opinion. For some, the skilled manipulation of the inanimate objects is a gift to be marvelled at, as they are brought to life and made to sit on swings, go for walks and even order coffee like miniature munchkins. For others, the realism is too much, tapping into Freud’s idea of the uncanny and bringing on nightmares more frightening than Jan Svankmajer’s Otesánek. If you find yourself siding with the latter, make sure you stay away from Highgate’s Jacksons Lane this November where puppets are most definitely the order of the day as Suspense takes over.

The Suspense festival is the first puppetry festival to take place in London in over 25 years and has a clear mission to show that not all puppets are child-friendly Sesame Street characters. Over the course of ten days, and at seven venues across London, the festival will present adult audiences with work from a variety of UK and International practitioners revealing the artform to be sophisticated, grotesque, irrational and, above all, incredibly potent.

Innovative dance venue Jacksons Lane will be showcasing three events from the festival’s programme providing haunting tales of chance, sickness and decaying old age from prominent British companies.

Starting with FaultyOptic’s Fish Clay Perspex, audience’s will be given the chance to see the London International Mime Festival veterans not only manipulate the puppets but also miniature armless figures, clay, pens and pieces of plastic as they present a collection of short ‘character studies’ musing on ideas of chance, doubt and turmoil providing audience’s with a compelling, spellbinding and, at times, revolting experience and a chance to suspend their disbelief and enter an alternate reality.

Second on the bill are South-western trio Full Beam Visual Theatre. Watching Strictly Come Dancing contestant Jo Wood (playing the defenceless, deserted woman with the theatricality of a pantomime dame) makes us all aware that the baby boomers - and Stones’ affiliated personalities - are coming to the point in their lives when they need to wave goodbye to their drugs-induced hedonistic days and instead settle down for a cup of cocoa and the Antiques Roadshow. My Baby Just Cares For Me explores the difficulty of looking after an older generation that doesn’t want to grow up and questions how to make life plans match up with pension plans.

Finally, Heartbreak Soup follows the story of a young boy caught in a limbo-like existence as he awaits transplant surgery. Spending his time under his hospital bed, Cuddy dreams of a time when he’ll be able to run and jump, shutting himself off from the drab confined surroundings he forced to inhabit. While it may sound serious and gut-wrenching, The Empty Space promise a heart-warming, uplifting experience for its audience.

Once again, Jacksons Lane show they are at the forefront of experimental performance in the capital’s current theatrical climate. While, there’s ongoing feuds between theatre companies, producers and the Arts Council, we are here shown that fear of the recession should not hamper creativeness.

Lily Eckhoff

Fish Clay Perspex runs from 30th – 31st October
My Baby Just Cares For Me runs from 5th – 6th November
Heartbreak Soup runs from 7th – 8th November

To book tickets contact Jacksons Lane HERE and for full programme details check out Suspense London Puppetry Festival site HERE

PERFORMANCE REVIEW: Secrets Birthday Party

Secrets Vaudevillian Birthday Party
Southwark Playhouse, 3rd October

Beneath the arches of London Bridge lies Southwark Playhouse Secrets, the cabaret-style side show from the innovative theatre. The dimly lit walls of grey brick, red decor and bare white bulbs give the hidden location a feel of shabby glamour. Combined with a late bar and a sense of happy-go-lucky, this is the perfect scenario for a variety of mystery acts comprised to celebrate the new season of the post-show and lunchtime entertainments.

Knowing that the whole venture was conceived with a more-or-less £0 budget - requiring the performers to give themselves for free - it was hard to know what to expect of this evening. And as it happened, it was a real mixed bag.

Nudity was the order of the night at Southwark, some of it prepared for, and some more of a surprise. A burlesque dancer flaunted through and amongst the audience, with huge purple feathers and little else. Although scantly clad, the voluptuous Khandie Khisses managed to remain poised and never seedy. Wes Zaharuk, however, became unexpectedly and unnecessarily undressed during his performance. One of his several questionable routines involves, incomprehensibly, attaching two plungers to his nipples and invading the faces of audience members. Like the rest of his act, this is a complete non sequitur, and leaves you wondering what exactly it is that he is claiming to be skilled at.

Further bizarreness ensued. The ring master of a flea circus looked very professional in his red outfit, but succeeded to entertain the audience with the spectacular amount of tricks that went wrong. Keeping a brave face at all times, he was at least endearing if not very practised. An androgynous musical saw player was also slightly bewildering; untuned notes accompanying the score of Atonement was entertaining in a curious kind of way.

The potential of a fantastic scenario was slightly dampened by a couple of underwhelming acts. The draw of the event was evident from the initial crowd that filled the stage and bar area. If a core of the successful and intriguing acts could be established, then the audience would no doubt dwindle much less than it did on this occasion.

Helena S. Rampley

For the full line-up of Secrets new season just click HERE