“I sometimes think I’d rather be fancied than liked”
The Donmar Warehouse’s production of My Night With Reg opened last year under a cloud of some sadness as playwright Kevin Elyot passed away just as rehearsals were starting. As it transfers to the West End into the Apollo Theatre, it finds itself surrounded by a different kind of cloud, one of prurient controversy as TfL banned the publicity image for the show (two variations of which I have kindly provided for you here) forcing them to reissue a picture sans arsecheek. (That this Bulk Powders advert somehow passed muster seems baffling – I’d love to know the full reasoning behind both decisions.)
That it provided a sneaky bit of extra guerilla advertising can’t have hurt, as when a similar thing happened to the Globe’s recent production of ‘Tis Pity She’s A Whore, and it is a play that thoroughly deserves it. I ranked it in my top 25 of last year (out of over 380 shows) and my original review can be read here. And thanks to the lovely people at Official Theatre and Seat Plan, I was glad to have the opportunity to spend another Night With Reg and get my heart gently but surely broken all over again. Continue reading “Re-review: My Night With Reg, Apollo Theatre”
“If you get him pissed enough, he might let you blow him off behind the yucca”
There’s a definite tinge of sadness about Kevin Elyot’s My Night With Reg even before the play starts as the playwright died this summer aged 62, just as rehearsals for this Donmar Warehouse production – the play’s first major revival – were to start. It is also a deeply melancholy piece of work, elegantly capturing the yearning ache of unrequited love, the pain of remembering those who’ve been loved and lost, and the vast complexity that can arise from simply wanting to be loved.
The play could be pigeon-holed as a gay play, an AIDS play, an 80s period piece, but the beauty of Robert Hastie’s production is that it transcends all these labels, elevating Elyot’s writing to a minor-key classic. That the play focuses on a group of gay friends throughout the 80s living under the (never-mentioned) shadow of HIV/AIDS is never in doubt but the main theme, the driving force behind so much of what – the fear of ending up alone – is utterly, completely universal. Continue reading “Review: My Night With Reg, Donmar Warehouse”
“The army is not a game”
Director David Grindley’s first London job was as an ASM on the original 1993 award-winning production of Jonathan Lewis’ army hospital-based Our Boys so there is a pleasing circularity to him being the director of the play’s first West End revival. It is set in Ward 9 Bay 4 of the Queen Elizabeth Military Hospital in Woolwich, with five soldiers at various stages in their recovery from injuries suffered in the line of duty who have their easy dynamic changed by the arrival of Potential Officer Menzies into the mix.
His presence shakes things up initially but he is soon assimilated into the group which kills the endless stretches of time with the recreation of barracks humour – strident banter that is close to the bone, searching for female company in want ads, illicit drinking games based on The Deer Hunter. But try as they might, they can’t escape from the ugly reality of their situation as their various torments rear their heads and it becomes apparent that this is a place where mental recovery is just as vital as physical recuperation. Continue reading “Review: Our Boys, Duchess Theatre”