My plan was originally to cover the entirety of my London show-going in individual posts. But I went to several shows. And also I have a lot coming up, both in terms of book reviews and in terms of projects of my own that are (ideally) dropping before the end of the year.
Thus, we are dropping everything into a single master post: the shows I saw, how they were, and whether you ought to go see them as well (if that is even possible).
So explaining a lot of the things I go to see can be difficult. “I’m flying to London to watch four people play Jenga” ranks pretty high on that list. And also it’s worth it.OX Dread (previously branded as “Oxventure Dread" and hopefully the rebranding isn't a bad sign for Oxventure) is part of Outside Xbox's annual Hallowstream event, which is underway as we speak. They've done Dread in previous years, but I believe this is their first time performing it live.
For those unfamiliar: Dread is a tabletop game played with Jenga blocks instead of dice, usually horror-flavored. Whenever a player would make a role, they instead pull one or more blocks. If you topple the tower, your character dies. You can also choose not to pull and simply fail at what you've attempted. Or you can knock the tower over willingly as a heroic sacrifice: you die, but you also achieve what you set out to do.
Deadlands DM and self-described "'ween boy" Andy Farrant was the DM, with Jane Douglas, Ellen Rose, and Mike Channell playing. My instinct was that playing onstage would add an extra level of tension, since the audience would absolutely react to the dramatic block pulls... and that was certainly true. But it didn't make the game unfeasible. If anything, I feel like it was even more entertaining.
This year's campaign was an UrbEx-flavored adventure in a theme park, punctuated by onscreen effects and very cool lighting. It was a well put-together session and, as expected, the team are funny and entertaining enough to keep the energy up. I especially liked Andy's method for keeping the first to die occupied during the second half of the show (and I don't just mean handing over the special effects mad). Jane and Ellen played YouTubers with varying degrees of belief in the supernatural and a quiet rivalry, which kept the story moving well, and Mike proved he's the king of character creation with a hilariously hateable techbro.
Oxventure has been rocky in recent months after another round of layouts; this show reminded me why it's so important to me, and so many others, that it stays alive in some form.
My Neighbour Totoro
I've heard a lot about this West End production, including a friend telling me it was imperative I get to a production no matter how bad my seats were. Fortunately I got very good seats, though my bus route being diverted meant I had to dash the rest of the way and missed the first part. Fortunately, there's a screen in the lobby for latecomers, and you're quietly brought in during parts of the show. So I didn't technically miss much at all.
So first off... yes, this show is gorgeous. The puppets are unbelievable, especially Totoro himself. I don't know how many puppeteers made him work, but this massive guy was so articulated that you just accept him as a character from the first moment. The Little Totoros are relatively simple stick puppets, but the puppeteering gives them so much flexibility and personality. And the Cat Bus is a sight to behold: a lit inflatable with multiple stagehands moving it around. (The Cat Bus scene uses set pieces of all sizes to help it run across the countryside.)
That said, as much as I love a show that looks good, that only goes so far unless the show is good. And it legitimately was. The actors all did a great job with their characters, including the adults playing children. I'll admit I was a little concerned about a grown-up playing Mei, but it worked shockingly well. The costume and set pieces, as well as the younger characters' interactions with the adult characters, made it all believable. (Mei's actor was especially good, handling the little girl's big Ghibli expressions in a way that was either comedic or dramatic as needed.)
In short, this was a legitimately good show. The stagehands were visible but integrated into the show, ignorable when necessary and occasionally addressed as present "characters" when there was no other way around it. The sets and props were gorgeous, presenting the film's natural world in a way that prioritized beauty over believability - and that was the right choice. As it happened, I was also there during a performance with Integrated British Sign Language. An interpreter dressed as a stagehand was a sort of half-there character, acknowledged and even interacted with without breaking up the action. And the actors themselves worked in sign language here and there in natural ways, enabling the dialogue to flow naturally without overworking the interpreter.
I agree with my friend: go see it under any circumstance you can. You only have 'til January.
Oh, Mary!
All I knew of Oh, Mary! before going into it was that friends of mine loved it, that it is not historically accurate, and that several performers I like very much have played Mary Todd Lincoln. Frankly, I'm glad I came in pretty much unspoiled, because this is an Experience. Though I'm not sure I could do it justice if I tried to describe it.
In short, the show follows Mary in the days leading up to her husband's assassination. All she wants is to go back onstage and, to keep her from doing that or drinking herself into a stupor, Abraham hires her an acting teacher. And, well, it all spins out of control from there. Saying much more would ruin the experience of seeing it for yourself, and I don't want to deny anyone that. Suffice to say, again, don't expect any degree of historical accuracy.
This show is a single 90-minute act with no intermission, and honestly it feels better that way. The action moves quickly from scene to scene, with most of the first part taking place in Lincoln's office. And the finale is... well, again, I'm not sure how to describe it without giving a lot away. But it is definitely a showstopper.
When I went, Jinkx Monsoon's run had just finished and Lolly Adefope was in the lead. While I've yet to see Ghosts, I've seen her elsewhere and love her work. So even though I might not have the same familiarity (yet) with her work that others might, I came in confident she'd smash it, and she did. She had a high energy that's absolutely necessary for this role, and she didn't hesitate to give it the full send. I can absolutely see why this role is a vehicle for its various leads and why it's such a big deal. I also don't think just anyone could carry the whole show on their back. It's a lot of work to be that "on" for the full 90 and still be hilarious every step of the way.
No ignoring the rest of the cast, though. Everyone else matched Adefope's energy (which was no mean feat) and there were no weak links in the relatively small cast. If you're near a performance, no matter who's playing Mary (but especially if it's an actor you personally like), absolutely go.
After OX: Dread, this was the first show I booked. I love both Richard E. Grant and Christine Baranski, and while I knew nothing about this play in particular, I do like Noël Coward. So I figured it'd be a good night, and it definitely was.
Baranski as Judith Bliss was the inarguable center of this show, and she played it for everything it was worth. She was the perfect drama queen while looking absolutely gorgeous in every outfit she showed up in. Grant was also fantastic as David Bliss. He got much less stage time (which was a little disappointing), but he got as much out of that time as he could.
The supporting cast was also strong. Will Close and Ophelia Lovibond as Bliss offspring Simon and Sorel were great, with Close giving a sort of young Richard E. Grant tinge to his character. Charles Edwards, who played Richard, was the only other cast member I knew, thanks to his turn as Michael Palin in Holy Flying Circus. The divide between the Blisses and the houseguests was well done in terms of energy and overall vibe, and a lot of that was down to the original script. But the Bliss family had a shared energy and performances that clearly were inspired by each other, while each of the houseguests had a unique level of comfort around stranger (ranging from confident to breaking down crying).
It's a comedy of manners, and thus it won't be for everyone. And as I said, there was minimal Grant presence, which was a bit of a disappointment for me. But if you love classic comedy (which I do) and you love Christine Baranski (which I also do), this is a grand night out.
I saw The Mousetrap two years ago, and I'm a massive Agatha Christie fan, so Witness for the Prosecution felt like a natural follow-up. There's also the bonus that it was performed at London County Hall, a gorgeous venue making for an immersive experience. And if you really want to be in the middle of the action, you can get a VIP ticket. This includes a program, two drinks or snacks, and a seat in the jury box. You're ostensibly "in the show," though this is not a show with multiple endings like Night of January 16th, so my assumption is there are safeguards in place. Though if you know the story of the show (which I didn't coming in), you also know it would take either a cynic or someone deliberately messing with things to vote against the original outcome.
The big question for shows like this is always the same: would it work without the gimmick? For this show, the answer is obvious: yes, absolutely. It was a film and a short story, and it's been performed successfully in more standard venues. And Agatha Christie is, above all else, a strong writer. The immersive nature of the venue simply serves to heighten what's already there.
For the scenes that take place elsewhere - offices, streets at night, etc. - the center of the courtroom is converted into a theater-in-the-round situation and stagehands dressed as cleaners make and unmake the set as necessary. The whole cast was great, and the judge and barristers actually felt like people in court rather than actors playing barristers. And, of course, the ending is fantastic. For those who know the story, it's the full movie ending... which manages to subvert our expectations of a Christie story while still coming to a satisfying conclusion. Big praise in particular to Matthew McGivern as Leonard Vole, the defendant in the case and a truly complex character to play with any degree of believability.
While you don't need a seat on the jury to enjoy the show, it is absolutely an experience. In addition to the perks, you also receive a little branded notebook and pencil and are encouraged to take notes. You're also sworn in before the performance starts, you're greeted by the various members of court as they arrive each "morning" (at the beginning of each act), and the witnesses and barristers direct their performance to you, as one would to a jury. If you love Christie and want fun, get any seat; if you are a sucker for immersive performances like I am, spring for the jury box.
As my regular readers know, London is an annual trip for me. I'm always on the lookout for more shows to do, so I'll be keeping my eye out for shows in 2027 as well!
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