People, people who need people are, allegedly, the luckiest people in the world. I’d argue that those who are emotionally and financially self-sufficient have a hell of a bigger reason to feel lucky than those who depend needily on others for their wellbeing. But I’m not a character in a musical – and neither, really are the people who need people who appear in Funny Girl a narrative so far removed from the actual history of kooky kosher comedienne Fanny Brice and her deeply dodgy gangster hubby Julius ‘Nicky’ Arnstein as to be a complete fiction.
Muted, being staged in a concert performance in early February, looks like an interesting and exciting venture, with the gig being timed to mark its album’s launch. Penned by the double-hyphened partnership of Tim Prottey-Jones and Tori Allen-Martin from Sarah Henley’s book, Muted re-works the original musical After The Turn, a 2012 production that itself received much acclaim with Mark Shenton dubbing it “the British Rent”.
The 31st August 1965 is not a really notable day in history. True, it is Independence Day in Trinidad and Tobago and is also the Saint’s Day for Saint Aidan of Lindisfarne, San Abbondio, Saint Raymond Nonnatus, but otherwise not that much to write home about. However, for the family at the centre of Paul Minx’s play The Long Road South at the King’s Head Theatre, Islington 08-31-65 is a day none of them will ever forget.
Some plays fit gloriously into their surroundings. The Hope Theatre, a dark little room above a pub, captured perfectly the essence of, well, a dark room above a pub. Only this one is a brothel. Set in contemporary London, Ollie and Blue are doomed to circle the same small sphere of existence, searching for meaning or escape.