Romeo and Juliet (Shoreham Wordfest)
Producer: Philippa Hammond
Director: Thomas Everchild

This charming version of the classic teenage romance offers fine characterisation, and lots of fun besides …

This production of Shakespeare’s Romeo and Juliet will not fail to charm. Every actor gets inside the skin of their character, and their zest for life is evident from the first scene of this love story set in Verona…

Playing Juliet, Olivia Sewell has great presence and passion … sincere and courageous …

John Black is convincingly earnest as Romeo, always love struck, consumed by Cupid’s arrows to the heart …

The high standard of acting is supported by excellent direction from Thomas Everchild …

I recommend this production of Romeo and Juliet without reservation, and I will look out for further productions by Afterthought Theatre. It’s professional, true to the original text, and fun for all involved. Expect a teenage romance and you won’t be disappointed.

Fringe Guru
Roz Scott

Protect and Survive (Brighton Festival Fringe)
Writer: Jonathan Williamson
Producer: Simon Moorhead (TBC Audio)
Director: Thomas Everchild
Cast: Tigger Blaize, Philippa Hammond, Justin K Hayward, Jack Kristiansen, Penny Scott-Andrews, Amy Sutton

Imagine it’s three minutes to midnight before a nuclear winter. And that’s slipped on January 26th this year to two-and-a-half. Jonathan Williamson’s created a laconic take on the old 1970s-80s nuclear holocaust warnings directed by Thomas Everchild under the auspices of TBC Audio and Simon Moorhead’s production – who also supply the radio studio set with some fine lighting effects.

Protect and Survive re-imagines the period re-enacted in a 2017 Brighton studio with actors recreating the feel and scare of the times – including digitalized re-tracings we’re told on old C90 tape and back again which produces the acronym DAD. It’s almost nostalgic, then a little bit not. The scenario as presented before arrival suggests real events take over. That doesn’t happen which is a pity.

St Andrews is a generous venue, and the set’s convincingly constructed. Sound engineer Ashley (Amy Sutton) encourages the audience to produce sound effects of screams and cries of ‘food’ and ‘give us some food’ recording all in bytes before racing off to the mixing cabin. It’s an excellent participation gambit and ought to be repeated. Throughout this, Sutton’s acting as the unflappable precise laid-back sound engineer who sees everything is one of the production’s chief delights.

Six actors re-create… actors and managers. Pippa Hammond’s Director Cat is like Sutton a perfectly-cast, cast-ingot actor, managing actor panic, sponsorship crises and sexual intrigue with charismatic Theo whom she’s addicted to though married to off-stage Charles. Her exchanges with Ashley are a high-point of naturalistic dialogue and wit.

Ashley’s a quietly loyal enabler, often stingingly accurate in assessing everyone including a light-touch critique of Cat’s fixation on Theo: she doesn’t trust him, hinting she’s discovered an inadvertent recording of their lovemaking. Given adults themes are highlighted I half-expected this to burst on us at an inopportune moment in the recording process. Perhaps it should. There’s an Ayckbournesque potential in this narrative that isn’t quite tapped.

Like Ashley a ‘creative’ Cat exudes quick-witted, sure-footed poise tip-toeing emotional holes and catty Saffron’s barbs aimed at everyone, particularly Julia and Peter and hints at Cat’s affair. Even Theo’s trips to the toilet (coke?) are spun as STD. Penny Scott-Andrews’s Saffron exudes an edgy nastiness contrasting with in-character vulnerability of a child-like order.

Tigger Blaize playing Julia portrays a less glamorous right-on type born of a Greenham Common mother. Despite Saffron’s attempts to suggest Peter might be her father (being an old CND type) Blaize creates a niche of jobbing actor with the inverse of Saffron’s pretensions.

Justin K Hayward’s previous life included being lance-carrier for Kenneth Branagh in Hamlet. ‘He never called for me again: too much competition.’ Theo-besotted Cat demotes Peter from one role but leaves him as old-style BBC announcer. His deadpan punctuations under spectral lighting renders him a kind of spectral visitor, studding the performance. Shadowy vulnerability is etched on his bow tie and formal garb.

Jack Kristiansen’s Theo promises well, though doesn’t get the opportunity to deliver the danger his character’s set up to. The plot envelope of jobbing actors creating a radio programme is an extremely promising one not fully realized here, given the six characters are well-delineated with actors well-equipped to portray them.

The various scenarios presented, progressive horrors facing dying and endangered survivors of nuclear fall-out, are well wrapped as Cat and Ashley co-ordinate, cajole and occasionally re-take scenes: a progressive falling-apart of humanity over several months, detailing physical decay, ending in death by septicemia, rape and delivery of a child on a women-led commune.

One highlight arrives as those very cries we enacted for the boom are fed together in a scene where the army captain (Theo) directs his men to fire tear gas canisters directly into the crowd killing some, to prevent their reaching army-hoarded food. They’re trampled. Superb as this scene is, especially in this generous acoustic, characters’ dialogue is lost. Overall, though, this conveys a densely informed, terrible topic in a potentially ideal format: the bustle of studio-acting politics. Such a non-preachy manner needs more narrative to bounce off. Alistair Beaton’s recent Fracked! subverts untreated info by guying it or edging into the mouths of characters from both sides who develop half-lives of their own. Williamson’s clearly inspired by similar instincts and needs to give himself permission.

On the opening night some technical issues only slightly delayed the performance. The ‘recording’ sign stayed stubbornly on throughout. Everchild knows his business and the whole piece moves seamlessly with no longueurs at all.

This is still a work-in-progress, needing more time to unfold – at least another ten-to-fifteen minutes – so characters’ sub-plot can breathe. The conclusion’s an aptly abrupt dismissal. The rest of the cast show their backs, as the dead, an unnerving bit of theatre business designed to occlude the baldness of the ending.

See this work for its outlined imagination, facts, most production values and acting. Just as nuclear bombs suck out the air from everywhere around it, this intriguing, often beautifully produced and certainly consummately-acted work just needs to breathe back some of that air.

Fringe Review
Simon Jenner

The Neverland Singularity (Sussex Playwrights Short Plays)
Writer/Director: Thomas Everchild
Performers: Philippa Hammond, Thomas Everchild

You know I had that Bertrand Russell in the back of my cab once, and I asked him well what’s it all about, and you know he couldn’t tell me.’ Maybe it’s urban myth out of stand-up; it probably happened.

There’s a couple of 2005 radio plays by poet Sean O’Brien exploring that perennial British fantasy: a working cabby or labourer confronted with a philosopher who then doesn’t just out-argue them, but shows a thorough knowledge and grounding in their works.

Whilst the mythical cabby pops the question our common sense wants to ask of inductive reasoning, and trounce it, O’Brien takes his cues from historical events. Everchild delights in that perennial the cabby bit does something else again: brings a sexual dynamic: man-in-the-street put-down meets chat-up.

Philippa Hammond is beautifully priggish, asking directions to the conference. Everchild works this out, the science one. He begins questioning Hammond simply, and Hammond does a fine job of registering off-hand impatience gradually assaulted by Everchild’s gift of chirpy petulance, nagging and irritating Hammond into losing her temper but not her reason: she can’t shut down the cabby’s maddening rationality. Each question builds up questions of stellar singularities and astro-physics, which Everchild increasingly shows he understands well in outline. Hammond’s character drops hauteur for mild outrage, but is hooked; her training, initially dismissive of stupid questions, can’t cope with left-field informed ones. This sparring reaches a catharsis and an unexpected (hoped-for) conclusion.

It’s a perfect ten-minute play, ideal for radio like Lancefield’s. Lighter by far in tone, it’s packed with clever interrogatives and leaves us a bit more enlightened on astral physics as well as cultural sexual politics.

Sussex Playwrights Reviews
Simon Jenner

Glimpse part two: – (one act plays)
Little Girls Like To Kiss & Backstage Whispers
(Edinburgh Festival Fringe)
Writer/Director: Thomas Everchild
Performer: Philippa Hammond

Glimpse is a collection of four solo shows presented by Philippa Hammond, two at a time on alternate evenings. In this case it’s a smoke-filled 1940s private dick yarn and a take on life at the shallow end of the theatrical talent pool. And very good they are too.

The first, Little Girls Like to Kiss, shows the gumshoe’s ubiquitous breathy secretary in her own right. Marcia Blouse is long-suffering, pouting and wisecracking. She is also fragile – lost without the defining influence of her absent boss? Not likely – more afraid that others are about to discover her guilty secret.

Cracks in the cool, sassy facade grow and meet, forming a portrait of paranoia. Hammond herself twists with the plot her character reports; first manipulative and catty, then desperate and cornered. Ultimately Marcia survives, and takes control again. Fittingly, this brings out Hammond’s best – understated and impressively controlled.

The second vignette, Backstage Whispers, has the same sense of command in script and acting. Hammond excels as the aspiring actor and skirts around the pitfalls of self-indulgence with admirable restraint. Even the “behind the curtain” jokes are sharp and entertaining.

Again the writing is taut, wry and understated. At best reminiscent of Alan Bennet’s Talking Heads, this is a touching tale of a call-box tart who lives and dies in 18 lines. Glimpse is impressive, and well-named; fleeting moments of subtle theatrical insight.

The Scotsman
James Kirkup

Glimpse (one act plays):
An Honorary Man & Turning The Handle (Edinburgh Festival Fringe)
Writer/Director: Thomas Everchild
Performer: Philippa Hammond

Philippa Hammond delivers two glimpses in this show, separated by 1,500 years but linked by a theme of women bowing to the will and needs of men. In the first she is Hypatia of Alexandria, a director of the library there. Or a pagan whore, if you believe the Christian hierarchy. Hypatia is, however, a full-blooded and beautiful woman, aware of the pleasures of her body and the delights of her mind. So much so that her students have voted her “an honorary man”. She accepts this dubious accolade with gentle irony. As she accepts her murder and mutilation with the inevitability of the conflict between pure intellect and religious dogma.

In the second piece, we are in Edwardian England and she is married, against her parents’ will, to a prototype film maker whom she supports in everything, even stripping for his “what the butler saw” movies. After losing her husband, she continues her career to support her children, having stoically traded her home life of Hampshire parties and Home Counties ease.

Hammond is served well by two three-dimensional, literate and dramatic scripts written by Thomas Everchild and she displays brilliant talent in interpreting them for us. It is spellbinding and entertaining, heart rending and humorous. An hour was all too short.

The Scotsman
Roderick Graham

Glimpse (Marlborough, Brighton)
An Honorary Man, Turning the Handle, Little Girls Like to Kiss, Backstage Whispers
Writer/Director: Thomas Everchild
Performer: Philippa Hammond

Glimpse Women Through the Ages

A hit from the Edinburgh Fringe festival was staged at the Marlborough Theatre last week, filling it with drama, suspense and genuine laughs. Glimpse is a collection of four one-act plays by Thomas Everchild, all performed by Philippa Hammond. Each monologue delves into a different character and spins a tale which reels the audience in as the dimensions unfold. Hammond expertly places her audience in the scene, deftly moving across centuries and cultures as she embodies the mind and motivations of four women.

First she is Hypatia, a fifth century scientist and philosopher who has been virtually erased from history. Her questioning curiosity and fascination with physics and philosophy leaves her unwilling to fall in line behind other women. But by opposing political dogma in her quest for knowledge, she poses a threat only to herself.

Transforming in character, Hammond next plays a very proper Edwardian lady, drawn into the seedier side of the emerging motion picture business. Hammond makes real the young girl dazzled by love and impelled by necessity. Her performance is subtle and evades sensation, while Everchild’s writing doesn’t blind us with its intentions.

While the settings may be historical, the themes translate easily into modern concerns. These women have stories which demonstrate a survival of spirit even when the odds are stacked against them.

The third play switches to a cinematic scene, set in Forties New York, behind the frosted glass window of a private eye’s office. Hammond senses her character in every movement, her gait falling into louche photographic poses …. What begins as comic book cliché becomes a plot of love, jealousy, paranoia and missing persons befitting a pulp detective paperback, with its deadly twist on the last page.

Finally, we are snapped back closer to home. Everchild’s understated writing becomes increasingly comic in a deadpan scene of amateur theatre, the confessions of a bit-part in a hopeless fringe production.

Glimpse is graspable, engrossing and very entertaining; channel-flicking glances at scenes you won’t want to switch over.

The Argus
Lyndsey Winship

Fanny Hill (Edinburgh Festival Fringe)
(from Memoirs Of A Woman Of Pleasure by John Cleland)
Producer: Philippa Hammond
Writer/Director: Thomas Everchild

Deliciously risqué play makes lust a big laugh

Fanny Hill first appeared with her Memoirs Of A Woman Of Pleasure in literary circles in 1749, and it’s astonishing to think that for more than 200 years, until 1970, this book remained firmly on the banned list.

In Afterthought’s production a company of nine players sets about re-enacting the diary of the naive young country virgin turned expert pleasurer of gentlemen. Thomas Everchild’s adaptation for the stage catches the essential lusty humour and irreverence of John Cleland’s original book, and gives the cast a firm grounding from which to work.

The regal strains of the harpsichord link each scene and are in direct contrast to the starkness of the set, which is completely black but for two tables and a stool. This lack of set dressing concentrated the attention fully on the characters, relieved the audience of unwanted distractions, and brought the intricacies of the 18th century costumes – designed by Isobel Drury – to the fore.

Actress Philippa Hammond is instantly likeable as the much-sought-after Fanny, and brings an unexpected grace and vulnerability to the character. Between them the remainder of the cast portray myriad characters, presenting the illusion of a much larger company. As the perils of Mistress Fanny unfold, they manage a whirlwind of costume and character changes with ease. Some nice comic touches keep the pace up tempo. One scene in particular, in which an unwanted suitor tries to prise Fanny’s legs apart, is priceless. While some scenes are deliberately overplayed, the direction is always tasteful, and you never quite see as much as you imagine you have. Nevertheless, the inclusion of any number of peccadilloes, and an orgy scene, make this very definitely adults-only.

The whole piece is firmly set in the bawdy school of low humour. Touches of Benny Hill and Carry On surface briefly, but mostly the intelligent script explores the base reality behind the veneer of genteel respectability in an enchanting and highly entertaining way. The sex scenes are handled with either the aforementioned comic touch or, more often than not, a sensuality and sensitivity that is surprising and most welcome. While in this day and age Fanny Hill might be considered tame, its capacity to outrage is still there, as demonstrated. last night by the audience reaction to the naughtier scenes, and outrage is an element that this production uses to its best advantage.

Afterthought Productions have a scorcher of a show on their hands with this one. It’s sure to be a hit with Fringe audiences. Get your ticket now, because Fanny Hill is going to sell out.

Edinburgh Evening News
(Liam Rudde)

Fanny Hill (Edinburgh Festival Fringe)
(from Memoirs Of A Woman Of Pleasure by John Cleland)
Producer: Philippa Hammond
Writer/Director: Thomas Everchild

This adaptation of John Cleland’s neglected Georgian masterwork is a hugely enjoyable bawdy romp through one woman’s life and sex life, which for the purposes of the tale appear to be virtually interchangeable.

The eponymous heroine, a naïve country virgin, finds herself all alone in the world with nothing but a bag of second-hand trinkets to her name, when a chance meeting with an old schoolfriend sets her on the path to the big city and a life as a streetwise whore. But Fanny is not wretched at the thought of having to turn tricks to make her way, and in fact fate continually smiles down on this “tart with a heart”: when one brothel door slams in her face another seems courteously to fly open.

The play is packed with erotic adventures of all shapes and sizes nailed by a versatile cast which delights in taking many parts, dropping many breeches and lifting many skirts. It’s deliciously naughty and well worth staying up for.

The Scotsman
(Jane-Ann Purdy)

Fanny Hill (Edinburgh Festival Fringe)
(from Memoirs Of A Woman Of Pleasure by John Cleland)
Producer: Philippa Hammond
Writer/Director: Thomas Everchild

For those of you unaware of the book, Fanny Hill is a scandalous piece of Georgian erotic fiction that falls into the British tradition of bawdiness somewhere between Henry Fielding’s Tom Jones and Joan Collins’ The Stud.

Like Tom Jones, it is an odyssey from innocence and into the high fashion, sophisticated tastes and debauchery of the London of Hogarth and Dr Johnson. The Madames, rakes, fops and sailors of this time are wonderfully evoked and the erotic adventures and encounters of our heroine vividly realised. That Philippa Hammond, in the role of Fanny, can narrate at the same time as simulating a good back-alley rogering is remarkable.

It would be wrong, though, to mistake Fanny Hill for being some sort of cheap thrill theatre. Philippa Hammond, who besides playing the lead is the driving force behind the production, realises the piece in some style. To adapt such a notorious work of fiction as this cannot have been an easy task. But it is one that the ensemble cast uniformly rise to. In this they are aided by an admirable collection of period costumes of West End standard.

This is a genuinely good production. It is adult and includes a good deal of nudity though nothing too explicit; it’s very rude, often funny, but without ever descending into bad taste. Fringe drama doesn’t come any more stimulating than this.

The List
Ross Holloway

The Engagement (Hove Grown Play Festival)
Writer: James Alexander Allen (from a story by Wayne Liversidge)
Director: Thomas Everchild
Produced by Steaming Ltd
Production Co-ordinator: Philippa Hammond
Music: Christina Thom (from her EP Trade)
Cast: Eden Avital Alexander, Owen Bleach, Faith Elizabeth

Produced in response to a rehearsed reading at Sussex Playwrights
by Amy Sutton, Joshua Crisp and Philip Hammond
and directed by Philippa Hammond

Based on a true story. The John of the play – Wayne Liversidge – has again sat in on James Allen’s realisation of it. He’s now introduced by co-producer Philippa Hammond; Thomas Everchild co-produces and directs a taut, absorbing narrative as well as providing lighting and sound. Christina Thom’s EP Trade evokes bar backdrops and haunts lost weekends.

It’s back. James Alexander Allen whose experience lies in screenwriting, has turned a true story by actor Wayne Liversidge into a haunting three-hander of delirious love turned dipsy nightmare and plunging somewhere darker than drink could imagine.

After a superb read-through in the NVT foyer with Amy Sutton, Joshua Crisp and Philip Hammond, Steaming Ltd Production are mounting this work at the Rialto. Allen’s rewritten portions of the play expanding one role and foregoing a separate narrative voice. It’s a distinct improvement on already harrowing material which played so well previously. It’s also relocated to Hove from Sheffield and one half-sister is in this story-line Spanish-reared.

The Rialto’s stage is small, but works perfectly for this three-hander; use of bright screens semaphores kitchen walls, restaurants and living space. Use of chairs and a behind-scenes implied kitchen solidly frame everything and the actors block well, making full use of the stage from lurch to violence with a bottle.

It’s also a true story and the John of the play – Wayne Liversidge – has again sat in on Allen’s realisation of his story. He’s now introduced by co-producer Philippa Hammond; Thomas Everchild co-produces and directs a taut, absorbing narratives well as providing lighting and sound. Christina Thom’s EP Trade evokes bar backdrops and haunts lost weekends.

Faith Elizabeth as Luanne joins Eden Avital Alexander’s dipsy Gerri and Owen Bleach’s John mulling on this dream of love, rather like A View from the Bottle.

The half-sisters meet just before Gerri’s next blind date is meant to show. An anxious Luanne enjoins Gerri to order orange (there might have been some on show) though all we see is a bottle and two glasses, pouring out what looks like Rosé (it’s meant to be red so this might be adjusted). Geri’s last eight dates have failed.

John’s dazzled by the disinhibited and slightly drunk Gerri who makes it known to bashful John after a few bonding moments of pure silliness (of the ‘I love a cheeseball’ kind) that she’s really attracted. At this point you register faint anxiety. It’s too perfect, the gorgeous uber-bright linguist Gerri gives everything. But it’s also the climax of John’s life.

And it’s also love, pure and complex on both sides.

John’s initially enthused by Gerri’s blokey drinking: ‘Now that’s impressive, that!’ as Gerri downs a red in one. He initially matches Gerri in wild drinking and after a wonderfully pointless paean to a dog and another wild meeting-up, they fall into each others’ arms. For Gerri, commitment and having John move in is a no-brainer. There’s a hurtling elliptical story about a dog jumping through a window, bursts of laughter and stagger. All along you’re made aware of the anomalous urgency (even further tightened up here, as they sleep together straight away), Gerri’s sudden switch of temper when her sister phones, or when John even hesitates about moving in (not for long), and the rapid rolling-back into regret and apology. Isn’t she drinking a tad too much? Imperceptibly John slowly ceases drinking himself. He also gives up going to any football matches with friends and on one Final, finds he can no longer afford his own modest lifestyle.

Re-enter Gerri’s sister Luanne. Hadn’t John noticed? Well he has now. All those sudden mood-switches on the slightest eddy of doubt, reversed by a swift nip from a bottle of Smirnoff, or more cunningly water bottles filled with vodka John is later found testing – by Gerri. Nevertheless Luanne’s clear that not only is John the best thing that’s happened to Gerri, Gerri really does return his love under the occasional haze.

Soon we spiral into Gerri realising John’s wised up, hiding her addiction down sofa backs and the rest of it. Detailing Gerri’s apparent resolutions, her breakings of these and a final desperate attempt to break free would act as a spoiler.

Avital Alexander and Bleach effortlessly enact realism, tenderness and a terrible recognition what it’s like to be in love and dependant at the same time. Bleach’s energetic John is no pushover, and he finally has to turn. There’s good scenes between him and Faith, and again between Faith and Avital Alexander. Latterly the emotional crunch pushes them both to an emotional truth and explosive outcome you’d not figure from the opening.

Co-dependency and a desperate need to keep his lover alive as well as his love, means Bleach’s John makes something of what might seem a white-written part. In fact there’s a dogged truth-seeking in John that Bleach plays up against Avital Alexander’s incandescent Gerri, a compellingly believable portrait of a young woman in alcoholic freefall. Bleach matches her in internalised then all-too-projected agonies.

The final scenes are quite devastating, starting with a physical assault. Faith does sterling work as sensible sister Luanne earlier but here in the last third she explodes at a higher pitch with anxiety, despair and grief. The mutual flame of partners Bleach and Avital Alexander burn everything else away and the final trio’s a shock no-one expects.

This is a true story, and heart-breaking enough. There’s a gritty cautionary note sounded too, but most of all this is about love against unimaginable odds.

Allen’s new version presented for Hove Grown is a fine script: idiomatic, even swifter, keenly observant in its naturalism. Which makes it all the more shocking. It proves one of the absolute highlights of 2018’s Hove Grown Play Festival.

Fringe Review
Simon Jenner

The Engagement (Hove Grown Play Festival)
Writer: James Alexander Allen (from a story by Wayne Liversidge)
Director: Thomas Everchild
Produced by Steaming Ltd
Music: Christina Thom (from her EP Trade)
Producer: Philippa Hammond
Cast: Eden Avital Alexander, Owen Bleach, Faith Elizabeth

Produced in response to a rehearsed reading at Sussex Playwrights
by Amy Sutton, Joshua Crisp and Philip Hammond
and directed by Philippa Hammond

The Engagement
Review by Roz Scott

The Engagement is a love story with a difference. It’s a new play written by James Alexander Allen inspired by a true story from Wayne Liversidge. Allen, an emerging screen writer and playwright, collaborated with Liversidge to tell his story. The play forms part of the Hove Grown Festival.

The play opens with Gerri waiting for a date and hastily tidying her sister away. As the sisters chat, Luanne brings an inexorable quality to the play, from the very first scene where Gerri is waiting for her eighth date. Will it be any different to the previous seven? Will the man even show up?

John does show up and a relationship develops very fast but cracks in Gerri’s seemingly normal life are brushed aside until her sister Luanne (Faith Elizabeth) explains to John what is going on. As with anyone embarking on a new relationship, they both want it to work.

In the first act, I feel there is an artificial quality to Gerri’s character and the emerging relationship in the script that undermines their later struggle. This may or may not be intentional. The plot is realistic, nothing is overstated, but I still find myself asking, why are John and Gerri attracted to each other? How do we know they really love each other and are not simply ‘playing at love?’

Eden Avital Alexander gives us an accomplished performance as Gerri and at the end her training in physical theatre comes to the forefront. Subject to terrible mood swings, we sense the chaos of her world and feel John’s (Owen Bleach) panic. John’s character develops well from a carefree young man, whose only preoccupation is to make it to the next football match, into a lover desperate to help Gerri who may be just beyond his reach. John’s world shrinks as he is absorbed into Gerri’s world for better or for worse.

Pace and plot of the play are good and with great poignancy, John, always at Gerri’s side keeps saying: “This is not the real you” as his lover spirals down, her personality distorted. It falls to Gerri’s sister Luanne to comment on history repeating itself. At the end Gerri tragically takes a different approach when tackling her inner demons to before with devastating consequences.

I recommend the Engagement as a debut play which has great potential and was very popular with the audience. As Allen’s first play for theatre, it certainly provides food for thought and could be developed into a longer piece allowing for more character development at the start.

Allen should be applauded for tackling issues often taboo in polite society. I’ll look out for his future work and must credit Wayne Liversidge with courage for telling his story. Often true stories are the most compelling. Don’t miss this show.

**** Four Stars

Roz Scott
An edited version of this review was published on Fringe Guru.