Review: Alive and Free Choir

Saint Mary’s Church was the perfect location for this evening of charismatic gospel music delivered in high octane style by the powerful young voices of the Youthful Praise Collective. Full of the joy of worship and a radiant devotional energy, this young choir could not fail to impress and inspire with their confident harmonies, tight precise vocals, and visible emotion.

There were quite a few technical issues across the evening which meant that they started half an hour late and began with a slight atmosphere of chaos. But out of that chaos came some of the most enjoyed moments of the night, including spontaneous versions of the gospel classics Amazing Grace and Oh Happy Day, plus the secular Lean On Me performed with an emphasis on audience participation. Once properly underway, the fast paced medley of gospel tunes had such momentum and drive that the audience were often propelled off their chairs and onto their feet to clap, sway, dance and sing along with enthusiasm.

I'm using the word audience but it is well worth pointing out that I had several conversations with other audience members during the interval who actually saw themselves as congregants at a service. I think it’s wonderful that the Watford Fringe Festival is able to not only provide space for a diverse range of shows which include those focused on faith and belief, but also to create the context in which everybody feels completely welcomed and included at a range of events that can be appreciated from different perspectives. As host of the Watford Humanists Art and Music Festival that took place earlier in July, I'm aware that many Christians and people from other faiths came along to support our creative endeavour. It was a genuine pleasure to reciprocate by supporting this celebration of Christian music and to feel so completely welcomed by Saint Mary’s Church, its congregation and the gospel group themselves.

From the perspective of an audience member at the Fringe, I might suggest a tighter one hour show would be more impactful, controlled and entertaining. But from the perspective of a congregant at worship, I know many said they could have enjoyed another hour of the powerhouse vocals singing out to the glory of god. Whichever perspective one takes, we were all united in recognising the phenomenal talent and commitment of this youthful choir, and very much hope to see them again at Watford Fringe next year.

Review: A Montage of Monet

A Montage of Monet is a soothing, sedate hour which offers a potted biography of the famous Impressionist. The narrative is a fairly straightforward linear account of his life and times littered with famous names and a gentle sense of the Parisian, French pastoral and indeed London life that influenced his work.

The show begins with Monet, played by award winning actor Stephen Smith, shuffling onto a stool as he takes a break from a painting session capturing the waterlilies at his famous studio in Giverny. What allows is a gentle monologue, casual and conversational in tone, in which he fills us in on the ups and downs of his life, through his two marriages, the death of his first wife, the erratic behaviour of his second, and the challenges of being a professional artist. The chronological account offers little foreshadowing so there’s not really any sense of suspense or tension, but instead you have a relaxing, laid-back atmosphere, at times hypnotic, with an erudite and detailed script from writer Joan Greening.

Smith invests the character with a great sense of personality. He's grouchy, crotchety, more than a tad arrogant and easily riled by domestic trifles. The main love in his life seems to be structure and routine, and indeed his second wife earns his admiration more for the brilliant way in which she manages his household than any notion of artistic inspiration or romance. Smith, despite being a young man himself, convincingly captures Monet in the winter of his life without over exaggerating his elderliness or vulnerability.

I was particularly impressed by the use of projection to provide a constant stream of images, not only portraits of the many artists mentioned but also glimpses of their masterpiece which gave a wonderful and immediate sense of the radical importance of their work and the astounding transformation they enacted on the world of visual art. Although not equally transformative, this is a gloriously intimate hour which gives an interesting and detailed insight into the life of man known as the Founder of Impressionism.

Preview: One Man Poe: The Business Man and The Case of M. Valdemar

Get the man a medal he’s done it again.

Stephen Smith, who I've often referred to as the hardest working actor at Watford Fringe, is this year presenting a preview of two new short stories in his growing collection of One Man Poe. I’ve previously reviewed the Tell Tale Heart, The Pit and the Pendulum, The Black Cat and The Raven here should you wish to read.

Over the past five years Smith has become a multi award-winning specialist in presenting the gothic grotesquery of Edgar Allen Poe on stage. There is to my knowledge no better way of experiencing the stories of Poe than through his unique, charismatic and thoughtful interpretations.

This year he adds two new short stories to the catalogue. The first, The Business Man, is an interesting exploration of the line between the pursuit of profit and the social contract, which viciously satirise the American Dream. Our antihero is a man called Peter Proffit (a pun which helps illuminate the theme) who recounts his lifetime of dubious enterprise. Instead of the usual gruesome horror this is scathing critique of consumerism and capitalist culture, this story's momentum is sustained by a sense of humour and the fact that each of his jobs seems considerably more questionable than the previous. It's only when we reach the final money making scheme that Poe's vicious horror returns sharply to the fore.

The second story, The Case of M Vlademar is an unsettling account of a mesmerist who wants to experiment with the impact of his craft on somebody close to death. We are back in traditional Poe territory, and this frightening story is accompanied by a much more frightening narrator. Smith douses his face with streaked white paint, gussets himself in a ring leader‘s red coat and covers his hands in revolting pair of sinister black gloves that shine like slime and make you shudder at each hand gesture.

As with the Peter Proffit, the Mesmerist talk directly to the audience as if at a press conference, which generates an immediate sense of rapport. But as the story plunges its sinister depths and we hear the sad account of this poor gentleman who is trapped in a zombified paralysis between life and death, the atmosphere chills. I was particularly impressed by the special lighting effects at the podium which transformed the mesmerist into the talking head of the unfortunate experimental patient.

One one of my delights in watching Smith perform Poe is watching him physically transform from one character to another on stage, altering his costume, facial features and gait all within sight of the audience. As this was a preview we didn’t get to witness that transformation but I understand it will take place in the Edinburgh shows which will follow, details here. Those audiences are in for a treat.

Now with six short stories under his belt, Smith demonstrates a convincing ownership of this material. Careful and distinct delineation of character, confident construction of different gothic worlds, and an astounding mastership of Poe's archaic language and wordsmithery ('supervene' made me shimmy with delight!) all combine to create a masterful theatrical experience. If you haven’t seen any of the other Poe's, my advice is don’t wait. See these new additions first and then make it your personal mission to catch the other four. A thrilling entertainment.

Review: Harling Fringe Festival 2026

This year saw the first ever Harling Fringe Festival take place from the 10th to the 12th of July. Although I’m Watford based it was a pleasure to jump on the Metropolitan line to Liverpool Street and switch to the train up to Diss to join the residents of Harling for their celebration of creativity and art. 

The reason I made the journey was primarily because I'd been invited to perform as the headline act. So although I didn’t get to enjoy the whole weekend, fortunately I arrived early enough to take in many of the Sunday performances. And what a delightful array of activities it was.

The first thing I attended was the Harling Horsepower Classic Car Show at the charming Peppers venue. It was a free event which pulled in a substantial crowd of people not only showing off their gorgeous motors but also having a leisurely wander around taking in the aesthetic beauty and engineering wonder of vintage cars from across the decades.

Next I hotfooted it to Saint Peter and Saint Paul's Church where there was an art exhibition featuring several local artists including internationally renowned Maz Jackson SGFA, who has spent a lifetime drawing and painting in rural Norfolk but whose work is now exhibited and purchased all over the world. The exhibition offered a wonderful collection of work, most of it available for purchase. Many of the artists had rural subjects as their key theme including some pen sketches of bird life, sculpture of rabbits and sheep, and oils and acrylics of natural landscapes. But there was also a lot of abstract and impressionistic work which added to the characterful and colourful variety.

Next up in my whirlwind tour of Harling was the comedy show Offgridleand at the Sports and Social Club. This was a really inventive claustrophobic piece that blended theatre and stand-up traditions with some innovative technology. Multi-award winning writer/performer Paul Richards starts the play by pressing play on his laptop which then sets an audio file going and the whole piece is performed in real time as he interacts with the various sounds and voices that emerge. It was interesting to see how he times his jerky actions and stuttering speech to fit in chronologically with the recording whilst making it feel completely spontaneous. After the show it was delightful to sit down with him and a band of locals to have a good old chat about theatre, art and culture in the way that really only fringes allow.

Next step was a show that is pulling out all the stops to prepare itself for a transfer to Edinburgh in August. Who Remembers the 90s is an ingenious blend of comedy sketches, parody songs and madcap physical humour providing a nostalgic trail through Tamagotchis, Mr Blobby, Friends, Power Rangers and even the rise of New Labour. Sonic the Hedgehog had a particularly memorable appearance and I had the dubious pleasure of holding up one of his golden rings! An incredibly enthusiastic and quite frankly bonkers performance from Adam Larter which I think the whole enjoy audience enjoyed immensely.

Finally it was my own turn to perform and I headed to the Nag's Head pub to share Tiger Jazz Sings, my joyful rendition of beloved and less well known songs from the Great American Songbook. The set was met with huge appreciation from the Harling audience and I was incredibly touched by the warm welcome and rapturous response they shared with me.

The whole event has arisen courtesy of the magnificent Festival Organiser Sharon Gaffney, who I know well from our work together at the Pumphouse Theatre in Watford. As a founding organiser of the Watford Fringe, now in its tenth incarnation, she has the perfect skill set and experience to make this new Harling Fringe a tremendous success. I wish her every success with this new creative impulse and hope to see it develop, blossom and flourish in the years to come. I certainly can’t wait to return in 2027.

Review: Echo House

Echo House is a really interesting concept. It tells the story of a mother who had a son at 15 who is subsequently adopted, and they are estranged from one another for 50 years. From that simple premise spin out a myriad of different trajectories and outcomes based on suggestions from the audience and inspired by a series of improvisational games.

The title Echo House perfectly evokes the sense that a house contains layered incarnations, almost ghosts, of its occupants, their lives and the different directions they could have developed. And as people return to the house, the memories of actions past echo back to them in truthful and in misremembered ways. It’s ultimately left up to the audience to decide which version of the story is most true or 'best'.

The kaleidoscope of versions of this troubled mother-son relationship is immediately intriguing as a dramatic structure. With each passing scene the you are asked to reconsider whether the son is welcoming or unwelcoming, and whether the mother is delighted or anxious at the prospect of meeting her son after half a century apart. You’re even asked to consider the drastic possibility that one or other of them may have died by (depending on your audience) suicide, fork in the toaster, car accident or Wallaby kick!

This experimental way of storytelling is in its early stages of development for The Two Jays, a writing and performing duo made up of John Harper and Julia Bolden. Harper is a towering presence whose charming smile counteracts his imposing frame. Bolden is much shorter, a contrast which they jovially play for laughs, and her laid-back demeanour brings a relaxed, chilled energy.

At present while the opening scene carries a lot of exciting dramatic potential, the following scenes lack momentum and drive. The improvisational games don’t make enough of the audience suggestions. As we enter the auditorium, the audience are asked to write down suggestions which are put into a small wooden box to be used later in the show. The box is used during two monologues, by mother and son, but the suggestions are effectively just read out as a list. They're not used to change or develop the story. Furthermore, the only person who knows their suggestion has been read out is the person who wrote it because there's no wider sharing of what those suggestions are before the monologues take place.

Similarly, when we were asked whether we want the son to be welcoming or unwelcoming to his mother when she arrives at his front door, the audience resoundingly voted for welcoming and the scene was played out. But then the unwelcoming scene was played out as well. The audience suggestion turned out not be a decisive moment in the evening's narrative, but just a decision over which narrative we'd see first.

To make this show more powerful, the audience suggestions need to be more meaningful and impactful. They need to change the shape and direction of the story as a whole. If you shout stop in a scene as instructed or present a high or low status card it really has to make a difference to the way that scene plays out. 

Overall an exciting concept in how to deliver a semi scripted, semi improvisational work, but it needs more trust in the audience suggestions to take flight.

Julia Bolden speaks eloquently about Echo House on a recent addition of my podcast What's On Watford which you can listen to here.

Review: Heart and Music

In Good Company have become an indispensable part of the Watford Fringe Festival annual lineup. But what exactly are they? As their illustrious leader, West End performer Ashleigh Fleming, pointed out in her closing remarks, they have too much choreography to be a choir, and too great a musical focus to be an amateur dramatics company. So what are they? A show choir? A musical theatre troop?

Whatever we decide to call them, what's certain is that they are a hugely talented, uber-enthusiastic group of dancing, quick-changing vocalists who know how to deliver a jam-packed celebration of musical theatre full of charisma, buoyancy and charm.

This is In Good Company's most ambitious show to date, not only in the diverse song selection but also in the challenging choreography, quick fire costume changes, rapid attack of repertoire and intense emotional layers presented with each number. They don't just sing the tunes, they invest each moment with character, mood and drama.

For a musical theatre fan like me it was a joy to hear a plethora of well-known songs brought alongside more obscure and newer melodies. The projections overhead clearly but unobtrusively pointed out which particular musicals the songs belonged to, which was a helpful and thoughtful addition. Standout favourites included the anthemic 'I Am What I Am' from La Cage Aux Folles, delivered by the five gentlemen singers with not only a sweet sense of comedy camp but also a genuine and sincere integrity. Similarly focused on the theme of equality, diversity and inclusion was the hilarious fairy tale fantasy 'Let Your Freak Flag Fly' from Shrek, presented with a dizzying array of uniquely costumed characters.

Throughout, there were beautiful duets and trios which gave the cast opportunities to show careful vocal blending and close harmonies. I was really moved by the trio of ladies who sang 'I Wish I May' from The Witches of Eastwick. They imbued each overlapping line with a wave-like sense of loss and nostalgia as well as a gentle optimism for the future.

The one drawback perhaps was the venue. Saint Mary’s Church provided a beautiful backdrop and the religious setting actually made many of the secular songs feel dangerous and risky again, as they would have been when first performed. However, it did sometimes mean that sound was compromised. While the brilliant Jon Ben on piano could be heard clearly all night, often the vocals when not amplified were lost. But that never meant we lost the track of the stories, characters or intentions. They were delivered with such confidence and scale that they came across to the very back row of the well attended space.

July promises a stupendous lineup of fringe performances for Watford. This was my first and I couldn’t have hoped for a more rousing start!

Review: Priscilla Queen of the Desert

If you’re looking for a brilliant night out in Watford this week you could not do better than booking tickets to go and see Cassio Productions version of Priscilla Queen of the Desert. It's a fast paced, energetic, laugh a minute show which also has tender, touching moments, razor sharp wit and a story about inclusion, acceptance and love that feels essential vieiwng in today's divisive climate.

If you haven't seen the film, the story is essentially a road trip in which we follow three drag queens across the Australian outback in a dodgy old bus named Priscilla. The journey is initiated by Mitzi, played with a cuddly, disarming sweetness by John Montgomery, who has been invited by his wife to come and perform in Alice Springs so he can finally meet his son.

The star performance comes from Joseph Lucas as Felicia, who is quite frankly just an astounding performer in every respect. A true triple threat, he was belting out disco classics, throwing out catty one liners and high kicking in heels all in the same breath and looking fabulous doing it! I have not seen choreography executed with such sharp and perfection precision on the Watford Palace Theatre stage in a long time. He's an absolute firebrand, a pleasure to watch, and I can’t wait to see him in more productions in the future.

Although Mitzi is the spine of the show, giving it the necessary narrative drive, the character in this production who pulls most forcefully on the heart strings is Bernadette, sensitively and convincingly portrayed by a regal Richard Sellek. The dignity and humanity with which he imbues the character is, as the Australians say, 'knock out'. This was a woman who knew all about the challenges and set backs of life, but was still filled with an iron optimism. Her banter with Felicia creates many of the evening's funniest moments, but her gentle observations about life and love produce many of the most philosophical and inspirational. A deftly handled balance.

There are also several cameo roles for the company to get their teeth into. The three divas (Sarah Clampton, Sam Keyte and Georgia Tomlinson) astound in a staggering array of costumes from glittering angels to green cakes, and tackle some difficult disco harmonies with confidence and aplomb. Charlotte Silvey opens the show with fizz and frenzy as drag queen Miss Understanding, building a camp rapport with the audience that sets the right tone for the night. And Judi Campion is comedy gold as the backwater bogan Shirley, dressed in ripped denim and scratching her armpits as she shows a radically different side to what femininity can be. And of course the scene which everybody waits for with bated breath is played by a dazzling Debbie Day, whose charm and restraint make what could be a challenging role for many reasons fit comfortably within the show. Again, if you haven't seen the film, be warned: you may never see table tennis the same way again.

With costume and staging of professional quality, this is a brilliant night of disco madness, infused with sequins, towering wigs, superb choreography and generous humour. Definitely one not to be missed!