Review: Everybody's Talking About Jamie (Teen Edition)

Presented here by the Watford Palace Theatre Young Company, 'Everybody’s Talking About Jamie' is a smash hit West End musical, later turned into a popular film, inspired by the true life story of schoolboy Jamie who, although already out, comes out a second time by revealing to his astonished peers his dream of being a drag queen. Encouraged by his mother, her best friend Ray and his best friend Pritti, he finds the strength to become his authentic self despite the challenges and put downs of a world which would rather see him quietly conform.

Eva Stone as Miss Hedge cuts an intimidating figure in her high heeled Jimmy Choos and perfectly captures the world weariness of a member of staff who wants the best for her students but has been exhausted by too many years of frustratingly wasted potential. The students all feel individually characterised, creating a wonderfully dizzying sense of chaos and activity in the school scenes. Ria Linares as Pritti and Finlay Murphy as Dean Paxton are especially strong at turning what could have been stereotypical characters (the bookish best friend and the school bully) into fully rounded personalities with convincing final transformations.

A star is born in Kishori Tripathi who plays Ray with vivacious energy and sharp comic timing. Her confidence lights up the stage and brings an infectiously bubbly sense of warmth and fun.

Rowan Elliott is a deadpan delight as Hugo/Loco Chanelle with his bombastically resonant deep baritone voice and nonchalant delivery. Supported by his trio of backstage drag queens (Laika Virgin played by Rhys Waldrom, Tray Sophisticay by Adam Miles and Sandra Bullock by Henry Futterman), the world of his shop Victor's Secrets and drag club Legs Eleven are brought vividly to life. The glitzy costume design from Laura Hack creates a delightful contrast to the world of school uniforms Jamie hopes to escape from.

The heart of the show, and with the knockout emotional ballad, is Margaret New, Jamie's mum played by Eila Curbishley. Her touchingly stoic manner and sensitive singing voice, when set against the wild colour and frenzy of the drag world, create several movingly tender moments and remind us that although finding the confidence to be individually authentic is one of the show's key themes, so too is the importance of offering love and support to others.

And of course Jamie himself, played brilliantly by Max Coventry, is a dazzling lead. He owns the stage, projecting Jamie's vulnerability and well as his ambition, his shyness as much as his desire to perform. Coventry guides the audience through Jamie’s emotional journey with a mature confidence and clarity whilst also being lighthearted and playful enough to draw every ounce of comedy from the role.

The entire cast are clearly having such a wonderful time performing this play that they drag the audience (pun intended) into their delightful world of dance and drama with vicious glee. This is the last show of this year's Watford Fringe, and under the direction of James Williams this energetic, enthusiastic production turns what could have been a sad farewell to a month of amazing arts, creativity and culture across our town into a joyfully exuberant celebration of love, life, authenticity and belonging. One could not have hoped for a more fitting close to Watford Fringe 2026. Congratulations to the immensely talented young cast of this hugely enjoyable show.

Review: Orwell: The Road to 1984

 

ORWELL: The Road to 1984 is an insightfully adapted and cleverly structured biographical play about the life of the great writer. Using extracts from his essays, books and other writings, the script weaves a compelling and revealing monologue which deftly whisks us through his years at boarding school, work as a police officer in Burma, attempts at deliberate incarceration and experiences on the front line of the Spanish Civil War.

The script is constructed by adapter and director Guy Smith, who pleasingly prioritises formative emotional moments over encyclopaedic detail. He deftly plucks the most revealing anecdotes and positions them in an order which creates a sense of logic to the themes we find in Orwell's writing, from free speech and abuse of power to surveillance culture and dystopia. The story which stood out most powerfully for me was Orwell's encounter with a man-killing elephant, where an expectant crowd watches him march toward the beast with a rifle in his hands. He finds himself torn between his desire not to be seen as a fool, and his desire to treat the elephant and its life with the dignity it deserves. A perfect image of surveillance impacting behaviour and moral choice. His ego wins, and the despair he feels in his decision is visceral.

Orwell is superbly acted by Mark Stratford who is something of a master of the one man play having presented 'Jekyll and Hyde' and 'McReady! Dickens' Theatrical Friend' on tour across the UK since 2022. He has a measured confidence on stage which means, despite the incredibly wordy script ('supervene' pops up once again!) you never feel lost in the narrative or the emotional journey. His facial expressions and bodily gestures are so clear in conveying Orwell's state of mind that you almost feel you're given a window into the heart of the man himself.

As with all biographies, life is ultimately a series of unplanned events and so there is an episodic feel to the plot which is exacerbated by the interval. I would have much preferred to see this play presented as a through show to allow the narrative momentum to build uninterrupted.

You also have to wait quite a while for the star texts 'Animal Farm' and '1984' to make their appearance, but once again that's the truth of Orwell's life, and when they do appear it is certainly worth the wait. The overall theatrical structure is expertly handled so you feel a sense of tragic circularity as the dying Orwell we first meet is revived to his youthful self and slowly wends his inevitable way to his sad and all too young demise.

This is a captivating evening of theatre which gives glittering insight into the life of Eric Arthur Blair, the man behind the famous pseudonym and undoubtedly one of the most influential writers of the twentieth century.

Review: Southern Beauty

Having seen Southern Beauty perform last year at the Pumphouse Theatre as part of Watford Fringe, my expectations were high for another dazzling night of music entertainment. I certainly wasn’t disappoint. The Southern Beauty mission is to re-interpret the classic pop tunes of The Beautiful South as sultry, swinging jazz.

Founded by Alison Wheeler, who was the third female vocalist for the multi-million album selling band The Beautiful South, the band is made up of pianist Phil Southgate, ukulele player and singer Phillipa Leigh, dummer James Harrison and bassist Matt Gornicki. Wheeler builds a wonderful rapport with the audience. She’s witty and relaxed she self deprecating and confident, you feel completely at ease in her company and welcomed into her performance space. Together they create a laid back, seductive sound which is at once sultry and playful. The music seems to coalesce out of the atmosphere, and melt away like waves on a shore as the classic 90s pop rock hits such as Rotterdam, Perfect 10 and Don’t Marry Her are reshaped in a laid back, intimate style.

My favourite moments were actually when they delivered The Great American Songbook standards such as It Had To Be You, Don’t Get Around Much Anymore and Old Devil Called Love with both reverence and aplomb. I particularly enjoyed the clever melodic connection made between Don’t Marry Her and Somewhere Over the Rainbow which tied the two worlds together with innocence and charm, the swear word in the lyrical being judiciously replaced with something more genteel.

Overall, the set was pretty much as I remembered it from last year, but that didn’t dampen the audience's enthusiasm one iota. It’s clear that Watford has taken this band to its collective heart, and Alison Wheeler herself noted that this was not just the largest audience they’ve had at the fringe (this is their third appearance at Watford fringe) but also the largest audience they've had ever. I have no doubt that they will be back again next year and very much hope the Watford Palace Theatre main auditorium will accommodate their return. It's the perfect space for their inventive, relaxing, soothing popular style and with a shake up in their set list this should become a much loved and highly anticipated annual part of the Watford Fringe line up. They've certainly built up a beautiful following.

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.