WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
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Theatre: Gently Down the Stream, Park Theatre London
Martin Sherman's play is an affecting drama of an intergenerational gay relationship
Happy: Ben Allen (Rufus) and Jonathan Hyde (Beau)
[Marc Brenner]
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
PETER MASON is tickled by a new book and exhibition that mine the rotten anachronism of the monarchy for laughs
A Nazi zeppelin whodunnit, death amidst detoxification, a twistaholic’s delight, and noir fiction for criminals
STEVE JOHNSON salutes the mellifluous tones and clear-minded political message of a uniquely relevant Birmingham-born singer-songwriter
STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
THERE'S every reason to believe — if we turn a blind eye to Mr and Mrs Trump’s rather depressing union — that a significant difference in age between two people is no particular hindrance to an enduring and happy relationship.
It’s the thesis of Martin Sherman’s play, directed by Sean Mathias, about the tribulations of intergenerational love. In it Rufus (Ben Allen), a twenty-something young professional struggling with bipolar disorder, pleads with Beau (Jonathan Hyde), a sixty-something pianist from the Deep South in the US, not to forget about him after the hasty tryst they arranged online.
Indeed, he’d like them to spend more time together and perhaps even embark upon a relationship. But Beau has his doubts: “You wanted a daddy,” he protests to Rufus, “but soon you’ll have a grandaddy.”
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