Posts tagged ‘the times’

11 April, 2010

Porn – the Musical

Theatre 503, 10 April – 1 May 2010

Reviewed for the British Theatre Guide

It’s fair to assume that few people watch porn for the plot, and it’s best to take the same approach to Porn – the Musical. Erase the phrase “But what about…” from your vocabulary and you’ll find a pretty entertaining hour of musical theatre scattered through the two-hour running time.

The book acknowledges and embraces the leaps of logic and sketchy characterisation typically associated with porn and bad musicals alike. The whole production is suffused with a sense of fun, distilled in a couple of life-affirmingly glorious puns and some knowingly silly choreography (covering naïve Stefan’s (Brendan Cull) modesty with convenient towels and beach balls in ‘Naked on a Sunday’); and the whole cast commit to their roles with devil-may-care abandon.

The lyrics are often stretched a bit to fit the meter or rhyme, and there are too few energetic numbers in the second act, but there are one or two gems – chiefly those featuring hung-but-dumb porn stud Dr Johnny Long, PHD (Alain Terzoli). Johnny’s poppy introductory number is the highlight of the first act, and his entrance peps up an otherwise forgettable first act closer.

Unfortunately the fun stuff is heavily watered down with awkward metatheatrical asides.

First there’s a totally extraneous narrator (Malcolm Galea, one of the writers) who turns up with irksome regularity to recap things we saw two minutes ago, and to summarise thoughts and feelings we really should be discovering through the performances.

Then, throughout, the cast drop out of character to explain scenic devices to one another, a tendency embodied by the Miscellaneous Man (Ahmet Ahmet). He plays all the minor roles, and the other performers keep confusing whom he’s playing when, a joke that relies on jolting the audience out of their engrossment in the show. He even gets a number about how the rest of the company don’t appreciate him.

That’s not even the only purposeless number; the second act starts with the cast berating latecomers through song, and the show ends with a full-cast ballad devoted solely to informing the audience that the show’s over and they can go home.

The problem in a nutshell seems to be that the writers wanted to write about musical theatre – to poke gentle, self-effacing fun at its archetypes, tropes and clichés – but somehow accidentally wrote a musical about porn instead.

Written by Boris Cezek, Malcom Galea, Abigail Guan and Kris Spiteri

Crew includes Paul Robinson (director), Ally Holmes (choreographer/assistant director) and Rachael Canning (designer)

Cast includes Ahmet Ahmet (Miscellaneous Man), David Burt (Marvin), Brendan Cull (Stefan), Malcolm Galea (Narrator), Jody Peach (Jade), Alain Terzoli (Dr Johnny) and Sophia Thierens (Sanddy)

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24 March, 2010

4.48 Psychosis

Magdalena Cielecka in 4.48 Psychosis

Magdalena Cielecka in 4.48 Psychosis. Image by Stefan Okołowicz

Barbican, 23 – 27 March 2010

Reviewed for the British Theatre Guide and cross-posted to The Collective Review

4.48 Psychosis is a gift for a director. Kane’s text – her last – is more prose poem than script, lacking stage directions or delineated characters: a nearly blank slate onto which a director can impose context, character and narrative. To Grzegorz Jarzyna, of Polish company TR Warszawa, that creative freedom is a double-edged sword: by over-exercising it in certain areas, he almost crowds out the strongest elements of his interpretation.

Every scene of this Polish language production has its conceit. In one, pills rain from a table onto the floor. In another, lead performer Magdalena Cielecka is silently mirrored by a small girl. Later, a naked old woman circumnavigates the stage while Cielecka speaks. These images are more of a visual accompaniment to the dialogue than an interpretation of it, and actually serve to distract from the production’s main strengths.

One of these is the oppressive atmosphere, sustained largely by the monotonous bass drones and seasick pitchshifted showtunes of Piotr Dominski’s soundscape. Combine that with lighting designer Felice Ross’s palette of confining spots and sickly washes and even the 1,166-seater Barbican Theatre starts to feel claustrophobic.

But the production’s stand-out, defining feature is Magdalena Cielecka’s performance. Her every twitch, tic and gesture is more fascinating and meaningful than the production’s whole complement of devices and visual metaphors.

As she details her planned method of suicide, she clutches her belly, or wrings her hands together masturbatorily through her trouser pockets. Eloquently but venomously she rails against the doctors that rattle off easy chemical fixes for her every symptom, and against the people and circumstances she blames for them.

It’s clear without any supplementary imagery that this person is grieving rather than self-pitying, that she’s damaged as much by unfeeling diagnoses and labels as by whatever’s happening inside her, and that, far from taking the easy way out, she’s desperate to free herself by any means, however extreme.

It takes until the play’s final passage for Jarzyna to whisk away all the window dressing. Here Cielecka’s face, softly illuminated by a narrow spot, is all that’s visible on an otherwise darkened stage; Jarzyna decodes Kane’s final lines solely through the medium of his star’s delivery and countenance. It’s revealing that this understated moment, rather than, say, Cielecka’s earlier crazed, blood-drenched assault on the cyc, is the production’s most enthralling.

Written by Sarah Kane

Crew includes Grzegorz Jarzyna (director), Małgorzata Szczęśniak (set design), Piotr Domiński (music and sound design) and Felice Ross (lighting design)

Cast includes Mariusz Benoit, Janusz Chabior, Magdalena Cielecka, Katarzyna Herman and Rafał Maćkowiak

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29 January, 2010

Excuse me, you’re standing in my dead men’s shoes

Written for The Collective Review, 28 January 2010

Theatre reviewing is a dead men’s shoes business.  One someone lands a chief critic position at a national newspaper, they’ll traditionally hold onto that position until they’re buried or senile.  So for all the deputies and second-stream critics, and for all us up-and-comers watching hawk-like for new deputy or second-stream opportunities, the voluntary retirement of two chief critics within a year of one another should have been a cause for (slightly guilty) celebration.

In March of 2009, Nicholas de Jongh of the Evening Standard quit so he could concentrate on writing plays of his own.  And this week, the mighty Benedict Nightingale, chief critic of The Times for two entire decades, announced he was stepping down too.

What many of us assumed would happen next – what we’d been counting on happening next – was that everyone would effectively shuffle up one level.  Dominic Maxwell would take Nightingale’s position as chief critic, one of The Times’s favourite freelancers would probably get Maxwell’s job, and a space would open up on the paper’s freelancers list.  In short, there would be opportunities.

Instead, both de Jongh and Nightingale were replaced in pretty short order by, respectively, writer Henry Hitchings and journalist Libby Purves, both figures from outside the theatre journalism bubble.  Bold and unexpected moves by the Standard and the Thunderer – but while Hitchings is doing an excellent job, and it’s difficult to imagine Purves putting a foot wrong, what does this mean for the rest of us?

It means we all stay on the rungs we’re on, of course, but more importantly it means we’re less likely than ever to move up even by one.  There are fewer paid critics’ positions than there’ve ever been, they’re only vacated once in a blue moon, and the message we’re now gettingis that even when one does open up we have zero chance of getting it, no matter how much commitment and drive we show, no matter how much talent we display and develop, no matter how many years we spend working for free to build our portfolios.

Well, fine.  Forget the nationals.  Forget the dream of being paid to do what you love.  Instead, get a day job and embrace the internet.  Make a hobby of it, not a career.  Critics were once commonly viewed as dilettantes and dabblers – and if we aren’t allowed to climb higher, moving backwards towards that romantic image may be our only sensible option.

22 January, 2010

Decade

Theatre 503, 19 – 23 January 2010

Reviewed for The Collective Review

What do you remember about the Noughties? (Yes, it turns out that is what we’re calling them.) Theatre503 asked that question to ten playwrights – five established, five as-yet unproduced – and the result is Decade, a collection of ten ten-minute plays, each one representing a single year. So what do the Decade writers remember about the Noughties?

First and foremost, they remember global catastrophes. Summing up a whole year in ten minutes of drama is a tall order, of course, so most of the ten focus on one or two iconic events – and it seems most of the iconic events of the Noughties were disasters. The Millennium Bug (okay – only a potential disaster), 9/11, the war in Iraq, the Christmas tsunami of 2004, Guantanamo Bay and the election of BNP MEPs all feature.

This could be because, as we’re often told, Conflict Is The Essence Of Drama. Alternatively, this could be how we’re fated to remember the last decade: as one disaster after another.

It was also a decade dominated by the USA, and American accents permeate Decade. Behind his vacant stare, President George Dubya Bush is dancing inside, in Beth Steel’s surreal 2001. Nimer Rashed personifies the post-9/11 USA as a seductive, manipulative but brutally wronged neighbour. In Richard Marsh’s 2007, two Guantanamo guards find themselves in thrall to an inmate’s superior knowledge of the final Harry Potter book.

Surprisingly, despite suspicion of Muslims and Middle Eastern peoples dictating many powerful countries’ foreign policy, and despite the landmark election of the USA’s first black President, race is hardly touched upon. Marsh’s inmate Khaliq (Sartaj Garewal) comments briefly on the consequences of assuming certain people are all the same, but it’s left to Rex Obano to tackle race single-handedly in 2009 – a task he accomplishes defiantly, though not without the odd flop in onstage energy.

The quality of the writing is consistently high enough that, without the programme, it’s difficult to distinguish the seasoned pros from the unknowns. Newcomer Nimer Rashed struggles to find an original angle on 9/11, but still outdoes Market Boy writer David Eldridge’s limp offering (though Eldridge’s scene isn’t helped by weak, overly static direction from Gene David Kirk). Amy Rosenthal and April de Angelis both deliver strong, pacey, dialogue-driven contributions, but so too does the unproduced Richard Marsh. Beth Steel delivers more meaning via her surrealism than Phil Porter’s weird, overwrought piece.

The finished product – cemented together with period pop music and news headlines – is a dreamlike reassemblage of half-faded memories. Not a complete picture of the decade by any means, but a more potent epitaph by far than the kind of bland, Jimmy-Carr-hosted nostalgia thrown together for TV.

Written by April de Angelis, David Eldridge, Fraser Grace, Richard Marsh, Rex Obano, Phil Porter, Lou Ramsden, Nimer Rashed, Amy Rosenthal and Beth Steel

Crew includes Jessica Beck, Anthony Biggs, Gemma Farlie, Antonio Ferrara, Steve Harper, Gene David Kirk, Tim Roseman and Charlotte Westenra (directors)

Cast includes Victoria Bavister, Phil Brodie, Jamie de Courcey, Sartaj Garewal, Vincent Jerome, Jamal Noland and Henry Steele

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14 December, 2009

The Stefan Golaszewski Plays

Bush Theatre, 2 December 2009 – 9 January 2010

Reviewed for the London Theatre Blog and cross-posted to The Collective Review

Two one-act plays back to back don’t usually make a successful two-act play. Right? Which suggests it’s probably no coincidence that Stefan Golaszewski Speaks About A Girl He Once Loved and Stefan Golaszewski Is A Widower work so well as a double bill; it seems likely they were always meant to be performed together.

It was clear from the plays’ debuts, a year apart at the Edinburgh Festival Fringe, that they were stylistically and thematically of a piece. Each is a monologue in which Golaszewski relates romantic episodes from ‘his’ life, or a fictionalised version of it (in Widower he imagines himself in the year 2056, following marriage and a moderately successful TV career), aided by some simple props and a gift for writing fresh, cliché-free imagery.

What wasn’t immediately obvious back then was how neatly the two would bolt together for their London transfer. At around an hour each they were bite-sized enough for the choice-rich, time-poor Festival theatregoer, but the double bill is substantial enough to be worth a London audience’s while. More importantly, the emotional and thematic trajectories of Golaszewski as a character and a playwright are revealed and reinforced by the juxtaposition; images, foibles and techniques introduced in About A Girl pay off with interest when revisited in Widower.

Little gimmicks used in About A Girl simply to create sight gags give rise instead to pathos when they recur in the altered context of Widower. Golaszewski’s tendency to idolise women is the quirky fulcrum of About A Girl, but Widower acknowledges the disadvantages of such an attitude when applied to a more adult kind of relationship; the wide-eyed, innocent awe of female beauty that characterises About A Girl is only briefly retrodden in Widower before tragedy abruptly erases it in favour of a whole new range of grown-up emotions like bitterness, desperation and regret.

Individually the plays are snapshots of a man at two different stages of emotional maturity. Combined, they sketch a more complete portrait of a man learning the hard way that the reality of long-term commitment can never be as idealistically romantic as rose-tinted recollections of unrealised adolescent love. Underscoring it all are the insecurities of a young playwright coming uneasily to terms with his own premonitions of future emotional disillusionment and bodily deterioration. The whole is unquestionably greater than the sum of its parts – and given all the stars, awards and praise each play received individually, marrying them is sure to result in a critical mass of acclaim.

Written by Stefan Golaszewski

Crew includes Phillip Breen (director/designer)

Cast includes Stefan Golaszewski

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4 December, 2009

Jiggery Pokery: A Homage to Charles Hawtrey

Amanda Lawrence in Jiggery Pokery

Amanda Lawrence in Jiggery Pokery. Image by Sadie Lee

Battersea Arts Centre, 1 – 19 December 2009

Reviewed for the British Theatre Guide

My opinion might not count for much in this situation, since my knowledge of Charles Hawtrey is limited to an afternoon spent watching videos of him on YouTube, but I think it’s safe to say that in this one-woman show, Amanda Lawrence’s revivification of the troubled Carry On actor, is spot on (though her Sidney James could use work).

There’s already a remarkable physical resemblance on which to found this living portrait. With her hair untidily pinned back and the addition of a severe pair of wire-rimmed glasses, the likeness is complete. Add to that the morosely downturned edges of the mouth, the gawky physicality, the distinctively pneumatic method of smoking a cigarette, and a captivating and lifelike presence is born.

Not that Lawrence is limited to playing Hawtrey (though this imitation is, as it should be, the show’s crowning glory). The programme lists a cast of nearly sixty, every one played by Lawrence in under 90 minutes; on one occasion she plays all three participants in a rapid-fire conversation, frantically tying, untying and re-tying the bandanna that denotes the headmistress of Hawtrey’s schooldays.

A single prop or costume item, a voice and a subtle alteration to Lawrence’s physicality are all that’s required to demarcate the majority of the roles. The speed of her transitions from role to role are one major source of the show’s humour, the other being material from Hawtrey’s many cinematic outings, including his early Will Hay pictures and several of the Carry On films.

In fact, the borrowed Carry On dialogue serves its best dramatic purpose when inserted incongruously into particularly unamusing episodes from Hawtrey’s private life, including the descent of his mother into dementia and his own unglamorous death. Re-enacting bawdy lines from Carry On Doctor as he writhes in agony in a hospital bed reflects both his love-hate relationship with the films that made him famous and the tragicomic duality of his life as a whole: a much-loved comic gem in public, but a bitter, unpopular drunk in private.

Jiggery Pokery is a success on both a theatrical and an emotional level. It’s a reminder of just how much can be achieved onstage through the craft of a single talented performer, but also an homage to a complicated individual that manages to be neither sentimental nor judgmental.

Written by Paul Hunter and Amanda Lawrence

Crew includes Paul Hunter (director), Billy Hiscoke (stage manager), Cathy Wren (designer) and Jules Maxwell (composer)

Cast includes Amanda Lawrence (Charles Hawtrey, amongst others)

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17 November, 2009

Public Property

Trafalgar Studios, 16 November – 5 December 2009

Reviewed for the British Theatre Guide

At first glance, Public Property is a boilerplate Trafalgar Studio 2 production. Recognisable faces: check (Robert Daws, Nigel Harman and even Stephen Fry, phoning it in via vid-cameo). Humour that doesn’t tax the brain: check (sight gags and comic situational escalation best enjoyed after a glass of wine in the bar). Skilled but slightly overly wordy scriptwriting: check (courtesy of Sam Peter Jackson).

On closer inspection, however, this is something of a rare find: a play about three gay men in which the characters’ sexuality is almost incidental, an extra thematic layer rather than the piece’s raison d’être.

Daws is celebrated newsreader Geoffrey Hammond, who throws himself on the mercy of his ruthless publicist, Larry De Vries (Harman) after being caught by paparrazzi in flagrante delicto with 16-year-old Jamie (Steven Webb). Geoff does protest once or twice that the press wouldn’t be interested if Jamie had been a girl, but the play is more concerned with celebrity, PR and fickle public goodwill than “LGBTQ issues”. Geoff knows, despite his protestations of innocence, that this incident matters more to his reputation than any number of broadcasting gongs, and even Larry is branded repeatedly by his lowest point: the media only remembers him for being booted off the judging panel of a failed reality show.

It’s often difficult to feel any sympathy towards Geoff, who really has only his own indiscretion to blame for his downfall, but Daws does an excellent job of showing the desperation behind the bluster, and his raw vulnerability when talking to or about his offstage lover Paul provides the production’s tenderest moments. Harman is believable whether smooth-talking and in control or plain incredulous at his client’s behaviour, though he flips a little too easily between the two modes, and reacts so little to mentions of Larry’s debts and vices that they seem more a throwaway subplot than an integral part of the character’s backstory.

Jackson’s script, too, is generally sound, though a bit baggy towards the end of Act One, and overly reliant on the repeat-repeat louder-shout-shout-pause formula for writing arguments. Like most Studio 2 shows, Public Property has its flaws, but is still a satisfying enough night out; and it boasts the additional merit of sidestepping the damaging and judgmental “gay play” label which, given its premise, it could easily have been slapped with.

Written by Sam Peter Jackson

Crew includes Hanna Berrigan (director) and Helen Goddard (designer)

Cast includes Robert Daws (Geoffrey Hammond), Nigel Harman (Larry De Vries) and Steven Webb (Jamie Sullivan)

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9 November, 2009

The Joy of Politics

Warehouse Theatre, Croydon, 6 – 22 November 2009

Reviewed for the British Theatre Guide

Gordon Brown’s Prime Ministerial career is dead in the water. You can tell because a) political satirists like Andrew Jones and Ciaran Murtagh, collectively known as The Black Sheep, think gags about Mr Brown’s slim chances of re-election guarantee laughs, and because b) they’re right.

The Prime Minister isn’t the only easy target to come under fire in The Black Sheep’s satirical sketch show The Joy of Politics. Charles Kennedy’s alcoholism and MPs’ expenses, for example, are savaged in predictable but thankfully brisk and admittedly crowd-pleasing fashion. As satirists Jones and Murtagh can’t afford not to mention the expenses scandal, but their material isn’t sufficiently different from other, higher profile acts’ to stand out.

It’s when disassembling and inspecting the day-to-day workings of Westminster, by imagining William Wilberforce’s early years as an ill-informed junior minister (Murtagh), that the pair come into their own. Explanations of the parliamentary whipping system (with riding crops) and how to deal with a direct question from Jeremy Paxman on Newsnight (a lengthy sketch full of increasingly evasive answers to the simple question, “Would you like a Kit Kat Chunky?”) are amongst the strongest items in the two-hour show.

One or two early sketches are allowed to continue one or two lines beyond the natural punchline and fizzle as a result; and the musical numbers that pepper the schedule vary wildly in quality. Hits include Churchill (Jones) in spangly gold parachute pants advising Herr Hitler “You can’t touch this”, but the dampest squib of the evening is Murtagh singing Abba’s “I Have a Dream” – supposedly in character as Martin Luther King Jr but looking more like a Sinatra impersonator in a pinstriped suit and trilby. The tenuous connection that both Dr King and Abba used the line “I Have a Dream” isn’t nearly enough to sustain laughter while Murtagh warbles out practically the entire song.

But a couple of flat minutes aren’t enough to derail a show that deftly balances satire and highbrow wit with pure silliness and knob gags (referred to as such by the self-aware duo). Not to mention the fact that Andrew Jones’ Nick Griffin impersonation alone is worth the entry price.

Written by Andrew Jones, Cal McCrystal and Ciaran Murtagh

Crew includes Cal McCrystal (director) and Sakina Karimjee (set designer)

Cast includes Andrew Jones and Ciaran Murtagh

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2 October, 2009

The Author

Royal Court Theatre, 23 Sept – 24 October 2009

Reviewed for the London Theatre Blog

Tim Crouch ’s The Author is a bitter little pill, too heavily sugared and something of a kill or cure.

Up until the final 15 minutes it’s a curiosity, an experiment for experimentation’s sake. We, the audience, are both stage and set dressing. Adrian, the archetypal gushing theatre enthusiast, speaks up from among our ranks, encouraging conversation, an exchange of views. Other performers, including Crouch himself, playing himself, reveal themselves in our midst one by one. Between them they recount a story surrounding a fictional production staged by Crouch.

Except they aren’t just relating their experiences of this notional production: an in-yer-face affair crammed with violence and abuse that has caused audience members both to walk and to pass out. They’re apologising for their part in it. Apologising to us, the audience, because theatre makers are beholden to their audiences. They need us, the consumers of their art, to understand their intentions and to forgive them.

And until those final 15 minutes that’s all The Author is: an acknowledgement of the absolute power the audience wields, seasoned with interrogations of the audience’s ingrained reluctance to exercise that power, to intervene in events onstage, however reprehensible they find them. It’s all necessary to prime us for what comes next, but it takes its sweet time doing so, and in the meantime it all feels a bit insular, a bit inconsequential, even a bit masturbatory: the mores of the theatre being discussed, by theatre makers, through the medium of theatre, using a fictional piece of theatre as an allegory, to theatregoers.

Then comes the turnaround, and in those final 15 minutes The Author is revealed for what it has really been all along: a daring act of self-flagellation by Crouch on behalf of provocative art and controversial artists. Personally present, without the ablative armour of a fictional character, and having questioned for over an hour why audiences choose not to act against onstage villainy, the playwright reveals himself as the worst kind of villain, or at least the most easily demonised. There’s nothing insular or inconsequential about his closing monologue, delivered to a pitch-dark auditorium – and yes, people sitting close to him do plead with him to stop, though not forcefully enough for him actually to do so.

The medicinal value of this bitter little pill remains to be seen. If next month The Stage reports mass walk-outs and stage invasions at Sarah Kane revivals, we’ll know it had some effect; but I suspect the thick sugary coating may well interfere with the active ingredients, and a few patients will undoubtedly refuse to swallow the pill at all.

Written by Tim Crouch

Crew includes Karl James and a smith (directors), Matt Drury (lighting designer) and Ben & Max Ringham (music & sound designers)

Cast includes Tim Crouch, Adrian Howells, Vic Llewellyn and Esther Smith (themselves)

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2 October, 2009

Money

New SHUNT Space, 30 September – 22 December 2009

Reviewed for the London Theatre Blog

The machine fills the New SHUNT Space from floor to ceiling. It clanks, rumbles, whooshes steam and gushes water. The specifics of how it works and what it does are stubbornly obscure from within as well as without. In that regard, it’s a bit like investment banking.

Bear with the comparison. Provided you’re willing to risk a few unaided leaps of logic, it does eventually make a surprising amount of sense. (In that regard, it’s a bit like the production staged inside the machine: Money, a SHUNT event inspired by Émile Zola’s novel L’Argent.)

The machine is the undisputed star of the production, which, after a few deliberately confusing false-starts, eventually reveals itself as a parable about the dangers of stock market speculation. As a performance space, the machine is constantly, wondrously surprising; just when it seems it has nothing left up its sleeve, whole new rooms emerge from under ingenious camouflage.

Its steampunk pistons and flywheels also drive the plot, such as it is; we, the audience, are speculators suckered by the smug Saccard into investing in the machine, despite neither him nor us knowing what it does. SHUNT’s playful sense of humour goes to work here, as we’re shown a gallery of ‘artist’s impressions of the future’ – Photoshopped images of the machine in the desert, coasting along railway tracks or perched halfway up a mountain.

The production itself is a series of disjointed scenes and encounters, ranging from the Kafka-esque (as Saccard pitches his ‘vision’ to eccentric business moguls who entertain guests only in the sauna, or travel only by footcycle) to the Python-esque (as Saccard turns a board meeting into a blackly comic game of condolence one-upmanship) to the weirdly voyeuristic (as we sip champagne and observe events occurring two storeys below, through two layers of plate glass).

Each individual scene is entertaining, often humorous, but it’s difficult to identify the purpose of the whole by examining the parts, and a certain amount of imagination is required to fill in the blanks. In that regard, it’s a bit like the machine itself; and the machine itself, as I’ve mentioned, is a bit like investment banking. It’s inhabited both by presentable official staff and by unacknowledged, sinister unknowns. It has levels and mechanisms that aren’t revealed until the very end. And as it barrels towards disaster, the obvious exits are sealed off, forcing those foresighted few to abandon ship by less conventional means.

Written by SHUNT Collective after Émile Zola

Crew includes Francesca Peschier (scenic artist), George Tomlinson (head of construction) and Paul Ross (chief carpenter)

Cast includes Serena Bobowski, Gemma Brockis, Lizzie Clachan, Louisa Mari, Hannah Ringham, Layla Rosa, David Rosenberg, Andrew Rutland, Mischa Twitchin and Heather Uprichard

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