Theatre Review of David Suchet – Poirot and More A Retrospective
Written By Louise (Lou)
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
David Suchet, actor of many parts on stage and screen, but perhaps most famously, that little Belgian man of Agatha Christie’s creation – Poirot is on tour with: Poirot and More: A Retrospective. There’s a link at the end of my review so you can discover where you can see him. He’s touring across the UK and Ireland until and including March 2024. He’s also written books, find out more later…
I saw David Suchet at the Festival Theatre in Edinburgh as part 2 of a birthday present from my parents and as a thanks for caring for them. I was so excited and I am genuinely pleased to say, it lived up to expectations and so much more…
I highly recommend this talk. It’s running time is about 2hrs 20 mins and time goes fast . David Suchet is mesmerising with excellent stage presence as he passionately and warmly shares his fascinating life as an actor on screen and stage and more… He has acted in many tv series and films and mentions Doctor Who, Blott on the Landscape, Maxwell and of course, Poirot. I have a link, after my review for you to explore what else he’s acted in. He also talks of stage acting, such as doing Rep Theatre, part of getting into Equity and being in Panto for the first time in recent years, playing Captain Hook. He’s admired by people, young and old and everything in-between.
The interviewer, Geoffrey Wansell, is a great friend of David Suchet’s, and you can tell on-stage, which is really lovely. He’s a well-informed person, not only about David Suchet, but about the history of the Festival Theatre, Edinburgh. How excited they got when it is revealed that it used to be an Empire theatre. There’s a reason for this, but you’ll have to see the talk to find out more…
All eyes were on David Suchet. It’s great that, although he begins in a chair, he doesn’t stay in it and makes use of the whole stage he’s as he treat the audience to a mix of talk and acting. There’s also a screen behind him that is used to great effect as photos and a short film are shown to illustrate what he’s talking about. When he talks to the audience, it feels inclusive. He isn’t talking at you, but to you, with parts that feel conversational. It feels special! You can feel the care, respect and appreciation he has of his audience when he speaks.
He talks of his family, his mother and father that brings much poignancy and humour, as well as mentioning his famous brother, John Suchet and shares many anecdotes throughout, that ooze love for his family and brings laughter. He also takes the audience right back to when he was 8 years old, at school and being in a play as an oyster and what funny thing happened whilst on-stage.
There’s much chat about his route to London Academy of Music and Dramatic Art (LAMDA) and how he is perhaps not quite your typical student. For anyone looking to apply to stage schools, his talk of this would be most inspiring as it was far from the case of him applying and being accepted. He talked about it taking time and many tries.
It is a joy to watch David Suchet act. He does most of this in the second-half, but there is some in the first too. His acting is powerful and you end up hanging on his every word as he brings characters to life. It hits your heart and soul. This, perhaps is because he cares about the characterisation and the writer who created them. For Poirot, for instance, he studied him so much to get him right. I truly have a lot of respect for him for this. He talks of going back to what the original writer has on the page and wants to be depicted and translates it to the letter, as much as possible, on stage and screen. You can tell this belief is strong, even if he has to change those people’s minds, who may want something different from the original creation.
Later, there’s music in the background as he launches into a speech from Amadeus. Then he goes and does something even more surprising, and gives what is like a quick and fun masterclass in Shakespeare that includes the language, rhythm and art. If you didn’t think Shakespeare was relevant or couldn’t understand it, you sure will after this performance. I sat, thinking he should make a short film of it and share it to educational establishments, tv and continue it in his talks. I even heard adults around me saying they then really understood it like they hadn’t before and gained greater appreciation.
It, of course all culminates, more or less in talking about his most famous creation of all – Agatha Christie’s Poirot. It wasn’t a role he immediately jumped into. He shared anecdotes of this about what his brother, John Suchet and friend, Geoffrey Wansell had to say. Suffice to say, the opinions were polar opposites. He has the props and shows, bit by bit how he gets into character. The skill and care is immense and it is fascinating to watch. He talks about how, even after all these years, since the series finished, he still has a love of the role and is grateful for it.
The role of Poirot instilled David Suchet into many hearts and minds. I explored what else he did before and was eager to watch what he did after. So, when Long Journey into Night arrived at a theatre in Scotland, I jumped at the chance to watch it and I avidly watched Murder In Mind at the time on TV. I now see this is being repeated. I borrowed a DVD of Blott on the Landscape. I watched many other tv programmes, I can also recommend, such as Maxwell, Peter Pan Goes Wrong, Urban Myths, Tales of the Unexpected, The Way We Live Now, The Phoenix and the Carpet (voice of the Phoenix).
Suffice to say, I was impressed by this talk, that exceeded all expectations.
If you get the chance to see David Suchet’s talk, then I highly recommend it and do have fun exploring the actor’s work and books.
As everyone walked out at the end with the Poirot theme tune, aptly playing in the background, there was a buzz of positivity and cheerfulness around.
I then joined the stage door queue and was lucky to talk to David Suchet, on what was a very cold January night. He was very kind, indeed and I felt very privileged to meet him, something I hadn’t ever thought I’d get a chance to do.
David Suchet has also written excellent books – Poirot and Me and Behind the Lens: My Life.
Sherlock Holmes: The Last Act Review By Louise (Lou) – Bookmarks and Stages
⭐⭐⭐⭐
Rating: 4 out of 5.
The game’s afoot at The Space venue – The Surgeon’s Hall; with Sherlock Holmes at the Edinburgh Fringe Festival. For years, Sherlock Holmes and Dr. Watson have, in various guises and stories, been treading the boards at various venues. I thought it time I watched one and Nigel Miles-Thomas looked the part of what Sherlock Holmes could look like at and older age. It was also an interesting choice to do the last act.
The one-man play is written by Conan Doyle expert David Stuart Davies and directed by award-winning Gareth Armstrong. It comes across as being written by an expert by the content and the script. In saying that, Nigel Miles-Thomas brings it to life pretty well, with excellent direction and saves it from being dry as it goes from case to case in reminiscences. It is clever how it goes back and forth in time so seamlessly and so clearly. He also brings it, like its creators, with clear passion for Arthur Conan Doyle’s most famous detective as he showcases times with Irene Adler and Moriarty and around Reichenbach Falls and the moorlands in the case of The Hounds of Baskerville.
Interestingly, there are also times of sparring with Dr. Watson too. It offers audiences a stark, thoughtful insight into the sort of working relationship and friendship they have. These parts, I felt were performed with a certain poignancy. Throughout the play, there’s a mix of action, mysteriousness, happiness and melancholy.
If you know, even a bit of Sherlock Holmes or want a trip down memory lane of the biggest cases, in addition to a bit of the psyche of this great detective, then this is the play for you.
Letter to Boddah is an outstanding play delivered by top notch acting at The Space @ Surgeons Hall, Grand Theatre at 12:00/12:10 until 26th August from the brief synopsis and then my review below. You will also find a link where to buy tickets after my review.
Synopsis
The Broadway Baby Bobby Award winner for Best Theatre Show at the 2019 Fringe returns! Two young white men go into a disabled toilet in Tesco and change into army fatigues, because they’re going to blow it, and themselves, up. Very funny, very dark. You will laugh, you might cry, you will certainly come out going WTF!?
Review
OMG… I know, I know, this is how I never start a review, but OMG!!! If it’s a powerful play you’re after that will have you think, have you feel all sorts of emotions, have you surprisingly laugh, even in such dark, serious circumstances, this is the play for you.
Imagine being in Tesco, doing your shop, totally oblivious to the fact 2 guys are planning to blow it sky high! Chilling isn’t it? It isn’t totally as straight-forward as that. Audiences will meet Billy and Neil. They have locked themselves away in a Tesco toilet (makes for a rather different set). They are in army clothes and their “war” is to defeat oppressors, the power-hungry and greed. Billy has a sense of euphoria and hot-headedness. He’s already to do the deed. Neil on the other-hand is nervous, shown by shaky-ness and questions what they are planning on doing. The contrast portrayed by the two actors is outstanding as is the changes in positions in thoughts.
The backstory then comes out about their families and tough upbringings, so you get a glimpse into their homelives, even off stage from a parent. You find out the very personal reasons for them being in a Tesco toilet.
Very skillfully written and acted as mixed in with the darkness of the situation, is humour, philosophical thought processes of life and death, all brought together in conversation between the Billy and Neil and also sometimes in very powerful monologues. The tension builds throughout with “will they, won’t they” blow the place up vibes… You’ll have to see the play to find out and listen to this family and societal story that is packed full of revelations.
Please note that I am not affiliated to The Edinburgh Fringe Festival or Space UK venues. I was invited to this play by The Space UK, but I decided to review and I was aware of the play in 2019, but to be honest, wasn’t sure it was for me, so I didn’t choose it. It turned out I couldn’t have been more wrong and it was much better and much more than I expected it to be.
Interview with Robert McNamara Actor and Artistic Director Interview conducted by Louise Cannon at Bookmarks and Stages
Recently, I interviewed actor and artistic director – Robert Mcnamara at the Edinburgh Fringe Festival, the biggest of its kind in the world, where many people arrive with their shows or arrive with as visitors to watch them, from all around the world. SCENA Theatre presents Report to an Academy by Franz Kafka, part of the 2023 Edinburgh Fringe Festival, showing August 4-13, 15-20, 22-27 (20:10 BST). Robert McNamara returns to the stage in a riveting one-man show.
Robert Mcnamara and I met in a small bar at the venue – The Zoo Southside, where he is currently performing his play ‘Report to an Academy’, based on a story by Franz Kafka, where the main theme is survival. Discover what the play is about and then I will commence with the interview. I asked 7 questions and the answers are fascinating about the Edinburgh Fringe Festival, how his career in acting and directing began, Franz Kafka and his current play – Report to an Academy and what it’s like to play an ape evolving to be more human-like, the universally important themes and more… After the interview, you can find a link to where to purchase tickets. Please note, I am not affiliated in any way.
Synopsis
Discover the missing link An ape evolves to behave like a human and presents his story of survival and the vile details of his captivity to a scientific Academy in this wild tale by the existential master, Kafka. Based on the classic short story by the master of existential and absurdist storytelling, Franz Kafka (author of The Metamorphosis). Acclaimed German theatre director Gabriele Jakobi has adapted the classic short story, Report to an Academy, into a powerful, provocative drama featuring actor/director Robert McNamara. The play centres on an intelligent ape named “Red Peter” who was captured in a West Africa hunting expedition and sent to Europe on a ship. To effect his survival, Peter learns to mimic and imitate the ship’s crew from his cage. By evolving to behave like a human, he devises an escape. Ultimately, Peter presents his fascinating tale of transformation—and the horrid details of his former ape life—to a scientific Academy. McNamara’s performance brings a shocking parable to life and compels patrons to ponder the issues of free will, animal rights, and vegetarianism. Report was first presented to sold-out houses in DC’s 2014 Capital Fringe Festival and was later staged in Europe at the Prague Fringe Festival and at the English Theatre Berlin.
Please join me in welcoming, all the way from the USA – Robert McNamara on to Bookmarks and Stages.
We spoke about the Edinburgh Fringe Festival . He has an illustrious career. I, however wanted to know what his experience was so far at the festival. He said this:
“We had a show years ago called Sister Mary Explains It All For You, performed in a technical college. I was there for 4 weeks and SOLD OUT and had a great experience. We’ve done Kafka in all kinds of places, last year was The Old Red Lion in Islington, London, Finland and then the National Theatre of Nairobi before that in Berlin, Prague and Washington.
Speaking of the festival he says:
“I think it is a wonderful worldwide address to showcase your work in and is also going to give us a lot of energy for the show. It’s The cultural event and probably globally in the month of August and you can’t really say you’ve hit all the festivals without really coming to – as they say in Iraq – “The Mother of Them All”. The Edinburgh Festival, which I believe was established in 1949 as the first beacon of hope after World War 2, culturally speaking. It has always been on my radar – London and Edinburgh.
I used to have a theatre company in Dublin called Dublin Stage One Theatre, so I’m offay with the theatre system in the UK. I was educated in Dublin in Trinity College, so it was always very close to some of my origins.”
It turns out Dublin Stage One Theatre played a vital role in Dublin and was set up by Douglas Kennedy and Robert Mcnamara. Its purpose was setting up new and eclectic shows Ireland had not seen before.
How His Career Began in the Acting and Directing Role:
“Basically I was an actor in Washington DC in student productions in Georgetown University. Then when I graduated, I ran away to France to become a writer and lived in a monastery for 5 months, L’Abbie Sénanque. I had a job there as assistant director and I had no intention to act or direct or do any of that, then I was in Trinity in Dublin and I always loved the theatre first and foremost, so I was walking through the front gates at TCD and I saw them doing some plays by William Butler Yeats called the Cuhulain Cycle, which on one ever does except for me, I did them just recently in America. I said I’d read for that. So I went in and read for it and that changed the course of my life.
I was just acting in Dublin pursuing a couple of degrees and then found that I was acting all the time, but they were running out of directors.”
He kept asking actors if they could direct this and that and they said no, so he ended up directing himself.
“I did a lot of things like ‘The Caveman Cometh’ by John Henry Jones, a play by Henry Fielding – a satire called ‘Tom Thumb the Great’, which is really funny, very rarely done and dates back to the 18th century. Then I did ‘Agamenon’ by Aeschylus, translated by Louis Mcniece. Then I performed in a company called Dublin Stage One Theatre and the rest is history.
Favourite Theatre Shows:
“At the end of your life, the middle and beginning, you’re only going to see 10 performances that you really cared for. I was fortunate enough to see A Midsummer’s Night Dream at Peterbrooke in the 70’s when I was a kid in Georgetown, Washington.
The second – a production by Samual Beckett of Waiting For Godot, which he saw in the Abbey Theatre on a Sunday night.
The third is anything directed by anything directed by his wife, Gabriele Jakobi- Berlin based German director one being – Cigarettes and Chocolate by Anthony Minghella. Gabriele Jakobi won Best Director of the Year for “Theater Heute” Magazine for her direction of “Penthesilea” by Heinrich von Kleist,
The fourth is Rick Cluchey in Krapp’s Last Tape directed by Samuel Beckett.
Live theatre comes and goes and the things that really resonate, there aren’t that many.
Report to an Academy and the Interest in Franz Kafka’s Works
“He’s (Kafka) always writing about outsiders trying to integrate into society and being presented with insurmountable obstacles and after that, all that heaviness Kafka has, certainly, I like his humour and it appeals to me, very, very much. His humour is really off the scope. He throws adjectives and he throws around obscure outsider, alienation and existentialism. He likes people, believe it or not. The humour in his voice is shocking and his accuracy in portraying people in an existentialist crisis is shockingly accurate, absurd and funny and there’s a kind of macabre humour that you find in any Stanley Kubrick film for instance. He has done a lot of Kafka, including in The Trial, by Kafka directed by Berkhoff. I heard him do a bit of this and it sounds fantastic! The acting ability and to perform off the cuff is outstanding!
Robert Mcnamara then went off to do workshops all the time at the Czech Embassy (the Czech-Slovak Embassy) on Spring and Freedom Street in Washington DC. He also imparted to me: “That’s what he called it after The Velvet Revolution. He went onto say: “We did an evening of Czech literature and we worked on the small pieces, the really obscure parables that are almost like Jewish religious paradigms. Then we did The Castle Das Schloss, which is really funny and I did a version of his play ‘American’.
“We did The Metamorphosis and certainly the Metamorphosis which everyone claims to have read is just like No Exit, you’ve either read it in high school or college for your leaving certs. People say I’ve read it, but of course they’ve never seen it. The thing is with The Metamorphosis is the the tale of Gregor Samsa waking up one morning and finding out he’s a dung beetle or a cockroach and this is of course the inhumanity that comes from his family. This is a paradigm for the holocaust that Kafka foresaw because of wisdom and insight and vision.
The play Report to an Academy or in German is Bericht en eine Akademie, is the companion piece to The Metamorphasis, where Gregor Samsa becomes a non-human, a bug. In Report to An Academy, the ape becomes a human-being to survive.”
Playing the Central Character in Report To An Academy
The central character, as you say, is an ape called Red Peter becomes human like to survive. He is a survivor and philosopher. I asked him about his research and experience to convey the emotions and what did he bring of himself to do this. Interestingly he imparted that he doesn’t usually talk too much about himself, but would be honest about his answer, so it was an honour to hear what he had to say. He said this:
“Usually when I’m acting and directing at the same time… This isn’t my direction, this is my wife’s direction – Gabriele Jakobi.” – Award winning director mentioned previously.
Basically it’s a short story, so when we sat down at a table in the early readings (much like how we were sitting at a table). He discussed playing this guy like a broken down vaudevillian and felt how it could be played differently, instead in a tuxedo or tails and waistcoat to reach the truth of the piece.
“Red Peter is performing in a circus or a shabby vaudeville, so is taking a leaf from the page of the entertainer John Osbourne. Basically the point of view is turning off what I know in my mind and trying to be almost like a child, like an ape, a person comes from another environment and being tossed into another environment, where it’s life and death and if he gets it right or wrong or he could stop eating or stop willing to live. I had to explore this whole range of emotions about what’s not – what’s not possible, also when you have to accommodate yourself in a situation where you have no power to control things. Normally in rehearsals I want to be solving the problems and to have to open up as an actor to be vulnerable again, to also be conscious of very small things, almost like a child. You have to go back in time, when you were unformed and it was your parents fighting or your mum yelling at you or something that blew your mind. The ape is walking on dynamite sometimes because he’s doing a balancing act. If he shows he understands the whole thing is rigged, they’re going to put him in a cage in a zoo, but if he gets out…
Originally it wasn’t a play, so the adaptation was by Gabriele Jakobi , who made it into a play, with music with underscores, voyage… it is a voyage. The ape is kidnapped in the west coast of Africa, he’s shot twice. So, in the movement category he took a leaf out of midnight cowboy by Dustin Hoffman, who plays Ratso Rizzo (at which point he imitates him to show he’s quite in your face.) ” The ape has an attitude, but he’s also king of the jungle.
Themes
Going into themes of survival, animal rights, free will, the ape has a choice between going between going to the Zoological Garden or the Music Hall and of course he goes to the music hall, I wondered what was thought of the ape’s choices and decisions made.
Matter-of-factly, Robert said: “Survival! Survival because he figures he would die inside the cage, because your heart would be broken you know. They always have these ASPCA ads (equivalent to RSPCA and SSPCA in the UK) with poor dogs or cats in a cage, can you imagine an ape in a cage? It was a small cage. His face is turned towards the locker. The locker and made up the fourth side and the whole construction was too small for me to stand up in and to narrow to sit down in, so I had to squat, with my knees bent and trembling All…The…Time! He’s being tortured all along the way and he’s smart and he’s “playing the system”, but he also makes the decision, and this is the crux of the piece, not to be free. He’s not “Borne Free”, He’s Borne Free on his terms and he doesn’t want human freedom. Again, it is Kafka being sharp, saying this is freedom in society, and you get to run around in some sub-standard job until the day you die and when you’re dead you pay for it and they bury you and that’s it.
He had a PHD in law, has a legal mind and is a German speaking Jewish, Czech and a citizen of the Austro-Hungarian Empire and basically he had different identities; so the ape, following in his master’s footsteps has different identities, so I’m a shape-changer in the play, while I’m trying to communicate his story. There’s a moment of self-realisation passes about the emotions, where he realises he’s living a lie, he’s a ‘freak’. He’s not human, he’s not an ape anymore. He’s taken away to a place called No Way Out! He’s in No Man’s Land and he’s trapped! He got out of one trap and into another trap. That’s like people in life, they think: I’ll do this job for a while and they end up staying for 40 or 50 years, or I’ll just stay in this relationship for a while because I won’t bluff for anything better because I don’t want it. I’m comforted by the level of misery that I’m operating in. So, the ape is a thinker. He’s like your primeval philosopher King of the Jungle, but he’s also a lot of fun.
Franz Kafka is relevant for today’s audiences, so I gave space to allow Robert to say what he hoped people would take away from the play. Instantly, he answered – Pathos, Understanding, A Love of Kafka and hopefully A Love of The Play. To Think of Other People. To realise in the times we live in, close to post-apoloyptic, with Covid, shut down theatres for two years, people dying, but hope they would take away a Sense of Compassion, To Think of Other People. To realise in the times we live in, close to post-apoloyptic, with Covid, shut down theatres for two years, people dying, but hope they would take away a Sense of Compassion and FUN!
The problem is, you’re also laughing whilst disapproving, so if I’ve done my job, it’s to make you think about things. People are loving the show and says there are generous audiences in Scotland. I used to live in Scotland in Prestwick”.
He then injected even more humour by saying “my family was here (in Scotland), my brother got put back a grade in America for having a Scottish accent award, they couldn’t understand a damn word he was saying. Robert then went onto live in Ireland for 8 years and says “Your rain here in Scotland doesn’t fool me. I’m used to it.”
He divulged that by the time he’s finished at the Edinburgh Fringe Festival, he would have performed this play close to 100 times.
After Edinburgh, he is taking the play to Ukraine.
He would like to return to Scotland with a bigger show.
SCENA Theatre – Washington DC’s International Theatre over 35 years producing 100’s of plays around the world and we’d love to make Edinburgh one of our temporary homes, having performed in Denmark, Poland, Germany, Bahrain, Vienna, Former Yugoslavia, Zahrib and many, many other places in Europe and he would love to be here in Scotland again.
Find out what the Edinburgh Fringe Brochure says and then onto my review and where to purchase tickets:
You can find this one man play, performed by Zach Hawkins and directed and written by Stephen Leach in the Surgeon’s Hall on Nicholson St, Edinburgh as part of it being The Space Venues for the Edinburgh Fringe Theatre.
Meet Ryan. Nineteen (but young for his age). School drop-out (but smart). Turkey-sandwich enthusiast (365 days a year). Absolute stunner (no addendum). He’s new in town, and all he wants to do is check out. The hard part is coming up with an exit plan. When the one person he thought he could rely on ups and leaves, Ryan finds himself adrift in a city he still hasn’t learned to like, looking for direction. Six months to kill, no money, no rules… surely this is the worst possible time to be alone?
Review
Can’t Wait to Leave is tender, enthralling, energetic, shocking and yet a little something in there that by the end of it all, makes you leave at the end, feeling uplifted. The play is a one man play and is suitable for 16 years plus. I recommend the play for something told in a refreshing way!
Stephen Leach is writer and director of the play as Zach Hawkins brings the character of Ryan to life. Throughout the play, it felt a bit like sitting in a pub with him with the jokey and conversational manner, which was clever. Not quite like you’re the only person in the room, but in certain parts, nearing those heady heights, but a good ambience, like you’re in with a group of pals. He does, indeed take you to a pub and the people he meets. It’s a minimalist set, but it really doesn’t matter for such a performance. It holds the attention well and all eyes are on Hawkins as you listen to what he is telling you about the various places he goes. He has the audience in the palm of his hands as he races along, playing his part. There are clever nuances here and there too, amongst the joviality and sadness. By the end you really get to know who Ryan is, how he interacts with people, his desperation to leave London, the relationships he has and how some gay people view bi-sexuals. Whether you’re gay, straight, bi etc there’s something to relate to. That date that goes terribly wrong, the profile photos not being entirely truthful on dating sites, the violence of some people, that feeling of being trapped in a place you don’t want to be, just waiting for an opportune moment to leave. The question is, will he or will he not?
The conversational vibe of this fabulous narrative meant he could tell an entire story of the many people who come and go in his life, from his brother Ben to his relationships. He talks a lot about Ben and how he is a high flyer in the accountancy world, got the woman of his dreams and is moving. It’s a great contrast to Ryan, who is more one of life’s drifters but with aspirations and dreams of “making it” and leaving London. Don’t be mistaken, this isn’t a “woe me” type of play. It has bags of humour and pathos; dramatic scenes that twist and turns and makes the audience shudder and gasp and uplifting moments that surprise and throughout, the audience encounters life and energy as well as important life moments and important issues. How it is all spun out is refreshing and the fact you’re not only told about someone who is succeeding in all aspects of life, but also the other side and how there are people who aren’t instant successes is really great and people will relate in some ways to Ryan and to all the people mentioned. He takes you with him with clever writing and delivery, on Ryan’s journey, captivating from beginning to end. It’s a great debut and one I recommend you go and see.
Wodehouse In Wonderland By William Humble Starring Robert Daws
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
Wodehouse in Wonderland is based on the life and works of P.G. Wodehouse. In amongst the entertainment, this tells a fascinating story, all performed by Robert Daws. It is humorous with a few serious moments. It is well-layered and is fascinating. The construction of the script is excellent like this and the delivery is top notch and of the highest calibre. I’ve seen a few one man shows before and Robert Daws is up there with the best of them. It’s a real skill to be able to go solo and hold an audience in the palm of your hand and keep their attention focused on you. Robert Daws pulls it off with aplomb as he takes your through recognisable works of P.G. Wodehouse, such as Blandings and more, as well as his day to day life. He walks you through by bursts of song with dulcet tones (he has a fabulous singing voice) and spoken word. This is touring in theatres in the UK.
The interviewer, Geoffrey Wansell, is a great friend of David Suchet’s, and you can tell on-stage, which is really lovely. He’s a well-informed person, not only about David Suchet, but about the history of the Festival Theatre, Edinburgh. How excited they got when it is revealed that it used to be an Empire theatre. There’s a reason for this, but you’ll have to see the talk to find out more…
As everyone walked out at the end with the Poirot theme tune, aptly playing in the background, there was a buzz of positivity and cheerfulness around.
to talk to David Suchet, on what was a very cold January night. He was very kind, indeed and I felt very privileged to meet him, something I hadn’t ever thought I’d get a chance to do.
The Broadway Baby Bobby Award winner for Best Theatre Show at the 2019 Fringe returns! Two young white men go into a disabled toilet in Tesco and change into army fatigues, because they’re going to blow it, and themselves, up. Very funny, very dark. You will laugh, you might cry, you will certainly come out going WTF!?
Bookmarks and Stages by Lou 