EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
The Night Before Christmas
Southwark Playhouse
HEARD the one about the loser, the gay and the prostitute in a storeroom? Add an imprisoned elf and there you have Anthony Neilson’s 1995 play, an extended joke running to just over an hour.
Neilson's trio comprises Loser Gary, played with a winning child-like naivety by Douggie McMeekin, who's a divorced trader in dodgy goods and unlikely to be able to see his son over the holiday period. His mate Simon (Michael Salami), a cynically angry gay, is set on vociferously denouncing the plasticity of Christmas, while a foul-mouthed prostitute (Unique Spencer) is out to get a Power Rangers toy for her son whatever the cost.
Don Starkey’s elf, working for an international gift agency out of Hartlepool, is caught breaking into Gary’s lockup and is forced to give away the secrets of Christmas and grant three wishes in order to be released. That in a nutshell is Neilson’s exploration of Christmas through three sets of very jaded eyes.
Family issues and dragon-fuelled history amount to a vacuous spectacle that ill-fits the theatre, muses SIMON PARSONS
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MAYER WAKEFIELD has reservations about a two-handed theatrical homage to jazz’s most mercurial musician



