The Public Administration and Constitutional Affairs Committee takes oral evidence on Whitehalls relationship with Kids Company (A New Musical)
Musical

Donmar Warehouse

The Public Administration and Constitutional Affairs Committee takes oral evidence on Whitehalls relationship with Kids Company (A New Musical)

24 Jun 2017 - 12 Aug 2017

Pro reviewers rating
13 reviews

2.9 out of 5.0
Peer reviewers rating
1 reviews

4.0 out of 5.0

  • Synopsis
  • Cast and creatives
  • Venue details
The objective of this session is not to conduct a show trial. We want to learn some lessons.   

What happens when something goes wrong? Who holds us accountable?  

On 15 October 2015, as part of an inquiry into ‘The collapse of Kids Company’, Camila Batmanghelidjh and Alan Yentob gave evidence to The Public Administration and Constitutional Affairs Committee.  

The transcript of the evidence session has been edited into the book and lyrics for a new musical, presented here so that you – the public – can consider how civic life in the UK is really governed.

Donmar Warehouse [Off West End]

“Deering's score... certainly heightens our awareness of the irreconcilable differences in world-view... Marvin's superb.”

Paul Taylor (The Independent)

“Marvin nicely captures both the conviction and slippery obfuscation... Ebrahim is delicious fun... Involving production.”

Aleks Sierz (Arts Desk, The Stage)

“Seemingly unpromising material is given emotional depth and theatrical richness by Tom Deering's gentle melodies.”

Michael Arditti (Express)

“Absorbingly topical.. Deering’s tricky and sometimes strikingly atonal score is nimbly performed by a string quartet and pianist”

Henry Hitchings (Evening Standard)

“Ambitious if flawed experiment... Strongly sung by the cast – particularly Marvin, who is marvellous throughout.”

Natasha Tripney (The Stage, Time Out)

“The ensemble is excellent... Marvin combines a glorious singing voice with a carefully calibrated impersonation.”

Sarah Crompton (What's On Stage, Guardian)

“An innovative and timely dramatisation... Unfortunately, the music is largely featureless... A superb Sandra Marvin.”

Theo Bosanquet (Time Out, What's On Stage)

“The MPs... are uncannily accurate... It is not always clear what Deering’s music adds... Dramatically inert.”

Susannah Clapp (The Observer)

“A mad idea – and it almost works... A chamber quartet sits above the action doing justice to Tom Deering’s music.”

Neil Norman (Express, The Stage)

“About as interesting as the real thing... The performance is immaculately acted and sung, but none of this makes it riveting.”

Ann Treneman (Times)

“Not undramatic, especially when made surreal... The interrogators are all pitch-perfect... Marvin is unnervingly like Camila. ”

Libby Purves (TheatreCat, Times)

“Melodramatic... Marvin is excellent... Ebrahim is touchily unapologetic... Music distorts the issue. ”

Michael Billington (The Guardian)

“The music’s dreadful... Ebrahim’s Yentob is comically posh but both he and Miss Marvin are under-served by the script.”

Quentin Letts (Daily Mail)

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