‘Howerd’s End’ (Town and Gown, 15-17 July)

“An insight into genius, a glimpse of the dark matter cushioning every star, a sense of a love that dared not speak its name, but spoke instead in a quiet and gentle whisper.”

Editorial Rating: 4 Stars (Outstanding)

Full disclosure. My credentials as an impartial reviewer for anything connected to the brilliant Mark Farrelly are zero. I’m a huge fan. I’ve been reviewing him since EdFringe ‘12 when he appeared in Roy Smiles’ ‘The Lad Himself: A Celebration of the Life of Tony Hancock’. I’ve seen both his solo shows, and was part of the team that helped bring them into print. Earlier this year I urged the renaming of our little arts thing from Edinburgh49 to GetYourCoatsOn based on a throwaway comment Mark made in an interview with Karl Steele, manager of the Town and Gown. You have been warned.


We enter to find Farrelly nursing a drink and a bevy of grievances large and small. Here is Dennis Heymer, the oh so secret other half of the late, great comedy legend Frankie Howerd. Remembered chiefly as an established mainstream mainstay, Francis Alick Howard, OBE (1917-1992) was the first in that line of non-conformist comics who progressed through the latter half of the previous century. Howerd was followed by the Goons, who were followed by Beyond The Fringe, who were followed by the Pythons, who were followed by Izzard. 

The great strength of this script is that one really doesn’t need to know very much about Howerd’s life to comprehend the drama. Celebrated comedian (40yrs) walks into a bar behind which is a sommelier (28yrs). A spark is kindled between them that will burn light and dark down the discrete decades together. Theirs was a romance set in a time when same-sex relationships, especially life long bonds, were still the love that dared not speak its name.

As Frankie Howerd, Simon Cartwright skillfully treads a tightrope in a performance that remains both recognisable and real without falling into simple caricature. His Howerd is a sympathetic, gentle giant, a little boy lost in a sexually-abusive past, adrift in a secretive and uncertain present, complacent about the Christmases yet to come. It’s a quietly powerful performance that grows louder in the remembering.

As Dennis Heymer and several other characters, Farrelly brings his A-game – that mix of pace and pathos of which he is a master. On stage he is a unique blend of considered spontaneity, obvious vagueness, and resolute indecision. Nobody else presents ultra real people on stage quite as well as Mark Farrelly.

There is a third presence on the stage in this two-hander. June Mendoza’s portrait of Howerd hangs above the mantelpiece throughout, a silent witness to the drama unfolding between the corporeal Dennis Heymer and the ghost of his dead soulmate. The pictures sets the sartorial standard which Cartwright’s costume follows exactly, from the cut of his lapels to the narrowness of his tie. This play is an animation of Mendoza’s capturing in oils of her sitter’s ambiguity, calm, and resilience.

This was an early performance of a production much delayed by the COVID crisis. There were faults and unforced errors. The scene of the characters’ first meeting is not blocked well. Farrelly’s impersonation of Peter Cook needs fine tuning and amplifying. A potentially pivotal final moment, in which the departing Howerd puts Heymer’s smoking jacket back on is lost to the audience by Cartwright’s physical bulk along with a chance to see Heymer reflected in Howerd’s eyes.

Farrelly fans, including this one, will not come away disappointed. They will leave with a trove of theatrical treasures that will shine alongside his past performances. They will gain an insight into his method through the addition of a second performer, one skilled and talented enough to more than hold his own alongside the chic sheik of the solo script. For those of us less familiar with Howerd himself, we will gain an insight into genius, a glimpse of the dark matter cushioning every star, a sense of a love that dared not speak its name, but spoke instead in a quiet and gentle whisper.

Reviewer: Dan Lentell

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Town and Gown, Cambridge – 2021 Season Interview: Quentin Crisp: Naked Hope

“The student drama scene hugely influenced my choice of career. I made lifelong friends. And sank enough ale to flood Parker’s Piece.”

WHO: Mark Farrelly, Writer / Performer / Producer

WHAT: “Fresh from its Off-Broadway debut and milestone 100th performance, Mark Farrelly’s hugely acclaimed solo comes to the Town and Gown Theatre.

From a conventional upbringing to global notoriety via The Naked Civil Servant, Quentin Crisp was one of the most memorable figures of the twentieth century. Openly gay as early as the 1930s, Quentin spent decades being beaten up on London’s streets for his refusal to be anything less than himself. His courage, and the philosophy that evolved from those experiences, inspire to the present day.

Naked Hope depicts Quentin at two phases of his extraordinary life: alone in his Chelsea flat in the 1960s, certain that life has passed him by, and thirty years later, giving a performance of his one man show An Evening with Quentin Crisp in New York. Packed with witty gems on everything from cleaning (“Don’t bother – after the first four years the dirt won’t get any worse”) to marriage (“Is there life after marriage? The answer is no”), Naked Hope is a glorious, uplifting celebration of the urgent necessity to be your true self.

Mark Farrelly’s West End credits include Who’s Afraid of Virginia Woolf? opposite Matthew Kelly. He is directed by EastEnders star Linda Marlowe (Berkoff’s Women).”

WHERE: Town and Gown Pub & Theatre, Cambridge

WHEN: Thursday 27th May 2021 and 2 other dates

MORE: Click Here!

What does Cambridge mean to you?

I studied English Literature at Jesus College in the late nineties. I’ve always found Cambridge magical. It took me three attempts to get accepted. So once I arrived, I was on a mission to make the most of it. The student drama scene hugely influenced my choice of career. I made lifelong friends. And sank enough ale to flood Parker’s Piece. I was so happy there that when I returned to Civvy Street in 2001, I found it very hard to cope, and spiralled into depression. Ordinary life seemed so aggressively mundane. But I have no regrets about overdosing at the Fountain of Pleasure. It was a heady, life-affirming privilege.

Tell us about your show.

The show, which I wrote, is a salute to the courage of the individual to be themselves. Quentin Crisp wittily and bravely emphasised his flamboyant gayness at a time when it was illegal. That’s an extraordinary thing to look back on from the vantage of 2021. But the show is also a timely nudge in the ribs for anybody who may be slipping into conformity and not letting their sparkly, dangerous genius shine before it’s too late.

The first night at The Town and Gown will be the 125th performance. It delights me how much hunger there is for Quentin’s message of hope, his determination to meet adversity with what he calls “laughter in the dark”.

What kind of art makes you ‘Get Your Coat On’ and go see it?

I have a passion for solo work, because of its immediacy and intensity. Sarah-Louise Young, and her amazing “An Evening Without Kate Bush”, are quite something. She is directing my next solo, about Derek Jarman, which debuts at The Town and Gown in August.

But I can’t lie…I go to the theatre infrequently. I much prefer sitting on my sofa, drinking Puligny-Montrachet and dreaming up ideas for new pieces. Going to the theatre can feel a bit like a busman’s holiday for me…I’m performing so often that I like a break from it whenever possible.

You’re the age you are now. What’s the one thing you wish you could tell your younger self? What’s the one thing you’d like your older self to remember about you now?

To younger self: you will survive. You will weather the storms of rejection, depression and suicidal impulse, and one day your hot, furious little ego will find its quietus and the true you will arise. Nothing will be wasted, nothing forgotten, and everything will come when the timing is deliciously, inexplicably right.

To older self: you were living, breathing, feeling your dream day after day.



+3 Interview: The Club


“A torrent of bad language and comedic hedonism.”

WHO: Mark Farrelly – Actor, playing Nick Reynolds

WHAT: “Olly Watson is a poet, who is lonely! But now he has a match, a real woman with pictures and everything! What next? Coffee, flowers, chocolate? Don’t be boring, send her poems about spoons! How’d that go then?”

WHERE: Gilded Balloon Teviot (Venue 14)

WHEN: 17:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my sixth…my first was back in 2001 when I was a fresh-faced university graduate doing a version of A Tale of two Cities. I do the Fringe every few years, whenever an interesting and decently-paid project comes up that I’m free for.

Tell us about your show.

The Club, which I describe to friends and punters as a torrent of bad language and comedic hedonism, is written by Ruaraidh Murray. He is a talented writer / performer who I met at the Gilded Balloon two years ago. He asked me to be in it because we are friends, and he also perhaps knows my familiarity with Withnailian people.

We play two men (based on people Ruaraidh knew in the late 90s) who have no boundaries, limits or sanity in their pursuit of hedonism. Enormous fun to play. A barnstorming comedy with an unexpectedly dark and poignant edge. I also get to sink an entire bottle of wine in the first ten minutes, when not swearing my head off.

It’s produced by Something For The Weekend’s Suzanna Rosenthal, kicked off with previews at the Park Theatre in London and will likely be coming to London again in the next six months. We were hugely blessed to be directed by ace theatre maestro Joe Harmston.

What should your audience see at the festivals after they’ve seen your show?

So much great stuff this year! By all things Godly see Phil Nichol. Lucie Pohl’s Apohlcalypse Now! Anything starring David Benson (he’s playing Boris Johnson and Kenneth Williams here). Anything featuring Sarah-Louise Young. The Snow Queen at Gilded Balloon’s new Museum space. Henry Naylor’s play Angel. The list stretches on… a real selection box of quality in 2016.



“I sensed that if I could draw solace from these two stories, then so might an audience.” – Author Mark Farrelly discusses Soho Lives


“I hope Patrick is not revived. I much prefer him to be a cult that only a small number of us know about. In this sense he is the literary equivalent of “Withnail and I”. Pass the secret on – but not too loudly.”

Soho Lives is a collection of two hit solo plays exploring the extraordinary lives and losses of two great Soho writers, Patrick Hamilton and Quentin Crisp. Greeted with huge acclaim since their debut productions, Mark Farrelly’s plays offer actors and audiences laughter, heartbreak, and an urgent, passionate reminder that the only thing that ever matters is being true to yourself.

Patrick Hamilton (1904 – 1962) was a shooting star playwright and novelist. His stage thriller Rope made him a hit on both sides of the Atlantic by the age of 25, and the play was later filmed by Hitchcock. Patrick repeated his success with the Victorian chiller Gaslight, while his highly regarded novels include Twenty Thousand Streets Under the Sky, Hangover Square and The Slaves of Solitude. His output – witty, cynical and beguilingly empathetic of all those “battered silly by life” – was cut brutally short by the loss of his battle with chronic alcoholism.

Quentin Crisp (1908 – 1999) was variously a rent boy, artist’s model and full time layabout. Shunned and beaten by London society for his flamboyant effeminacy, he concentrated simply on Being, and spawned a philosophy which enlightens to this day. After being portrayed by John Hurt in the classic TV film The Naked Civil Servant in 1975, he became an unlikely international treasure. Moving to New York in his seventies, he spent the rest of his life telling anyone who would listen ‘How to have a lifestyle’. Asked to give a young fan some life advice, he replied: “Remember – you don’t have to win”.

Mark Farrelly is an actor/writer. He was born in Sheffield and graduated with a double first in English from Jesus College, Cambridge. His West End credits include Who’s Afraid of Virginia Woolf? opposite Matthew Kelly at Trafalgar Studios. Mark is a veteran of numerous arts festivals and a regular favourite at the Edinburgh Fringe. He has performed his two hit solo plays, The Silence of Snow: The Life of Patrick Hamilton, and Quentin Crisp: Naked Hope over one hundred times. Mark’s latest project is as writer and co-star of Howerd’s End, celebrating the centenary of comedy legend Frankie Howerd.

Soho Lives: Two Solo Plays by Mark Farrelly (published by 49Knights, March 2016). To find out more click here.

Why Patrick Hamilton and Quentin Crisp?

Though I didn’t consciously know it at the time, they deeply mirrored aspects of my own life journey. Patrick’s personal life was a perpetual, drink-sodden mess (just read the highly autobiographical Hangover Square for a sense of this febrile fragility). I wasn’t in that league, but my personal life was certainly dysfunctional a few years ago. Around this time, me and my girlfriend of fifteen years split up, and I was truly on my own for the first time in life.

Horrifyingly, I found that adulthood could be postponed no longer (it seems that human adolescence now stretches to the age of 40). That’s where Quentin came in – the great guru of loneliness and laughing in the face of adversity. I was understandably drawn to Quentin’s story because it’s the tale of a man sitting in a flat on his own thinking life is over, which was very much me in 2012 /13, but then eventually things change and he ends up being the toast of New York.

I sensed that if I could draw solace from these two stories, then so might an audience… because we’re all suffering aren’t we? It’s a big part of what life is. The trick, as Quentin knew, is never to try to deal with it like Patrick – by running away.

Joining the two Lives is Soho. What was Soho like in their day and did Hamilton and Crisp ever meet there?

Soho (at least until recently) has always been what you want it to be. It’s a cipher for everyone’s inner ideal of a sanctuary from the harshness of life, but also a metaphor for the danger we like to flirt with in our younger days. So, for Patrick, it’s initially a boozy bolthole, a safe haven, idealised as a realm of “bottley glitter”. Later, as Patrick’s worldview darkened in the shadow of Hitler, Soho becomes a feeding ground for human sharks… conmen, narcissists, and also suicidal depressives.

Quentin likewise saw Soho initially as a refuge, hiding in what he called “layabout cafes”… until a “rough” or the police hassled him, angered by his brazen selfhood. Later he withdrew from it, and it existed only as a memory: “Soho used to be a more exciting place. You used to be able to get your throat cut on a really big scale”.

Did Patrick and Quentin ever meet? Unlikely. But I like to think they once unwittingly brushed past each other. Like so much of human interaction – almost connecting… but somehow never quite managing it.

Why have the novels of Patrick Hamilton dropped off the radar, and is he due a revival?

I suspect they dropped off the radar because there aren’t that many of them. He only wrote twelve books. The early ones are apprentice works, the later ones are blighted by the alcoholism that killed him at 58 (“I’ve been battered silly by life”), so for me that leaves only five flat-out great novels. They also have a narrowness of focus, compared to say E.M. Forster (another man who ‘only’ produced five great books). I hope Patrick is not revived. I much prefer him to be a cult that only a small number of us know about. In this sense he is the literary equivalent of Withnail and I. Pass the secret on – but not too loudly.

Quentin-Crisp.jpegDo John Hurt’s much celebrated portrayals of Quentin Crisp make it easier or harder for another actor to play him?

It didn’t really affect me. There have been thousands of Hamlets so I knew the world could cope with two Quentin Crisps. John Hurt (a great portrayer of victims, of whom it was rightly said “he suffers so well”) played to the hilt the bizarre upward inflections that Quentin sometimes spoke in. I deliberately toned this down for a solo play, as it would have become a bit annoying. So, at the wise encouragement of my superb director Linda Marlowe, I allowed some of my own voice to come into it. After all, the whole point of Quentin Crisp: Naked Hope is to encourage people to have the blind courage to be themselves at all times, however tough it is. Quentin said: “I simply refuse to bevel down my individuality to please other people”. Please dwell on what a great statement that is.

How do you go about researching your biographies, what sort of people do you meet, and what’s the single best insight you’ve gained?

The best research for writing a biographical piece is to have lots of psychotherapy. Find out who and what you are, what’s really going on beneath your behaviour patterns and your unexpressed wishes. Deeply explore why you are drawn to your subject, and what that says about you and the wider human “condition”. You’ll likely discover that your subject is what Jung called your shadow… some split-off, disowned part of yourself that you abandoned as a child in the face of criticism and aggression.

And now the soul burns to reconnect with all its parts. You’ve grown exhausted of listening to those dismal voices in your head, that embalmed Normal Bates gag reel of guff that keeps telling you that life is hopeless, you’re a failure and so on. It’s just a ghostly echo of everyone whose negativity you co-opted as a child, and you’ve spent years vainly trying to find the dimmer switch.

If (and it’s quite a big if) you are able to do this, then everything else will flow. Your reading, meeting surviving relatives, creating something of value… it will happen, though not necessarily in the manner you expected. The best insight (beautiful word) I had was when meeting Frances Ramsay, Quentin’s octogenarian niece. She said that whenever she was with Quentin, he would introduce her to his friends as “My niece Frances. She comes from real life”. And there it is. Quentin was an alien. Gloriously ironic that knowing yourself very deeply makes you an alien. And it does. Ninety percent of people I’ve met are phonies, imposters. I should know – I used to be one too.

14702423656_ac23f53089_k.jpgIf you had the chance to take Patrick Hamilton and Quentin Crisp to dinner where would you go and who would you also invite along?

Even after all my experience (I’ve played both men on stage over 100 times) I don’t know whether they would “click”. It would certainly be an interesting speed-date. I think we should go to the Garrick Club. Patrick (rare for him) felt at home there, and Quentin would, even today, raise eyebrows with his appearance. I would like no other diners present, I would want them all to myself. However, if I could freely subvert the known laws of space and time then I would like to be joined by Tim Welling, my dear friend who committed suicide in 2012. He helped me in the early days of these projects, and was one of the few people I’ve met who, like Quentin, was entirely himself regardless of who he was with or where he was. I miss him deeply.

You’re next project is a play about Frankie Howerd. If you’ll let us peek over your shoulder at the portrait while it’s still in progress, what’s emerging on the canvas?

I’ve realised that Frankie is the archetype of the human condition – nervous, haunted, hunted, desperately trying to keep the plates spinning before the whole lot disastrously crashes down. Of course, as Frankie’s partner of 40 years, Dennis Heymer, knew, letting the plates crash down might be a very good thing, but Frankie could never take that Rubiconic risk. This meant that he created a brilliant, brave, timeless form of stand-up comedy, but had the classic unhappy inner life. His act was a band-aid solution to the problem of being Frankie Howerd.

Next year is Frankie’s centenary, and we’ve never had a big comedic anniversary like this that I’m aware of. I think it’s extremely healthy for people to have proper goodbyes in life. I realised this when I went to see Monty Python at the O2 in 2014: we, and they, were getting a chance to say goodbye formally, and that’s very healing, allows you to move on in life. Two big romantic relationships of mine ended without a proper goodbye (“closure”) which did me a lot of damage.

So the play (Howerd’s End) is partly about how to let go properly. Dennis lived on for seventeen years after Frankie died in 1992, was often found clinging to the grave weeping, never came to terms with the loss. So what he and the audience have to learn during the course of the play is how to let go of Frankie. After all, one day we’ll have to let go of ourselves.

Above all: I want the play to be bloody funny. We’re apt to make our clowns very dark for the sake of drama. Every stranger I’ve spoken to about Frankie grins and says “Oh I loved him”, and so although I certainly want to provoke a few tears, I also want the audience to ride big waves of happiness. I asked Barry Cryer about this. He wrote for Frankie, and said that he’d seen a TV biopic about Frankie that “was so bleak you’d never have guessed Frank was a funny man”. Well, exactly. The world in 2016 is a pretty dark and frightening place, bombs seemingly going off by the hour… and I think we could all do with a damn good laugh. I know I could.

How important has your time at Edinburgh been for the development of both scripts?

Invaluable. Edinburgh is a brutal forcing house for new projects, and if you can survive it, possibly even get good reviews and interest from producers, then you’ve done very well indeed. There are three thousand shows in Edinburgh every year. When I first appeared there in 2002 it was one thousand. Gives you some idea of what you’re up against. Edinburgh to me is like the painting of the raft of the Medusa… thousands of egos fighting over a small bit of attention. It’s actually quite unpleasant, and when I performed there in 2014 I stayed away from much of the craziness by retreating, Quentin-style, to my room and listening to meditation tapes to remember how beautiful and special it is to be alive, because you can easily forget that in Edinburgh in August.

What’s the one thing anyone contemplating bringing a solo show to Edinburgh needs to consider?


What should be playing on the stereo when we’re reading Soho Lives: Two Solo Plays?

For Patrick, a selection of his beloved Ella Fitzgerald (he adored These Foolish Things).

For Quentin, complete silence, which was the soundtrack to many years of his life in Chelsea (“If I want anything, it’s peace. Quiet. The opportunity to stay in my room and just stagger on”). Then after you’ve read it, listen to Open All Night, Marc Almond’s beautifully dark album from 1999. It’s truly atmospheric, evocative of a lost Soho that probably never existed, and I think Patrick and Quentin would especially appreciate track 3: Tragedy.