Drawing: Chris Lemmon in A Twist Of Lemmon

Chris Lemmon

I often use the word favourite. That’s because many of the people I draw are favourites or appear in favourite productions. In the words of Julie Andrews, ‘these are a few of my favourite things’, which is easier than saying ‘supercalifragilisticexpialidocious’.

Jack Lemmon was a favourite. Well, he still is. They continue to ‘live’ and the Hollywood legend’s only son, Chris has made sure of that with his autobiographical play, A TWIST OF LEMMON, celebrating his famous father. It’s based on his 2006 book ‘A Twist of Lemmon: A Tribute To My Father.’  The forward is written by Kevin Spacey, who credits Jack with his pursuit of acting. He would say, people who do well in this business have an obligation to send the elevator back down to help lift people starting out on the ground floor.”

Obviously Chris has more than a passing resemblance to his dad with the familiar impish grin and other Lemmonesque mannerisms. It’s  hard to believe it’s Chris and not Jack onstage,” wrote Jordan Young in the LA Examiner.

He bought his solo show to the St James Theatre in London this month.  It’s two hours of stories and anecdotes, a mixture of impersonating his father and being himself, punctuated by jazz standards. “How do you follow in the footsteps of a giant?” he asks the audience as he talks about what it was like to grow up with an internationally loved celebrity and how that impacted on a normal father-son relationship and his own aspirations under the weight of his father’s Oscar-winning heritage.

Described as beautiful, complex and poignant. It’s a touching tribute of a multifaceted yet troubled actor. In her review for British Theatre.Com, Helena Payne wrote, “Lemmon Jr brims with a boundless energy, his story telling is on point. He beautifully portrays Jack as he realises the joy of performing and making people laugh.”

Chris signed this drawing for me at the theatre and wrote me a nice note.

Chris Lemmon Note

Drawing: Kit Harington in War Horse and Doctor Faustus

Kit Harington

After making his stage debut as Albert in the original cast of WAR HORSE on the Olivier stage at the National Theatre in 2007, Kit Harington auditioned for his first small screen role, landing the part of Jon Snow in the TV phenomenon GAME OF THRONES and galloping to international fame.

Michael Giltz in the Huffington Post wrote, “Kit Harington makes his debut as Albert and I’m not certain if he’s a major new talent or just ideally suited for this particular role, but he’s wonderfully understated as the rough, simple but sweet kid who is devastated to find his dad has sold the horse to the military so he joins up so he can find Joey and bring him home safely.” The production transferred to the New London Theatre in London’s West End in April 2009 with Kit reprising his role until September that year.

He returned to the stage in April to play the over-reaching protagonist in the revival of Christopher Marlowe’s 1594 tragedy DOCTOR FAUSTUS at the Duke of York’s, which is now into its final week.

Kit had previously signed a Faustus sketch for me during early previews, but I was keen to get this one graphed of him as the Doctor and Albert. I managed to find a close enough spot among the quickly growing throng behind the stage door barriers after Saturday’s matinee when Kit does his customary session with the fans and managed to slip it to him through the sea of selfies. He appreciated the sketch particularly the WAR HORSE reference, even taking the time to dedicate it for me.

Drawing: Emmi Christensson as Christine Daae in The Phantom of the Opera

Emmi Christensson

On Friday, Swedish soprano Emmi Christensson played Christine Daae for the final time in THE PHANTOM OF THE OPERA at Her Majesty’s Theatre in London. Emmi has been the alternate Christine since July 2014 but she now returns to her homeland to play the lead in Stockholm starting in September. But I managed to get her to sign my sketch before she headed back to Scandinavia.

Drawing: Marisa Berenson as Lady Capulet

Marisa Berenson Lady Capulet

When Marisa Berenson signed my portrait sketch a couple of weeks ago I promised to return with a drawing of her as Lady Capulet-her role in the Kenneth Branagh Company’s ROMEO AND JULIET which is currently running at the Garrick Theatre in London.

Gracing the cover of every magazine during the seventies Marisa was one of the world’s most in-demand and highest paid models. Now, in her sixties she makes her West End debut as Juliet’s mother,not a model parent. The detached and superficial Lady Capulet’s relationship with her daughter is not a close one and Marisa’s portrayal was described by Quentin Letts as “nicely stiff appearance” in the Daily Mail.

I caught up with the very engaging Marisa at the Garrick stage door on Friday afternoon as she arrived for the evening performance and she was happy to sign this sketch for me as well.

Drawing: Scott Davies and Nadim Naaman in the Phantom of the Opera

Scott Davies Nadim Naaman

Scott Davies currently plays the standby Phantom and Nadim Naaman his rival, Viscount Raoul de Chagny in Andrew Lloyd Webber‘s THE PHANTOM OF THE OPERA at Her Majesty’s Theatre in London’s West End. They form two sides of the love triangle to win the heart of breakout new soprano Christine Daae.

Scott, who alternates the title role with Principal Phantom Ben Forster, is no stranger to the iconic part and Her Majesty’s having played the lead Phantom from December 1999 to July 2000. He returned as the standby in 2009 when David Shannon was the lead followed by John Owen-Jones. Scott also played the Phantom in the UK tour.

PHANTOM is Nadim’s favourite musical. Like Scott, he is no stranger to the production,
spending two years (2010-2012) with the show including first cover for Raoul. He made his West End debut as Rolf in THE SOUND OF MUSIC after graduating from the Royal Academy of Music in 2007, returning to PHANTOM and the role of Raoul in July 2015.
An accomplished singer-songwriter Nadim’s second album ‘Sides’ is being released this month, containing 9 originals and 9 covers with some stellar West End guests including Eva Noblezada, Celinde Schoenmaker and Jeremy Secomb.

Both Scott and Nadim signed this at Her Majesty’s stage door.

Drawing: Meera Syal in Romeo and Juliet

Meera Syal

In another life when I trod the boards, I once played Peter in the Bard’s classic romantic tragedy ROMEO AND JULIET. Not a major character, but the one charged with adding comic relief to the sad tale – the story of my life.

Peter was the loyal servant of Juliet’s Nurse, a major character who acts as a go-between for Romeo and Juliet and is the only person besides Friar Laurence to know of the star-crossed lovers’ wedding. I say this as a feeble intro and my loose connection to the Nurse, a major role in Shakespeare’s archetypal love story.

Meera Syal plays the Nurse in the Kenneth Branngh Company’s latest revival at the Garrick Theatre in London. The comedian, writer, playwright, singer, journalist, producer and actress is probably best known for her portrayal as one of Britain’s most loveable Indian personalities, Sanjeev’s grandmother Ummi in THE KUMARS AT NUMBER 42.

Meera signed this sketch for me as she arrived for Saturday’s matinee.

Drawing: Nina Sosanya, Take 2

Nina Sosanya

Nina Sosanya quickly signed a portrait sketch I drew of her after the final televised performance of James Graham’s THE VOTE on Election night in May 2015. She actually apologised for the hasty sig as she literally signed on the run to catch the cast (which numbered over 50) bus for the final night function.

Nina’s  a familiar face on the small screen, appearing in such shows as HUSTLE, VERA, LEWIS, JONATHAN CREEK, DR WHO, SILENT WITNESS and was a regular on the comedy-drama series TEACHERS. She was also part of the all-star cast in the Christmas-themed romantic comedy movie LOVE ACTUALLY.

I decided to try again and redrew the same portrait, adding Nina in character as one the assistants at the fictional polling station and got my opportunity to get a graph and dedication in less chaotic circumstances last month, when Nina returned to the Donmar in Nick Payne’s ELEGY. And here it is.

Nina’s appreciation society Sosanyatoriam will be pleased.

Drawing: Natasha J. Barnes in Funny Girl

Natasha J Barnes

“She may have gone out an understudy, but she came back a star”.

Julian Marsh’s famous declaration to Peggy Sawyer in 42nd STREET sums up Natasha J Barnes’ fairytale rise since taking over the lead role of Fanny Brice in the West End transfer of FUNNY GIRL by his month at the Savoy Theatre due to Sheridan Smith’s recent sabbatical due to health issues. It’s also a line a few London critics have been using in their praise of her performance.

Natasha is no novice to the stage, appearing in AMERICAN IDOL, CHESS and SPRING AWAKENING and was Sheridan’s understudy in the Menier Chocolate Factory run before the West End transfer.

Initially she faced disgruntled ticket holders who had paid to see Sheridan play the role immortalised by Barbara Streisand in the 1964 Broadway production and subsequent film.

“I’ve certainly never seen a more beautiful performer than Sheridan,” said Natasha, “but I have real faith in the audience and I honestly feel that no matter how disappointed people might feel that they booked to see her and got me they will find a way of enjoying the show. They’ve got two hours of me so I’m going to do the best that I can do.”
And do her best she certainly did, receiving a standing ovation. She stunned the critics and judging by social media, using the old show biz cliche, ‘a star is born.’

“The 25 year-old isn’t just a serviceable stand-in, she’s a sensation in her own right, every bit as good as Sheridan Smith” wrote The Telegraph’s Dominic Cavendish. “She has a radiant charisma and twinkling mischief that’s irresistible.”

The added piquancy is that her whirlwind story is akin to that being played out on stage, the bio-drama of the early 20th century American vaudeville star Fanny Brice.
Celia Walden, also in The Telegraph said “with her heart-shaped face, impish smile and little curvy body could pass as Smith’s sister.”

When I was drawing this sketch I thought she had more than a passing resemblance to Imelda Staunton who some critics have likened her both physically and performance wise.

I joined a supportive crowd at the stage door after Saturday’s matinee where mutual appreciation flowed. Natasha seemed genuinely overwhelmed with the adoration and was more than happy to sign my sketch.

Drawing: Jenny Seagrove in A Daughter’s a Daughter

Jenny Seagrove A daughters daughter

This was the other sketch Jenny Seagrove signed for me a couple of weeks ago as she arrived at the Theatre Royal Haymarket where she is currently appearing in Alan Ayckbourn’s HOW THE OTHER HALF LOVES.

It’s from Agatha Christie’s mother-daughter drama A DAUGHTER’S A DAUGHTER, which had its West End debut at the Trafalgar Studios in December 2009. It was penned under the pseudonym Mary Westmacott, which Agatha Christie used for a series of six romantic novels between 1930 – 1956. It is very different to her other stage work and is considered a more personal play than anything else.

Jenny played Ann, a widow, whose only daughter Sarah (played by Honeysuckle Weeks – not a name you could forget) returns home after the Second World War. Resentment and jealously rages as gradually their relationship corrodes. I drew a quick biro sketch of Jenny and Honeysuckle, which they both signed for me in early 2010, at the end of the run. This is a more detailed study of Jenny in her role and a superimposed portrait with my trusty 4B pencil.

Drawing: Samuel James as Screaming Lord Sutch in Monster Raving Loony

Samuel James

“Vote for insanity – you know it makes sense”.

This was the slogan for the Official Monster Raving Loony Party, lead by its flamboyant founder David ‘Screaming Lord’ Sutch. The former rocker-turned serial parliamentary candidate became a British political institution. For over three decades he stood in every parliamentary election, becoming the staple of election night entertainment and a reliable eccentric political presence. Sutch’s unique contribution includes holding the record for losing all 39 elections he entered. He came within 200 votes of getting his deposit back once, which was considered a minor victory.

James Graham’s new play MONSTER RAVING LOONY premiered at The Drum Theatre Royal Plymouth in February, transferring to London’s Soho Theatre this month. It is described as the moving journey through the life and political exploits of ‘Screaming Lord Sutch’, while examining the state of the nation and Britain’s post-war identity crisis.

While the public saw the good Lord’s  exuberant fun-loving ‘loony’ face with his famous manic grin, his private face was completely the opposite. Sutch suffered from depression and hung himself in 1999 at the age of 58. Many political figures paid their respects, including the Prime Minister, Tony Blair, who acknowledged that elections would never be quite the same without him.

Samuel James, known for CASULTY, EASTENDERS and currently BIRDS OF A FEATHER reprises his critically acclaimed role as the loony Lord. In his Guardian review, Andrew Dickson wrote, “Samuel James offers a barnstorming performance, all strutting gait and eye-popping leer,” clad in His Lordship’s signature undertakers top hat and leopard-print jacket.

I left this sketch at the Soho for the ‘Signing Lord Samuel’ to graph, which he duly did. He gets my vote! MONSTER RAVING LOONY runs until 18 June.