Walker Holt has big dreams for his tailor’s shop, and an even bigger order to complete. Over the course of 24 hours he must work tirelessly to satisfy his new client’s impossible tailoring needs.
But as the night goes on, it’s not just the trouser hems that start to fray as tensions rise and Walker’s friendships and relationships are pushed to their limits. His success comes at a cost, but what price is he willing to pay?
Lynette Linton (Blues for an Alabama Sky, Shifters) directs Michael Abbensetts’ (Sweet Talk, Empire Road) era-defining comedy, with additional material by Trish Cooke, in its largest ever staging.
Arinzé Kene makes Walker as blindly driven as he could possibly be. Frustration explodes from him when his staff do not follow his orders; at one point, he collapses onto the floor and squeals like a petulant child. When the company comes together, the stage is alive with their differences of opinion about who and what they should be. This is a glorious revival that proves Abbensetts’s work deserves and needs to continue to be seen.
It ultimately feels like a nicely observed but relatively slight slice of life drama. Linton sometimes overcompensates: having a lad wearing Beats headphones occasionally wander across the stage feels like a hysterically heavy-handed way of reminding us of the present generation’s connection to Walker’s. I’m also not totally convinced by the star casting of Kene. It seems to me that Walker is a relatively simple character, but Kene’s combination of freakish good looks and a determination to burden Walker with a load of physical business and a somewhat incongruous pernickity middle manager vibe leaves the character feeling weirdly elusive and ill-defined compared to literally everyone else on stage. Alterations is a ’70s fringe play that will never be a perfect fit with the Lyttelton. But was it worth staging it anyway? Absolutely!
| 2025 | West End |
West End |
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