Gemma Aldridge takes in Abi Titmuss’s stage debut, and finds her performance and the play’s philosophy are intermingled.

Fat Christ, King’s Head

Fat Christ by Gavin Davis is a break-from-the-norm comedy charting one man’s endeavour to succeed in life.

Jack Taylor (played by himself) represents the desire in us all to become bigger, better, more successful and richer.

But he is average, lives with his pregnant wife Lily (Jennifer Matter), and struggles to make ends meet.

He fantasises about getting a break that will allow him to forget his money worries and achieve the success he feels is owed to him.

Several harebrained schemes end in disaster and Jack finds himself cleaning windows for a living, distinctly dissatisfied with his lot.

The plot takes a Faustian turn, as Jack agrees to sell himself to a prestigious art dealer in search of fame and fortune.

Part of the bargain is the staging of his own crucifixion, with hilarious consequences.

Downie and Titmuss’s characters, a couple longing for excitement in the midst of financial security and material comfort, are well developed and relatable, even if Titmuss’s performance as Susan is a little wooden.

The play’s strength is that it gives the audience an opportunity to laugh, not only at the characters, but also at themselves.

It is impossible to watch without drawing similarities between your own aspirations and those of its protagonists.

The extreme representation of wishes, concerns and worries, which we have all experienced at one time or another is highly amusing as well as reassuring.

It is refreshing to be told that it’s alright to be average.

When it comes to busking on the Underground, Gemma Aldridge finds the winner takes it all.

Hearing a good tune on your daily commute can change your day. It can evoke memories, make you smile and put a bounce into your otherwise monotonous step. We have a lot to thank buskers for. Their semi-circular pitches dotted around the subways have become a familiar part of the London Underground.

But not just anyone can play on these pitches, because busking has become regulated. In many ways it’s a good thing: it’s no longer illegal, it’s safer for performers and it’s become a genuine route to success.

But there are downsides too. Busking has changed its form from free spirited spontaneity to regimented entertainment. And although there are some clear winners from the scheme, there are some very obvious losers.

Busking on the London Underground (LU) was legalised in 2003 and the 33 pitches have since become a platform for many performers to showcase their musical talent.

Steve Lewis, contracts manager at the LU said: “The busking scheme was originally implemented as a result of customer demand for talented musicians to be licensed to perform on the Underground.” Before this, busking was illegal throughout the LU but the law was much less strictly enforced than it is under the new system, and all buskers were of equal status.

Hadar Manor is one of the winners of the new system. She recently won Ear to the Underground, a competition held by thelondonpaper and Capital FM to find London’s favourite busker.

Hadar moved to London from Israel to pursue her music career after serving three years in the Israeli army. She said: “The whole time I was out there doing my service, I was dreaming of being back in London, just singing my songs.” Hadar’s reward for winning Ear to the Underground was £5,000 cash and an appearance on Capital FM.

Another success story of the LU busking scene is Rod Thomas. “You Get Goodbyes”, the first single from his pop-rock album is released this month on North & South Records. Rod played Glastonbury’s BBC Introducing stage last year and already has bookings for some festivals this summer. He plays gigs all over the country, but still busks in his spare time and says he owes his success to it.

He said: “Even if I make it big-time in the music industry I want to carry on busking.”

While people like Manor and Thomas have benefited from the scheme, others are unable to get a license.

Prospective buskers must download an application form online, and provide a home address and phone number, to which their audition date will be sent. The requirement for a fixed address means homeless people are excluded. The LU says that open auditions “would not be a suitable way of selecting performers” because of the time pressure.

Those with previous criminal convictions are also excluded from the scheme, which according to the LU, is in the interest of “passenger safety”. But it’s another clause potentially ruling out good performers. Think of the successful artists who have had scrapes with the law, however petty: John Lennon, Sir Paul McCartney, Mick Jagger, Kurt Cobain and Amy Winehouse.

Stevie McCormick, a homeless man, used to busk in the subway between the ticket hall and main entrance of Clapham Common station. Since the new system came in he can’t play without getting moved on by the police.

He said: “Even if I didn’t mind getting cautioned all the time they’re always playing classical music on the loudspeakers in there now. No-one could hear me play.”

Stevie now sits and plays his guitar and begs on the high street. He’s a good musician, and although he shouldn’t be given a license to play at the expense of other more established musicians, he shouldn’t be excluded because he’s homeless.

There’s no question that high quality music is a good thing for the three million commuters that use the tube every day. Musicians like Manor and Thomas have gained recognition for their talents and now have a chance to succeed in the music industry. It is refreshing to see talented performers succeeding purely on merit, and a handful is better than none.

But the problem with the system is not with the people it includes, but with those who are excluded by its criteria.

There are 268 tube stations in London, and only 22 of them have licensed pitches. If the selection procedure were altered to attract a broader range of applicants, then perhaps some more of these stations could be filled and even more Londoners could be entertained for free, by people who really need the gig.

All photographs by Adam Tiernan