Meet Alex, an out-of-work actor who finds himself working beneath Barbra Streisand’s Malibu home in her legendary basement shopping mall. A big hit in New York and London, Buyer & Cellar is an outrageous comedy about the price of fame, the cost of things, and the oddest of odd jobs.

Ten years after the critically acclaimed Off-Broadway production closed, this hilarious one-person show returns to London with the magnificent Rob Madge starring as Alex. Rob is best known for writing and starring in their hit show My Son’s a Queer (But What Can You Do?), which won the 2022 WhatsOnStage Award for Best Off-West End show and, following two West End runs, was nominated for a 2023 Laurence Olivier Award.

Written by Jonathan Tolins, known for his work on Schmigadoon! and The Good Fight and as showrunner of the new hit series Elsbeth, this production will be directed by Kirk Jameson (Song From Far Away, Madagascar The Musical) with scenographer Ingrid Hu (Song From Far Away, Chotto Xenos), lighting design by Jack Weir (To Wong Foo The Musical, Death Drop), composition & sound design by Emily Rose Simons (Miss Julie, Pickle), wig design by Craig Forrest-Thomas (Hairspray, The Magic Flute) and stage management by Rosie Morgan (The Artist, My Son’s a Queer (But What Can You Do?)).

What shall we expect from this show?
A brilliantly witty and hilarious solo show that gives an insight into what it might be like if you became friends with the ultimate gay icon (Barbra Streisand, of course)

How has Barbra Streisand influenced the story plot?
The show revolves around the imagined scenario of an out of work gay actor finding himself working in Barbra’s basement mall (the true part of the story being that Barbra Streisand has really converted her basement into a shopping centre!). They strike up somewhat of a friendship. We get to see how that plays out and whether they have things in common, despite their vastly contrasting statuses.

You are best known for writing and starring in your hit show My Son’s a Queer (But What Can You Do?), which won the 2022 WhatsOnStage Award for Best Off-West End show and, following two West End runs, was nominated for a 2023 Laurence Olivier Award. How do you feel about that? Does it add more pressure?
I’m deeply proud that My Son’s a Queer resonated with so many people. It’s a profoundly personal story, so it’s a good lesson in that being true to yourself is always the thing that’s going to help you succeed. I was daunted at the prospect of doing a piece that I hadn’t written, simply for the fact that I’d hoped my acting chops and comic abilities would still stand, even if it wasn’t necessarily written with my voice in mind. However, the pressure is off! Jonathan Tolins is the most fantastic writer so it all comes naturally. And, of course, we’re all simply playing dress up and telling stories at the end of the day. Once you accept that, it relieves much anxiety!

Did you expect the huge success of My Son’s a Queer (But What Can You Do?) ?
I think if you expect or want something to be very successful, you can only be disappointed! So I went into it with no preconceptions. I wrote it during lockdown, not knowing theatres would ever open again, so to even have it on in the first place was a bonus! The fact that it’s been so widely embraced is overwhelmingly wonderful.

What do you enjoy most about this show and what has been the hardest part so far?

Being able to really stretch the acting limbs again has been joyous. It’s been a while since I fully invested myself in other characters. Getting to explore them, their thought processes and their own idiosyncrasies has been very exciting. I guess the most challenging part is the part I also enjoy the most: making sure each character character’s intention is clear and defining each role. Never mind the fact the play is 100 minutes long and it’s just me up there guiding an audience through this story. It took a while to learn the lines! But, as Barbra says in the play, “the process is what’s fun!”

How has your life changed over the last years?
Immeasurably! I never imagined when I was uploading sketches to TikTok in 2020 that I’d end up fronting a solo play. I am very lucky to have been able to carve a unique path for myself in this industry. I think the number one lesson I’ve learned is trust your own instincts, stay in your own lane and don’t ever try to fit yourself into boxes that aren’t meant for you. I spent a long time trying to mould myself into the perfect casting bracket but that’s often a lot of nonsense.

What is the real price of fame in your case?
I’m not sure I could ever compare my case to that of Barbra Streisand’s (I reckon she’s got a fair few more Instagram followers)… but there is a line in the play that resonates with me deeply: “It’s fun… but all the excitement and the mishegas makes the rest of life go slower”. There’s a hell of a lot of noise, all the time. The glitz and glam can often feel all consuming, claustrophobic even, to the point that, when it’s not there, you don’t know what to do with yourself! It’s a good lesson in remembering that there is life outside of work and it’s vitally important to cultivate that.

What are your future plans?
 I’m so thrilled to have done a play. More of those please. Also, lots of writing. More on that coming soon, so stay tuned!

CAST & CREATIVES

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Alex | Rob Madge

Understudy | Joseph Hewlett 

Writer | Jonathan Tolins

Director | Kirk Jameson

Scenographer | Ingrid Hu

Lighting Designer | Jack Weir

Composer & Sound Designer | Emily Rose Simons 

Vocal Coach |  Caitlin Stegemoller 

Wig Designer | Craig Forrest-Thomas

Costume Supervisor | Catherine Ruddick

Production Manager | New Wolf Productions

Stage Manager | Rosie Morgan

Marketing | MakeANoise

Press | About Grace PR

Social Media Management | JMF Communications

Artwork Design | Christopher D. Clegg

General Management | New Frame Productions

Presented by Ryan Hugh Mackey Productions and New Frame Productions With Theatre Royal Plymouth, Joly Black, Parker & Newes Productions and JMF Communications