Month: February 2023

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Blood Brothers – Richmond Theatre

🎭 Blood Brothers
📍 Richmond Theatre
🎫 PR invite
⭐⭐⭐⭐

“How comes you got everything and I got nothing?”

Willy Russell’s award-winning musical, Blood Brothers heads to Richmond Theatre for an emotionally compelling production that explores family, fate and social class.

Directed by Bob Tomson and Bill Kenwright, the musical follows twins separated at birth, not knowing their relationship and leading very different lives. Russell has written a striking story, depicting nature vs nurture, class inequality and the impact this has on our lives.

This was my first time watching the production, which opened in 1983. I was eager to know more about the nation’s much-loved musical.

The story

Set in Liverpool during the 1950s, Mrs Johnstone (Niki Colwell Evans), a single, hard-working mother of 7 falls pregnant with twins and worries about the financial burden. Mrs Johnstone is approached by the rich, middle-class Mrs Jennifer Lyons (Paula Tappenden) who offers to take one of the twins and raise him as her own. Mrs Johnstone makes the heartbreaking decision and they both agree to never let the brothers know the truth.

The brothers meet when they are 7 years old, unbeknownst about their relationship, and quickly become best friends – or as they called each other, “blood brothers”. Their friendship quickly blossoms, despite the stark contrast in their lives.

Photo by Jack Merriman

Mickey (Sean Jones) youngest of seven siblings, grows up in a working-class area of Liverpool, while Eddy (Joe Sleight) is the only child of a wealthy family who lives nearby. As they grow older, their bond slowly fades. The brothers go down different trajectories and have opposing opportunities afforded to them.

My thoughts

The Narrator (Richard Munday) guides us through the story and shares a forewarning of the brothers’ fate. Munday’s intense stage presence and strong vocals paired perfectly with Nick Riching’s powerful lighting. A beautiful score plays throughout, although the music was a little too loud at times, which made it difficult to hear the lyrics. 

Jones and Sleight delivered fantastic performances; I was impressed with the range of emotions they showcased throughout the musical. Initially, I felt distracted by adults playing 7-year-olds, but I must commend the cast for their abilities to accurately portray the different life stages. Olivia Sloyan (who played childhood sweetheart, Linda), Jones and Sleight expertly captured the naivety and energetic playfulness among children. The ensemble also did brilliantly in their supporting roles, and I enjoyed how animated they were.

Photo by Jack Merriman

It was endearing to watch the two boys, whose parents tried so hard to keep them apart, become so close. The lighthearted humour balanced nicely against the more sinister and heart-rending second act. Mickey and Eddy’s social differences became more apparent as they grew older. From what they wore, to how authorities treated them, and their financial situations. 

Jones takes us on an emotional rollercoaster. He puts on a strong performance in the second act as we witness Mickey’s depression following his time in jail. It’s heartbreaking, especially as it appears Eddy has his life together. 

Photo by Jack Merriman

Evan’s flawless vocals and raw emotion in every scene made her a total standout in this musical. We smiled as she sang about her love for dancing and when the family were rehomed. We sympathised as she battled with debt collectors. The finale song ‘Tell Me It’s Not True’ was emotionally moving – I wasn’t surprised to hear a few sniffles from the audience.

Despite being written over 40 years ago, the story feels relevant in the present day as the UK faces economic hardship amidst the cost-of-living crisis. Blood Brothers is poignant, powerful and certainly a classic musical.

It’s playing at Richmond Theatre until 25 February 2023, before continuing its UK tour.

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No Limits – Turbine Theatre

🎭 No Limits
📍 Turbine Theatre
🎫PR invite
⭐⭐⭐⭐

Five West End stars take to the stage in a new, exciting production at Turbine Theatre.

Written by Sam Thomas and directed by Dean Johnson, No Limits is a song cycle depicting an array of emotions and experiences we all can resonate with. Featuring songs of LGBTQ+ stories, family, friendships, and love, No Limits shows characters free themselves from their anxieties and develop a sense of self-belief.

The cast is made up of Owen Clayton, Hannah Lowther, Mary Moore, Matthew Maher and Natalie May Paris, all of who showcase their undeniable talent and stunning vocals. 

The song cycle takes place in a London apartment, designed aptly by Justin Williams, with each actor portraying various characters at all stages in life. We hear about failed dates, family woes, cheating partners and the anxiety of entering adulthood. 

The entire cast was amazing in their individual roles as well as together during group numbers. I loved Lowther and Maher’s romantic duet – their voices complemented each other beautifully. The second act was the strongest and where I felt the energy pick up. 

There was the humorous track around being ‘kinky’, paired with cheeky supporting props, which had the audience laughing out loud. I enjoyed the musical comedy number by Moore; they had such a lively stage presence, and we couldn’t help but smile. I especially loved the support from the cast, particularly during the more light-hearted numbers. The small details certainly added to the narratives of the songs.  

Natalie May Paris delivered outstanding vocals – their riffs and runs gave me goosebumps. The titular song, ‘No Limits’ was one of my highlights of the entire show. The lyrics were beautiful and a positive reminder that with enough self-belief, we can overcome any setbacks and ‘know no limits’.

While the songs sometimes fall into a cliche category, I still appreciated the relatability of the show. Particularly as a young person, who often feels they haven’t got their life together, this musical was authentic and provided many realistic examples of the obstacles people face. I loved the balance between the hilarity and poignant songs.

No Limits is a joyous production, full to the brim with positivity and a wonderful cast. I can’t wait to see where the production goes next! You can catch the show at Turbine Theatre until 26 February!

(P.S. – We would love a cast recording!!) 

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The High Life – Barons Court Theatre

🎭 The High Life
📍 Barons Court Theatre
🎫 PR invite
⭐⭐⭐

Scott Younger’s new play The High Life heads to Barons Court theatre for a funny yet honest portrayal of toxic work environments.

The story

The story follows Kayla (Feyisara Mendes) a graduate who moved to London and began work in a hipster coffee shop. Kayla dreams of having a ‘proper’ job and after a run-in with an old acquaintance, she soon lands a new role at a PR firm. We follow Kayla on her journey at Performance PR, and the eventual burnout she experiences. The complicated (and secret!) relationship with her boss paired with the workload, takes a toll on Kayla and she results to alcohol as a coping mechanism.

My thoughts

‘The High Life’ is humourous, and at times heartbreaking, as we witness Kayla’s decline throughout her time at the PR firm. 

Directed by Sarah Githugu, Mendes gave a strong performance and their comedic timing was brilliant. They skillfully captured our attention and maintained high energy throughout the 2 hour-long solo show. The character, Kayla, was incredibly likeable from the moment she entered the stage, dancing to Whitney Houston and retelling funny stories about her cafe job.

Mendes performed various characters in the story, effortlessly switching between accents and mannerisms. While I did notice some slip-ups, they still delivered a great performance and I especially enjoyed the emotive range we were shown by Mendes. Act 2 features a more vulnerable Kayla as she struggles with the pressure to be ‘successful’ and becomes reliant on alcohol to manage her stress.

Younger’s writing is authentic and sheds light on a multitude of issues, that sadly may feel familiar to many of us 20-somethings-year-olds. Kayla experiences casual racism from clients, sexual harassment from strangers and dodgy propositions from landlords. On top of that, her boyfriend’s behaviour seems to knock her confidence, making Kayla question her ability in the job.

While I appreciated all the themes, some scenes (the Dubai work trip) were too long and didn’t necessarily add much to the overall story. Other scenarios with Kayla’s boss/boyfriend also felt predictable.

I commend Younger for writing a unique play that explores a young black woman’s experience in toxic workplaces. Going a step further to delve deep and highlight industry racism would have elevated the story even more. From hearing the description of Kayla’s colleagues who quit or were fired, there is something to be said about them all being women of colour. This could have been an interesting plot to focus on, especially as Kayla acknowledged that her white colleagues and Darren seem to get away with doing minimal work. 

Overall, I enjoyed ‘The High Life‘. The creative team have developed an original piece of theatre, performed wonderfully by Mendes. With some minimised scenes and more focus on specific issues, this story could be even stronger. I’m looking forward to where it will go next!

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Chicken Burger N Chips – Brixton House

🎭 Chicken Burger N Chips
📍 Brixton House
🎫 Gifted
⭐⭐⭐⭐⭐

“The world wasn’t designed for us to succeed playboy, you gotta clock that we’re living in an uneven society.”


Written by Corey Bovell and directed by TD. Moyo, Chicken Burger N Chips is a fast-paced, witty play that tells a story about gentrification and the impact it’s having on the lives of its youths. 

Set in South London, Bovell has produced an authentic coming-of-age story, full of nostalgic references, notable music and the most upbeat performance.

The story

Summer holidays are here and 18-year-old Corey awaits his A-Level results. During his regular routine of hanging out in fast food chain, Morleys with the mandem, Corey meets Jodie, who makes him realise the changes occurring in the Lewisham borough. The more time spent together, Corey grapples with the notion of staying in ‘ends’ or leaving to pursue his dreams.

The play explores gentrification as Corey watches local Lewisham landmarks be demolished and replaced with flats, yoga mats & hipsters – leaving no shops, no markets, and no culture. 

A run-in with rivals further touches on the impact of gang violence and the fear and uncertainty this causes amongst young Black men. As a friend tells Corey that “we live in an uneven society”, Corey wonders what the future holds for him. 

Photo by Helen Murray

My thoughts

TD. Moyo creatively directs the performance with Corey (played by Gamba Cole) cooking fried chicken live on stage as shares his story. This was a fascinating directional choice from Moyo, that didn’t interrupt the flow of the play.

Allyson Julien’s set design accurately represented a family kitchen; photographs on the fridge, a noughties-looking stereo, Ainsley Harriot cookbooks and Dunn’s River seasoning on the counter. Cole utilises the entire space as he shares his adoration for Lewisham. He describes Morley’s as the ‘beacon of South London’, and it’s clear the food spot became a sanctuary for him and his friends. 

Photo by Helen Murray

Gamba Cole puts on a fantastic performance as Corey in this solo show. Cole oozed charisma and humour in the role, keeping the audience engrossed all throughout. 

Bovell’s writing is engaging, witty and sparks pure joy, which is exactly what Cole delivered. I laughed a lot during the performance, especially during the scenes in Morley’s. 

There was multi-roleplaying from Cole as he effortlessly transformed into different characters in the story. Cole impressively showcased a range of mannerisms. Each character portrayal felt relatable, adding even more depth to the story. Additionally, Ben Garcia’s seamless lighting design did well to indicate the transitions between characters. The show also featured musical interludes of various genres, and the audience couldn’t help but join in.

Photo by Helen Murray

Overall, Chicken Burger N Chips is captivating, filled to the brim with enthusiasm and joy. It’s incredibly moving as Bovell incorporates important themes throughout. At its core, the show is a celebration of South London. It also takes its time to explore issues teenagers face and the socio-economic impacts of gentrification in working-class areas in London.

As a Millenial that grew up in South London, eating Morley’s every other day after school, I am thankful that this play exists. I hope it returns for an even longer run on stage!

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Counter – VAULT Festival

🎭 Counter
📍 VAULT Festival
🎫 PR invite
⭐⭐⭐⭐

So, do lies hold a relationship together? 👀

Written and directed by Maggie N. Razavi, Counter follows the breakdown of a long-term relationship. With a minimal set, taking place at a bar counter, we are immersed in a couple’s relationship, whose inner thoughts question whether they should stay together or break up.

The story

The couple, played by Max Norman and Rivkah Bunker, have been together for a decade but haven’t communicated in three weeks. We soon learn the man had proposed to his partner, which caused her to run off, take a ‘break’ – and cease all communication with him. They exchange passive-aggressive small talk, but each character breaks the fourth wall to reveal true feelings about the situation. And each other. 

My thoughts

The duo put on strong performances; both convincingly deliver satirical monologues that had me switching sides on who I personally thought was in the wrong. Razavi’s script is engaging and authentic – I appreciated them highlighting real-life issues people in relationships face. He strives for marriage, kids, and a house before 30, while she wants to be free to travel the world. Their differences and lack of communication lead to controversial secrets. 

‘Her’ (Bunker) questions whether she really loves ‘Him’ (Norman). He may provide security, family, and stability, but she feels unseen. Sure, she’s committed some (okay, several!) wrongdoings, but we soon learn ‘Him’ isn’t innocent either. 

Our characters speak directly to audience members, asking for their opinions. “Am I in the wrong? Should I stay? What dating apps do people use?” I must commend Bunker for their improvisation skills and also their added humour in this intense play.

The concept in Counter is great, and I believe it could be elevated in terms of audience participation. Having an alternative ending depending on the response from the audience could be an interesting plot device. I also would prefer if there was more dialogue in their scenes together, rather than awkward silence. There could have been tender moments, with movement or speech, demonstrating that they are deeply in love, but their monologues suggesting otherwise. Having that contrast would certainly add to the humour.

I won’t spoil the ending but it certainly divided opinions and sparked a post-show debate between friends and me!  

Maggie N. Razavi has created a unique piece of theatre by including interactive elements, crafting compelling characters and initiating discussion both during and after the show. 

Although the show has finished its tour at the VAULT festival, I hope to see Counter back on stage soon!

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I am not Black – Barons Court Theatre

🎭 I am not Black
📍 Barons Court Theatre
🎫 PR invite
⭐⭐⭐⭐

Written and performed by Akin Wright, ‘I am not Black’ is a coming-of-age story, exploring one man’s plight of growing up in an environment where he was ‘‘too white for the black kids and too white for the white kids”. Directed by Joseph Junkere, this one-man show is funny, powerful and an honest exploration of the black experience.

The story

When Temz Thomas (Akin Wright) is invited by his former school to give a speech to current students, this sparks a trip down memory lane. As he finds an old Blackberry phone, Temz begins to reminisce of his experiences at school. He reveals the microaggressions and casual racism faced during that time and reflects on what it was like to feel as though he didn’t belong.

As Temz dresses in school uniform, he shares what it was like being at a private all-boys school, where he was one of few black students, and made to feel othered. Temz succumbed to the jokes about his race as well as the negative and ridiculous stereotypes about Black people. We also discover the jokes sadly continued outside of school, and in his church community.

My thoughts

Wright incorporates many colloquial phrases and cultural references that were all too familiar to me. Blackberry phones, Channel U, and even the CGP GCSE books sprawled on the floor took me back to my own younger years. The set design was simple but was enough to transport the audience back to Temz’s school days.

Racism is a key theme throughout the play, as well as belonging. It’s tough to hear, but I commend the script for being authentic and not diminishing the experiences many young black kids have faced.

Wright’s storytelling is engaging, and they successfully capture our attention for all 60 minutes. The writing is entertaining, quick-witted, and included so many nostalgic references that made me chuckle (The Blackberry battery hack was such a throwback!). There’s also a nice balance between the humour and the serious nature of the topic.  

I enjoyed the pacing of the show. Even with all the content and backstories, it didn’t feel rushed. There was multi-roleplaying from Wright, as they portrayed the supporting characters in Temz’s life. At times, it was difficult to keep up with the number of characters in the story. Wright did a great job at performing them all and I particularly liked the use of audio during conversations with other characters.  

The second half was the strongest, as we saw even more emotion from our protagonist. Temz lets out pent-up frustrations from the years of casual racism faced by his peers, teachers, and his own community. Under Jinkere’s powerful direction, we see Temz sit in the middle of the stage, lights dimmed, revealing a written wall of racial slurs and microaggressions. This was my standout and such a profound way to echo the stories Temz shared.

In an impassioned poem, Temz rightfully expresses that black people are not a monolith. We are unique. Personally, I am proud there are shows like ‘I Am Not Black’ that have the platform to share our unfiltered stories and experiences.

‘I am not Black’ is playing at Barons Court Theatre until 4 February. (Although tickets have sold out!)