Month: December 2023

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REVIEW: Stranger Sings – Southwark Playhouse

🎭 Stranger Sings
📍Southwark Playhouse – Borough
🎟️ PR invite
⭐⭐⭐⭐⭐

Jonathan Hogue’s award-winning parody musical, Stranger Sings, first made its way to London in 2022 at The Vaults. The musical has since gone on to entertain audiences on a U.K. tour and has returned to Southwark Playhouse for an alternative festive show!

Stranger Sings is a guaranteed evening of laughter – expect big hair, heavy 80s synths and a dancing Demogorgon! We are transported to season one of Stranger Things, joining the whole Hawkins Gang on a mission to find Will. We may even find #JusticeForBarb! The show also features cameos from characters in later seasons. While the show is sure to be popular with fans of the show, I don’t think it’s necessary to have watched all seasons (or any!) to enjoy and appreciate the musical. 

Justin William’s set design is incredible and effortlessly portrays notable scenes from the series. We are seamlessly transported to the woods, to Joyce’s festive-lights living room and into the Upside Down. Alongside the great set design, Ellie Farrow’s costume design is so detailed, matching the characters perfectly. Clancy Flynn’s lighting and Richard Carter’s sound design worked well to enhance the eerie atmosphere. 

Directed by Ellis Kerkhoven, the show is fast-paced, and brimming with jokes, all of which are hilariously timed.  Stranger Sings features an impressive selection of original music, including classic 80s-inspired songs, upbeat pop tunes and even big 11 o’clock numbers. The score is exciting, and catchy with some of the most witty lyrics. I also loved how throughout the show, the writing constantly pokes fun at the decade and references iconic pop cultural moments from that era. Musical theatre fans may also spot the lyrical references from popular musicals.


Musical director, Olivia Zacharia leads the talented cast of 9, who are absolute stars. They showcased impressive multi-roleplaying, showing off their range by playing different characters. All the costume changes were seamlessly executed, never interrupting the flow of the show. The cast stayed true to the characters while adding their unique flair. Howard Jenkins gave a strong performance in the role of Jim Hopper, perfectly embodying the character with his mannerisms (that walk!) and their dry comic delivery. Verity Power is equally incredible as she perfectly encapsulates the chain-smoking, slightly manic character of Joyce. Power displayed an incredible vocal range in a spectacular song with surprise cameos, but also in their role as Will Byers (performed via puppet!)

Alfie Doohan was fantastic as Steve Harrington, Jonathan Byers and Dr Brenner – each role from Doohan had us laughing at how precise his portrayal was (and all those wigs!) Elliott Wooster, Jessie Jae Davis and William Shackleton perform as Mike, Lucas and Dustin, the beloved trio of friends. Shackleton was perfect as Dustin; paired with the baseball hat and lisp, Shackleton delivered strong vocals and hilarious characterisation in the role. Anna Amelia had the most gorgeous vocals and gave great performances as Nancy Wheeler and Eleven. Davis’ performance as the Demogorgon was an unexpected highlight, with catchy choreography by Lucinda Lawrence.

Philippa Leadbetter is a powerhouse in the role of Barb Holland  – “the throwaway plot device character from season 1”. Leadbetter had the most impeccable comedic timing, and delivered a performance that can only be described as theatrical excellence! The cast is supported by two super swings, Ally Kennard and Shannon Bourne. 

Hogue’s writing is clever and serves as a love letter to the 80s and one of the most popular TV series. As a Stranger Things fan, this musical has become one of my all-time favourites! It’s nostalgic, packed with hilarity and utter mayhem! The entire cast and creative team have put on a spectacular show, that I highly recommend! 

Stranger Sings is playing at Southwark Playhouse until 6 January 2024, before continuing its UK tour. 

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REVIEW: Reuben Kaye: The Butch is Back – Southbank Centre

🎭 Reuben Kaye: The Butch is Back
📍Purcell Room, Southbank Centre
🎟️ PR invite
⭐⭐⭐⭐

Reuben Kaye: The Butch is Back at Southbank Centre is a cabaret stand-up comedy extravaganza that takes audiences on a journey through the life of this Australian sensation.

Through a blend of song, adult jokes and witty one-liners, Reuben shares the story of his upbringing as a young queer boy in Melbourne in this comedy performance. We also have an exploration of the nuanced relationships between father and sons. 

Dubbed the Christopher Nolan of Cabaret, we are treated to exciting renditions of popular songs from The Rolling Stones, Geri Halliwell and Stormzy, sung wonderfully by Reuben. The bold use of lighting design creates a captivating atmosphere during the show. Those striking hues of red emphasise Reuben’s statement entrance as enters the stage, in a Marie Antoinette-inspired costume. 

 â€˜The Butch is Back’ takes us through various timelines of Reuben’s life. There is a myriad of adult content throughout, and even audience interaction, some of which was improvised and flowed well with the show.  

Photo by Holly Jackson

Reuben’s quick-wit and great comic timing shine throughout Act 1, with fast-paced jokes about British politics and the monarchy. I initially struggled with the lack of linear structure in the first act, while Act 2 felt more cohesive. The show delves into relationships between fathers and sons, portraying Reuben’s journey from childhood to cabaret stardom. Reuben also acknowledges growing up queer and being a drag act.

Backed by a fantastic band led by musical director, Shannon D.Whitelock, the show seamlessly blends jazz, soul, and rock, which I adored. Kaye’s vocals and musical versatility were a standout and I couldn’t wait to hear more! Amidst the adult jokes and occasional audience interaction, I found that the music did incredibly well in enhancing the storytelling.

The show had a good balance between humour and serious moments, particularly in the second act as the show reveals vulnerable moments drawn from Reuben’s personal experiences. The honesty and authenticity displayed by Reuben, particularly in the childhood stories and memories of his father, contribute to a mesmerising performance. 

While I think the show could benefit from being one act, the humour, raw emotion, glamorous outfits and Reuben’s natural stage presence, makes ‘The Butch is Back’ a must-see.

Reuben Kaye: The Butch is Back is playing at Southbank Centre until 30 December 2023!

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REVIEW: Cinderella – Brixton House Theatre

🎭Cinderella
📍Brixton House
🎟️ PR invite
⭐⭐⭐

Brixton House welcomes audiences to a reimagined Cinderella tale with a local twist by Danusia Samal!

The story

We meet Sindi-Ella (Yanexi Enriquez) a teenager who resides above a greengrocers her late father owned. Sindi is determined to keep the family business afloat – so determined she even grows various vegetables, fruit and plants in her room! Living with her bougie step-mum and step-sister, Sindi finds solace in conversations with her reliable ‘Delphy’ (Delphinium) plant and wonders how she can keep the business running amidst all the constant changes happening in Brixton…

One of those changes happens to be Charmz; a popular influencer and CEO of Flip Flop, a social media platform for teens, who aspires to buy out all local shops on Brixton Lane and build a ‘mega mall’. When Sindi meets Charmz, the pair have an undeniable connection and he invites her to his party…which happens to be on the same day as her greengrocers ‘rebrand’ event. With turmoil unfolding at home, can Sindi make the party? Perhaps her faithful houseplants can assist…

Photo by Alex Brenner.

My thoughts

Set against a backdrop of lively beats and directed by Ola Ince, this Cinderella retelling is a unique adaption, that explores strong themes such as gentrification, family dynamics and loss. As a South Londoner, I enjoyed the authentic representation of Brixton during this production.

Amelia Jane Hankin’s set design impresses, with eye-catching elements that were split across two levels. It was a great depiction of a green grocers as well the Brixton Lane logo which was suspended above. Anna Watson’s lighting worked wonderfully to enhance that transformative ‘Cinderella’ moment towards the end of Act 1. It did feel quite magical, and I had hoped for more moments like this throughout.

Duramaney Kamara’s music shines throughout, with a brilliant mix of catchy garage-inspired songs, along with rap, pop, and reggae. Enriquez had such star quality; they delivered a strong performance and showed off beautiful vocals. Alex Thomas-Smith’s was captivating as Charmz, from the moment they entered the stage. They were quite literally shining, with a ring light propped behind them during all the ‘Flip Flop’ announcements. Like their characters, Enriquez and Thomas Smith showcased sweet, authentic chemistry, and I loved their songs (and choreography!) together. 

Photo by Alex Brenner.

Ray Emmett Brown played Delphy, the charismatic delphinium plant who also happened to be Sindi’s father. They provided us with laughter and I especially liked how he balanced the humorous moments with sensitive scenes later in the show. The cast is completed with Julene Robinson, who multi roles as Sindi’s step mum and a school friend. Step sister, Tia is played by Jesse Bateson who delivers great comedy as the influencer longing for West London – with a running joke that is her constantly insulting South London (ouch!).  

While the cast maintained high spirits, I couldn’t help but feel the pacing was slower than expected, and some jokes fell flat. The show deviates from a traditional pantomime to the point where I wouldn’t quite define this as a panto. I wondered how the show would be received by younger audience members as I felt there was too much going on with the storyline and it became confusing. I felt the ‘fun’ factor fizzled out in Act 2. As I mentioned earlier, it would have been nice to have more lively, magical moments, something I associate with the original Cinderella. On the day I saw the show, there wasn’t much audience participation, and even when prompted, not many of the audience knew how to respond… 

Photo by Alex Brenner.

Despite this, I applaud this production for having a different take on Cinderella, with the inclusion of resonating themes such as navigating loss, the impact of gentrification and family dynamics. Samal’s writing sensitively explores all of this. With poignant scenes between the characters, fun, catchy selection of songs and an empowering ending, allowing for a happily ever after. 

Cinderella is playing at Brixton House until 31st December 2023.