Year: 2023

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Brown Girl Noise – Camden Fringe

🎭 Brown Girl Noise
📍The Hope Theatre (Camden Fringe)
đŸŽŸïž PR invite
⭐⭐⭐⭐⭐

Kaya Uppal’s ‘Brown Girl Noise’ is a hilarious and heartfelt ode to South Asian Womanhood

The story

The story follows four South Asian girls who meet at an audition for Priti Patel’s autobiographical film. As they wait, they decide to tell their own stories, sharing personal anecdotes – from childhood experiences to first crushes to nosey aunties. Brown Girl Noise brims with laughter, emotion, and unapologetic authenticity.

My thoughts

Directed by Neetu Singh, the play is fueled by razor-sharp wit and a brilliant script that moves between dialogue, spoken word, and entertaining dance breaks. I enjoyed how the production effortlessly shifts between hilarity to poignant moments. Performed at The Hope Theatre, the show works well in its intimate setting, and there are playful breaches of the fourth wall. 

The humour takes centre stage and I found myself laughing out loud numerous times. I loved the iconic nods to pop culture moments including Love Island, Bend It Like Beckham, and *that* Big Brother India scene. While some reenactment scenes felt too drawn out, I quite enjoyed the theatrical impressions of UK politicians. 

The characters are wonderfully performed by Misha Domadia, Kerena Jagpal, Amber Zarya and writer, Kaya Uppal. Their chemistry was palpable; even in the moments where their dialogue overlapped, it only added to the natural camaraderie on display. They also showcased impeccable comedic timing and delivery. Whether it was plaiting each other’s hair or falling into a tight embrace, Singh’s direction beautifully portrayed a strong sense of unity and sisterhood.

The cast skillfully explores the challenges faced by South Asian women including name-calling, family pressure and gender discrimination. Uppal doesn’t hold back in revealing these obstacles and uses satire to portray this. As the play changes tone, I appreciated the more vulnerable moments, particularly the touching ‘Dear Me’ scene.

The second half of the play honours all South Asian women, and pay homage to their history as the characters state, ‘We are descendants of warriors’. The show provides a powerful way to share and embrace their stories, making them feel proud and empowered in who they are.

Brown Girl Noise serves as a clear example of why South Asian stories are important in theatre. As the characters humorously express their long wait for representation, (“I’ve waited 20 years for Bridgerton!“), the sentiment rings true.  The production is a lively blend of rebellion, humour, honesty, and unfiltered authenticity – qualities that make great theatre. With fantastic performances, resonating themes and a heartfelt core, this is a show with a lot of potential. I’m excited to see where it goes next!

Tickets are currently sold out, but you can find more information about the show here

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Heart – Barons Court Theatre

🎭 Heart
📍 Barons Court Theatre
đŸŽŸïž PR invite
⭐⭐⭐

Reece Lewis’ honest and personal one-man show heads to Barons Court Theatre for an evening of laughter, heartbreak and harrowing insight into the experience of a young queer man.

The story

Described as a love letter to all gay men in London, we meet Tyler – a 24-year-old mixed-race gay man from London. He adores his mum, and his friends and loves a party! But that’s not Tyler’s story – what lies beneath is far more complex. We learn that Tyler longs for a meaningful, romantic connection – which proves to be difficult to find in an era of online dating apps and casual encounters. The show also focuses on Tyler’s journey with an absent, disapproving parent.

My thoughts

We enter the theatre to various electronic dance tracks and nightclub-style lighting; this set the atmosphere of the show which I enjoyed as I admired the set. A Pride poster was centre stage, along with a multicoloured swivel chair and a Pride blanket. The set design did well to establish the theme of the show and reflect the character’s personality. Lewis had a fantastic stage presence from the moment they entered the stage. Tyler is instantly likeable, witty, and by the look of those dance moves – the life of the party! Lewis performed as multiple characters in the story effortlessly switching between the different accents and mannerisms.

‘Heart’ reveals the societal judgements gay people face, be it from family members or people in the queer community. Tyler is tired of being straight people’s ‘experiment’ and battles to find a real connection. His dating experiences are explored in a vivid scene, directed by Koreen Howel. As Tyler moves around the stage on the swivel chair, scrolling through explicit and racist Grindr messages, we can’t help but feel sorrow.

The show captures the freedom Tyler finds in queer spaces, the feeling of safety, and a space to be his true self. It was beautiful to hear and warmed my heart. The rhythmic, and slightly poetic script also nicely portrayed Tyler’s stream of consciousness.

While the show moved at a fast pace, some transitions felt disjointed and too abrupt. I liked some lighting choices throughout, including the warm blue for softer scenes. But during a moment of intimacy, we had a deep shade of red lighting but this was quickly turned off, despite the ongoing scene.

We lean into more sensitive themes, involving Tyler’s father, who is disapproving of his son’s sexuality and is abusive. The last scenes focused on their relationship and despite the poignant moments, this felt like a drawn-out conclusion. Tyler’s journey with his love interest seemed like the more fitting way to conclude the show. Considering the production is described as a love letter to the gay community in London, I wasn’t sure where the final 25 minutes fit into that. Nonetheless, I still appreciated the themes throughout the show. Reece Lewis is a strong performer and writer and I especially loved seeing a gay, mixed-race character (we need more POC queer stories!).

‘Heart’ is playing at Barons Court Theatre until 19 August 2023. You can buy a ticket online here!

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A Playlist for the Revolution – Bush Theatre

🎭 A Playlist for a Revolution
📍 Bush Theatre
đŸŽŸïž PR invite
⭐⭐⭐⭐

AJ Yi’s new romantic comedy follows the journey of Jonathan and Chloe, who meet at a family wedding and unexpectedly find love amidst one of the largest demonstrations in Hong Kong’s history.

The story

Set in 2019, we follow the journey of Jonathan and Chloe, who meet at a family wedding in Hong Kong. Chloe (Mei Mei Macleod) is enjoying freedom before returning to England for university, while Jonathan (Liam Lau-Fernandez) The pair strike up a connection; bonding over musical choices, they spend the evening dancing and drinking before Chloe has to leave for the UK. Their long-distance friendship unfolds through endless messaging and the creation of a shared Spotify playlist. 

Photo by Craig Fuller

As this beautiful relationship forms, the world around them is changing. One of the largest demonstrations in Hong Kong’s history is taking place, as citizens fight for their rights and for a better future. Chloe is inspired by the movement and wants to ‘change the world with a playlist’, adding protest songs – Beyonce, N.W.A and John Lennon – to their playlist. Jonathan is initially less inclined to join the protests, until he meets the school’s janitor, Mr Chu (Zak Shukor), who has been protesting all his life, and convinces Jonathan to take part.

My thoughts

The chemistry between Jonathan and Chloe is undeniable. Chloe’s quirkiness and spontaneity contrast with Jonathan’s more pragmatic approach to life, creating a dynamic that kept us engaged. Jamie Ye and Nicola T. Chang’s sound design form a great part of the show. The use of music and the shared Spotify playlist was clever and added a layer of intimacy to their long-distance relationship.

Emily Ling William’s creative direction elevates this, and despite the physical distance, Jonathan and Chloe feel closer than ever. Ling Williams opts to have the characters read their texts (and the emojis!) aloud. They share Asian snack recommendations, and musical tastes, dancing alongside one another to the pop, rap, and classical music songs that fill their revolution playlist. Both Ling Williams and Yi have beautifully captured the essence of a rom-com. 

Photo by Craig Fuller

The play explores themes of identity, resilience and the meaning of protests. Chloe longs to feel closer to her Hong Kong heritage and idolizes the movement. Jonathan brings her down to earth, reminding her what it is truly like to be living in the middle of the protests. 

An integral character in the play is Mr Chu, portrayed brilliantly by Zak Shukor. Chu is a stern yet caring mentor and fatherly figure to Jonathan. The pair displayed amazing onstage chemistry. Their scenes were filled with a good balance of humour and poignancy. It was endearing to see the two form a friendship and I especially enjoyed Chu’s witty one-liners. The entire cast gave strong performances, particularly Lau-Fernandez who was utterly captivating in the role of Jonathan. They showcased a range of genuine emotions; the sense of vulnerability and fear left me feeling quite moved. 

Photo by Craig Fuller

Yi’s writing emphasises the very reason why the people of Hong Kong are fighting in the first place. As Chu exclaims Hong Kongers “are not quiet”, he passionately embodies the anger and lifelong commitment to fighting for rights and change. 

Gillian Tan’s video design and sound bites from the Hong Kong protests ground the play in the reality of the events and act as a powerful reminder. AJ Yi expertly weaves together romance, comedy, and political themes.

Photo by Craig Fuller

With fantastic performances and creative direction, A Playlist for the Revolution is a wonderfully written, powerful piece of theatre. 

I have so much respect for Bush Theatre and felt immense joy to see a predominantly Asian cast and creative team. Representation in theatre is something I am passionate about. Being able to experience real, diverse stories on stage makes me feel proud and excited for the future of theatre. 

A Playlist for the Revolution is playing at Bush Theatre until 5 August 2023!

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School Girls; Or, The African Mean Girls Play – Lyric Hammersmith Theatre

🎭 School Girls; Or, The African Mean Girls Play
📍Lyric Hammersmith
đŸŽŸïžPR invite
⭐⭐⭐⭐⭐

Jocelyn Bioh’s award-winning comedy play arrives in London, for a hilarious, heartfelt story that explores the experiences of young Black girls.

The story

We’re transported back to 1980s Ghana, at the prestigious Aburi Girls Boarding School. ‘Queen Bee’ Paulina Sarpong (Tara Tijani) and her group of friends eagerly await the arrival of the Miss Ghana pageant recruiter, who will be looking for candidates to represent Ghana in the Miss Global contest. Paulina is cheeky, and pretentious and seeks praise by putting her friends down with snide remarks about their intelligence and appearance. 

Despite these unlikable qualities, Paulina holds the leading position to claim the title of Miss Ghana. That is until Ericka (Anna Shaffer) a new mixed-race student, transfers from America to complete her studies at the school. Ericka’s lighter complexion fascinates the school girls but enrages Paulina who fears Ericka will ‘steal’ the title because she fits the beauty standard that favours fairer skin. The arrival of Ericka disrupts the friendship dynamics, sparks rivalry (and singing battles) and uncovers heartbreaking revelations.

Photo by Manuel Harlan

My thoughts

Bioh’s writing is hilarious and heartfelt. The constant, quick-witted jokes keep the energy high for the entirety. The play focuses on the characters’ desire to be like the women they see in pageants, conforming to a particular beauty standard.

Paul Wills’ set design is subtle yet beautiful in depicting the Aburi mountains against an orange hue background. Similarly, Kinnetia Isidore’s costume designs strongly represent Ghana with the school girls wearing cute kente-patterned skirts. Headmistress Francis (Allison A Addo) dons a striking pink kente fit, which suited her stern but sweet personality. 

The play has clear parallels to American high school dramas (including the iconic 2004 film, Mean Girls!). The girls enthusiastically gather together to gossip about hair, fashion, and boys. Monique Touko’s direction infuses the production with playful and youthful energy, perfectly capturing the essence of teenage schoolgirls.  

Photo by Manuel Harlan

The cast is fantastic and each actor brings their own individual personalities to the stage. They performed so naturally and had authentic chemistry. It felt like we were watching a real group of friends banter with one another! Gifty and Mercy (Francesca Amewudah-Rivers and Bola Akeju), the humorous duo, had me laughing out loud, with their naivety, bubbly personalities, and impeccable comedic timing. Heather Agyepong’s Ama is intelligent, and sensible, while Jadesola Odunjo brilliantly portrays Nana as the timid, kind-hearted schoolgirl. Nana gained sympathy from us as Paulina verbally attacks her, simply for being her.

Photo by Manuel Harlan

The complex character of Paulina surprises us when she finally drops the mean girl exterior to reveal the heartbreaking reasons behind her actions. Tijani’s portrayal is brilliant; I adored their overall stage presence and mannerisms (also, *that* sequin dress!). Tijani showed raw emotions, that evoked empathy from us, despite the flaws of the character. 

As Headmistress Francis attempts to uplift Paulina, recruiter and former Miss Ghana winner, Eloise (Deborah Alli), crushes Paulina’s dreams, asserting that the Ghana representative for the pageant must possess a “universal and commercial look”. It’s heartbreaking and some of the language used to describe the darker-skinned pupils is difficult to hear. Sadly, this is the reality of people’s experience in a world that favours a certain image.

Photo by Manuel Harlan

Bioh successfully weaves in other related topics, such as self-image, education, and materialism. This is cleverly done, as Bioh strikes the right balance of seriousness and comedy. I do believe an extra 10-20 minutes could have allowed further exploration into the themes, and perhaps include more affirmation that Black, no matter the shade, is beautiful!

Through its hilarious characters, engaging storyline, and universal themes, ‘School Girls; or African Mean Girls Play’ is a heartwarming comedy, exploring the vulnerable moments of teenagers worldwide. As a British-Ghanaian, I was ecstatic to discover this play and to witness a cast & creative team that represents me. It’s unique, entertaining and a joy to watch – I highly recommend it!!

You can catch ‘School Girls’ playing at Lyric Hammersmith until Saturday 15 July 2023!

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Around The World in 80 Days – Richmond Theatre

🎭 Around The World in 80 Days
📍 Richmond Theatre
đŸŽ« PR invite
⭐⭐⭐⭐

Jules Verve’s famous novel ‘Around The World in 80 Days’ has been transformed into a new, vibrant theatrical adaption, directed by Juliet Forster. The Tilted Wig production is a delightful, fun, colourful show, that would make the perfect family evening out!

The story

The story begins with a group of travelling performers, who embark on their most daring venture yet: recreating the adventures of Phileas Fogg. Phileas Fogg of London (Alex Phelps) attempts to travel the world in 80 days, on a wager of ÂŁ20,000, a bet set by his snobby companions at the Reform Club. Phileas and his newly employed French valet, Passepartout (Wilson Benedito), set out on a race around the world. The 1873 novel is retold with a mix of adventure, comedy and a touch of history that I hadn’t known!

The show does not only focus on Phileas Fogg’s journey; it intertwines fact and fiction, sharing the remarkable story of Nellie Bly, an American journalist known for her record-breaking trip around the world in 72 days. This adaption brings to life the original novel in an exciting and engaging way!

Photo by Anthony Robling

My thoughts

This production is lighthearted, silly at times and has a modern take on Jules Verve’s story. Sara Perks’ stage design is visually stunning, with bright primary colours that emulate a circus atmosphere. I noticed the cast’s microphones weren’t as loud as we would have expected. Some moments also could have benefitted from a bit of background music to add emphasis to the scenes. The pacing felt slow in Act One, but this soon picked up, particularly as we saw more slapstick comedy scenes – including a lengthy circus act that involved tiny bicycles, hula hoops and whips!?

The strong cast of five is completed with Genevieve Sabherwal, Eddie Mann and Katriona Brown, who showcase their talent through energetic multi-roleplaying. I enjoyed Brown’s performance as Nellie Bly; having her story alongside Phileas Fogg’s added a modern, feminist approach to the story. I wanted to snap my fingers in solidarity when Bly exclaimed; “I said I could, and I would. And I did.” Additionally, I really liked how the characters took moments out of the retelling to challenge the traditional text and call out historical inaccuracies and culturally insensitive terms.

Photo by Anthony Robling


Eddie Mann gave a standout performance in the role of Detective Fix. The actor commanded the stage with their impeccable comedic timing, and I found myself laughing out loud numerous times. Mann worked brilliantly alongside Benedito, who also did a great job with the comedy, shown through the moments of audience participation and improv. The improvisation in the show was certainly one of the highlights, adding an element of surprise to the performance. The actors also break the fourth wall, further allowing the audience to become a part of the show. These interactive elements kept us engaged and entertained throughout.

Another standout was the movement direction by Asha Jennings-Grant, which was incredibly inventive The cast was slick with their moves, the scene changes and utilised each and every prop to demonstrate this raucous journey across the globe.

Photo by Anthony Robling

With a unique take on a classic story, a talented cast, and great comedic moments, this production of ‘Around The World in 80 Days’ is sure to be a hit with audiences of all ages.

‘Around The World in 80 Days’ plays at Richmond Theatre until Saturday 20 May 2023!

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Love’s A Beach – Drayton Arms Theatre

🎭 Love’s A Beach
📍 Drayton Arms Theatre
đŸŽ« PR invite
⭐⭐⭐⭐

Katie Sayer and Will Johnston’s hilarious comedy play unveils the life of influencers and the impact of wanting to be social media famous!

The story

Ben and Cyrus (played by Iain Ferrier and James Akka) are runners-up in a popular reality TV dating show. Months after leaving the villa, the couple finds themselves drained by the sponsored content they participate in, trying to increase their social following. Promoting lawnmowers and adult ‘Happy Nappies’ was not on their bucket lists! While Ben seems content with returning to his old life and using his platform to raise awareness of the environment, Cyrus wants to do whatever it takes to alleviate his fame and reach his dream of having 1 million Instagram followers. 

Cyrus and Ben receive a luxurious million-pound influencing deal in Dubai to promote a new hotel chain. Ben is hesitant and reminds Cyrus of the UAE laws when it comes to being LGBTQ+ and the dangers they face. However, Cyrus doesn’t think of morals, focussing only on money and his follower count. 

My thoughts

Akka and Ferrier displayed the most hilarious comedic timing that had the audience laughing out loud right from the start. The actors’ palpable chemistry created an authentic performance. Akka brilliantly plays Cyrus, the self-centred, social media fanatic. Ferrier’s Ben is patient, practical and tries to bring his boyfriend back down to earth. The writing is witty, fast-paced and packed with several jokes and references that were delivered perfectly by the cast. 

I appreciated the writing having a balance of comedy and seriousness, especially as we saw a glimpse of vulnerability from Cyrus. The topic of gay rights in UAE is brought up when we learn of the couple’s invitation to Dubai. I was expecting just a bit more on this, considering Cyrus’ decision to stay in the country.

While the script pokes fun at influencer marketing (Ben attending an 8 am opening of ‘Pets At Home’ had me creasing!), ‘Love’s A Beach’ also highlights the incessant media reporting and pressures of being in the spotlight. In a series of sound bites, we hear a chorus of tabloid headlines and talk panels, discussing influencers, consumerism, and fake gossip about Cyrus’ haemorrhoids!

Even with a minimal set design and the occasional props, Phoebe Barrett’s direction keeps us fully engaged, with the actors utilising the entire stage. I enjoyed watching the duo reenact their text messages; Akka particularly caught my attention with their humorous facial expressions.

With slick direction, a satirical script and brilliant acting from the cast, ‘Love’s A Beach’ is a great piece of comedy theatre, that is incredibly relevant to our current digital climate. I’d love to see where this show goes next!

‘Love’s A Beach‘ is playing at Drayton Arms Theatre until 29 April 2023. You can buy tickets here!

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Wish You Were Dead – Richmond Theatre

🎭 Wish You Were Dead
📍 Richmond Theatre
đŸŽ« PR invite
⭐⭐⭐

Peter James’ best-selling novel, ‘Wish You Were Dead’ returns to the stage with a thrilling production and star-studded cast.

The story

Detective Superintendent Roy Grace and his wife, Cleo (George Rainsford and Giovanna Fletcher), head to France with their newborn son, for their first holiday together. Cleo hopes the holiday will finally be a chance for her and Roy to spend quality time, without the interruption of his demanding, crime-solving job. They are joined by Kaitlynn (Gemma Stroyan), the fiancee of Roy’s colleague Jack, who agrees to babysit Noah. 

As they arrive at their French chateau, which resembles more of a haunted house, the guests notice a strange atmosphere and suspicions arise. From flickering lights to no mobile signal to a knight in shining armour (yes, really). The sarcastic host, Madam L’Eveque (Rebecca McKinnis) appears to greet the guests, but her demeanour sparks even more doubt about their stay.

DS Roy and Cleo’s dream holiday quickly turns into a nightmare, as a dark past comes back to haunt them.

My thoughts

My first impressions were of Matthew Holt’s intricately designed set, which featured a split-level stage of the living room and bedroom. I loved the clever use of gauze that revealed the secret room, adding to the mystery. The stuffed animal heads and an obnoxiously large painting of The Crucifixion added to the haunting atmosphere and led up to what the show was going to entail.

The sinister music throughout the play certainly added to the suspense, as did the bursts of thunder and lightning however, these were played too loud and were not always necessary. 

Although it was revealed quickly, the twist was good. It made an appropriate ending to the first act, however, I couldn’t help but feel it veered into a farce – the audience’s laughter didn’t help either. Once we discovered the villains’ motivations, the second act featured several witty back-and-forth dialogues between the characters. Despite the brandishing of weapons, there was still a lack of tension and just an overall threat to the guests.

Clive Mantle’s villainous role as Curtis provided humour, with some comical lines/delivery. Whether this was intentional, I enjoyed their portrayal as the bitter, grief-stricken father, seeking revenge. Rainsford and Fletcher are convincing as a couple, and I enjoyed Rainsford’s strong performance as the determined detective. They had me fully engaged, particularly during those final scenes. 

While ‘Wish You Were Dead’ did feature a predictable plot, I still enjoyed this crime-thriller and can see why Peter James’ stage adaptions have been a success!

‘Wish You Were Dead’ is playing at Richmond Theatre until Saturday 22 April 2023.

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Family Tree – Brixton House Theatre

🎭 Family Tree
📍 Brixton House Theatre
đŸŽ« Gifted
⭐⭐⭐

Mojisola Adebayo’s play, ‘Family Tree’, brings to light a dark history of the scientific world. 

Directed by Matthew Xia, the powerful drama is told through a blend of spoken word, interpretive dance and harrowing historical truths about race, health, the environment and the forgotten legacy of Henrietta Lacks – a Black woman whose influence on modern-day medicine is extraordinary. 

The story

The story is inspired by Henrietta Lacks, an African American woman who died in 1950s Maryland from cervical cancer. Before she passed, doctors took samples from Lacks’ biopsy during the treatment, sharing them with researchers who discovered her cells had the capacity to survive and reproduce. This created the HeLa cell line, which was (and still is) involved in medical research in cancer, immunisations, HIV and most recently, vaccines against COVID-19. Despite saving thousands of lives, Henrietta did not have any knowledge or consent over the actions, nor did her family years after her death. 

‘Family Tree’ is a thought-provoking play that unpacks the injustices Black women faced in medical care over the years. Adebayo’s intertwines historical stories of enslaved women in America, subject to cruel experiments by white medical staff. We also see a trio of Black women play present-day NHS nurses, passionately discussing racism in healthcare, among professionals and patients, ‘WHY’ people and the Black Lives Matter movement.

My thoughts

Aminata Francis plays Henrietta Lacks, opening the show with a powerful, rhythmic monologue as an immortalised being. Francis’ presence is captivating; I admired their strong storytelling as they glided barefoot across the stage, delivering Adebayo’s poetic script with deep emotion. 

Photo by Helen Murray

 Mofetoluwa Akande, Keziah Joseph, and AimĂ©e Powell play the trio of women, and were strong in their individual roles, seamlessly transitioning between the contrasting characters. I also loved how they tended to one another’s hair during their scenes as NHS nurses. Throughout the show, a smoking cowboy (Alistar Hall) sinisterly walks across Simon Kenny’s set, presumably embodying a version of the ‘Marlboro man’ and also death.

As we weave between the different generations, I admittedly struggled to find the plot. The play could have benefitted from a longer run time as there was a lot of information packed into this 90-minute piece. The poetry and prose were beautiful, but the scenes swiftly moved on to the next. I wished there was time for Adebayo’s writing to linger and let us reflect. This was expedited during the final scenes with the appearance of Oshun, the Yoruba goddess of water, fertility and love. Whilst Akande’s performance in this role was enjoyable, it felt out of place and almost rushed as the play was nearing the end.

Photo by Helen Murray

‘Family Tree’ is both an important exploration and celebration of Black women’s contributions to healthcare and their undeniable strengths. The uncomfortable truths of racial inequalities over the years are revealed. From a personal viewpoint – I’m a Black woman living in the U.K., where these inequalities are still occurring, so parts of the show were difficult to hear. Nonetheless, I commend Mojisola Adebayo and Matthew Xia for creating a play that doesn’t shy away from revealing the harrowing, untold experiences of Black women as well as shedding light on Henrietta Lacks’ story.

I thoroughly enjoyed Diane Alison Mitchell’s movement direction, as the cast danced together in sync to an African drum beat. The joyous ending serves as a celebration of Henrietta Lacks’ legacy and generations of Black women.

Family Tree is playing at Brixton House Theatre until 23 April, before continuing its U.K. tour.

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Someone of Significance – VAULT Festival

🎭 Someone of Significance
📍 VAULT Festival – Network Theatre
đŸŽ« PR invite
⭐⭐

Written by Amalia Kontesi and directed by Sam Tannenbaum, Someone of Significance explores whether love is enough for two people with nothing in common. Will structural barriers and personal beliefs keep them apart or is their connection strong enough to remain together?

The story


We meet Brad and Rosie (Simon Bass and Funlola Olufunwa) colleagues who work for a multinational banking corporation. They hail from different backgrounds, hold opposing views, and are believed to have nothing in common. Despite this, they soon begin an affair (Brad is married!) and fall in love.

As time goes by, their careers take different paths. Rosie turns to politics, holding strong views opposing gentrification. Brad disagrees, believing the new development will bring in opportunities for the community. We witness Rosie’s rise to prominence as a leftwing politician, running for president and continuing advocacy for workers’ rights. Despite Rosie and Brad’s differences in beliefs, they still share their love for one another and continue their secret relationship, hidden away in hotel rooms.

My thoughts

The story intrigued me; I was at least hoping for some in-depth discussion on politics, but what we had was quite a concise overview. Kontesi’s script veered towards ‘rom-com’ territory, and the character’s discussions surrounding societal issues, politics, and structural barriers, were never fully fleshed out.

I did enjoy Rosie and Brad’s debate on the impact of gentrification as both raised interesting arguments. It’s also a timely topic as gentrification is affecting many cities across the world. The script would have gained strength by delving further into these issues, and tying them into the character’s professional and personal opinions, especially as they came from different backgrounds. 

It’s hinted that Brad didn’t ‘have’ to work for his career in contrast to Rosie. As the play was only 60 minutes, there wasn’t enough time to get to know the characters and explore this, so I was left making assumptions. Olunfunwa and Bass gave their best efforts, but the chemistry between the actors was lacking. This made it quite difficult to believe in Rosie and Brad’s relationship and ultimately connect with the story.

The second half of the performance was stronger and included some humorous moments. I enjoyed the staging of the characters in one scene as they stood side by side, showing the contrast between their new lives. The set design is minimal, with two rail wardrobes on either side of the stage. Our characters underwent numerous outfit changes, as political sound bites played in the background. This went on for too long and interrupted the show’s pacing. I also didn’t see the necessity of the costume changes, for they didn’t add to the narrative.

Someone of Significance is a work in progress. Kontesi clearly has great ideas to share, though the execution needs improvements. The themes are strong, the characters have potential – these could be linked cleverly with the current political climate in the USA. Hopefully, over time, there will be a refocus on making this an engaging political-romance drama.

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Clementine – VAULT Festival

🎭 Clementine
📍 VAULT Festival – Network Theatre
đŸŽ« PR invite
⭐⭐⭐⭐⭐

As I walked into Network Theatre for ‘Clementine’, Lady Gaga’s banger, Judas, played – a strong sign that I was going to love this show!

The story

Written and performed by Rosalie Minnitt, ‘Clementine’ is a one-woman musical comedy about a young woman’s quest to find love. The time period of the show isn’t defined, but it takes place ‘in the past’ (The costumes were giving Bridgerton vibes!) 

We meet Lady Clementine (Minnitt), a single 26-year-old, desperate to find the love of her life. Lady Clementine fears if she isn’t married before her birthday, she will end up like her spinster Aunt Lauren. We learn all about Lady Clementine’s previous partners, including one who lost his head and the latest beau who has gone missing. We follow her on a hilarious, eccentric, musical journey to solve the mystery of her ill fortune with love. But perhaps she has been searching for it in all the wrong places


My thoughts

Described as ‘Gen Z’s ode to womanhood’, Minnitt has created a funny, feel-good show, packed with cultural references that fitted perfectly with the story. Enthusiastic direction from Tristan Robinson and Alison Middleton resulted in nonstop laughter during the performance. Lady Clementine pranced, paraded and even spouted water across the stage.

Minnitt maintained such high energy and portrayed various supporting characters including her unfortunate housekeeper, Jackie and the guardian angel flemish DJ. The show was certainly interactive, with willing members of the audience reading letters and even participating in onstage raves. Minnitt is a fantastic performer and a talented comedy writer. I loved how skillfully they bounced off the audience and held our attention for the entire show. Even in the moments when Lady Clementine was offstage, the video projections added the funniest context to the story. The constant puns paired with Minnett’s impeccable comic timing made this show a total delight.

Honor Halford-MacLeod incorporated several musical melodies during the show. We even got an interpretive dance to Beyonce’s Alien Superstar. And who doesn’t love a mid-show ballad? As the audience waved their flameless candles that were placed on the seats, Lady Clementine serenaded us with ‘Guide Me, Stars’ – a song I personally think should be on Spotify.


Amongst the hilarity, the show ends with an empowering high, leaving us happy for Lady Clementine and her newfound (self) love. The hour went by quickly and I was left grinning from what we just watched. Clementine is so much fun – it’s lively, it’s quirky and certainly empowering!

Rosalie Minnett is a comedy star in the making and I can’t wait for what they do next!