Year: 2025

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REVIEW: Cinderella – Richmond Theatre

🎭 Cinderella
📍 Richmond Theatre
🎟️ Gifted
⭐⭐⭐⭐

Richmond Theatre’s annual panto has arrived, and it’s absolutely marvellous! I was invited to a fun & festive performance of Cinderella, featuring a stellar cast – Charlie Stemp, Helen George, and TV icon, Basil Brush! I’ve heard wonderful things about the pantomimes at Richmond Theatre & this did not disappoint.

Directed by Gary Wilmont, this entertaining production re-imagines the classic tale of Cinderella, with notable characters and more. With all the traditional panto ingredients, this proves to be a delightfully charming show! The show feels extra festive, with all the sparkles, atmospheric lighting and wonderfully Christmassy numbers.

Photo by Ian Olsson

Helen George is enchanting as the Fairy Godmother, arriving on stage in a burst of pyrotechnics. Her vocals are stunning, especially when she shows off her operatic range. George’s comic delivery was another highlight, and we enjoyed all the ‘Call the Midwife’ jokes throughout.

Photo by Ian Olsson

Tom Major makes a fantastic Prince Charming and has a beautiful voice, while Hope Dawe is an excellent Cinderella; she has a warm, Disney-like presence and brings a fun spirit to the show. There’s a playful love triangle between Prince Charming, Cinderella, and her friend, Buttons. They literally fight for Cinderella’s affection, in a comical musical number involving physical comedy and tumbles off a wall.

Charlie Stemp impresses as Buttons and proves himself to be a pantomime legend! Stemp lights up the stage with his charisma, charm, terrible jokes and impeccable comedic timing. He has the audience in the palm of his hand, as we cheer for and even ‘awww’ for him.

Photo by Ian Olsson

Though there are no traditional panto dames, the wicked stepsisters, Verucca & Hernia Hardup (played brilliantly by Jak Allen-Anderson and Stephen Guarino) certainly make up for it. They are a hilarious duo, strutting around in the most dazzling, flamboyant costumes (the stripy pink number was a personal fave!). As the sisters proclaim, “Don’t we look gorgeous?!”, the audience erupts with boos, although I couldn’t help but cheer. Allen-Anderson and Guarino were over-the-top, silly and had excellent comedy and ad-libs. Their remixed ABBA routine as they try to squeeze into Cinderella’s glittery heels was one of my highlights.

Photo by Ian Olsson

Celebrating over 60 years on TV, the legendary Basil Brush makes a booming entrance as Baron Basil. His witty jokes, physical comedy, and a tongue-twister segment had the audience laughing out loud. Having watched Basil Brush as a child, I found his appearance so nostalgic, and judging by the reactions around me, I wasn’t the only one.

Photo by Ian Olsson

Stephen Mear’s choreography is captivating throughout. The ensemble shines as they perform slick, high-energy routines, including one in polar bear outfits! Musical theatre stars Michael Lin (playing Dandini) and Charlie Stemp star in a hilarious dance off. Lin displayed real technical flair and a variety of dance styles, while Stemp opted for classic school disco dances from the Macarena to the Ketchup Song. Lin and Stemp perform a quick but impressive dance duet, which made me want even more!

Photo by Ian Olsson

I had hoped for a little more audience interaction, like with most pantos, but overall, the fabulous cast ensures we are thoroughly entertained! There were plenty of laughs for all the classic Panto sketches and even the references to local spots (Putney!!).

From lively dance numbers, dazzling costumes, a vibrant set design, and all the slapstick chaos you could imagine – this Cinderella is a brilliant panto for all ages! It’s playing at Richmond Theatre until 4 January.

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REVIEW: Limp Wrist and The Iron Fist – Brixton House

🎭 Limp Wrist and The Iron Fist
📍Brixton House
🎟️ Gifted
⭐⭐⭐⭐⭐

After a sold-out run during the 2024 Housemates Festival, Emmanuel Akwafo’s Limp Wrist and The Iron Fist has returned! The debut play is a captivating, funny and unflinchingly honest exploration of black queer identity.

Set in London, the play follows 4 friends, Monday, Omari, Nathaniel and Joseph, as they prepare for a night out! As they wait at a bus stop, dancing, bantering and drinking miniature bottles of alcohol, deeper conversations unfold. The group embark on a journey of discovery and healing, as they open up about their sexuality, faith, and masculinity in a society that often tries to silence them.

Photo by Helen Murray

Akwafo’s play is beautiful and authentic, particularly as it draws upon personal experiences, which makes it feel profoundly human. The writing includes plenty of witty and laugh-out-loud scenes, especially the dialogue between the characters. The show balances this with moments of vulnerability and hard-hitting revelations. The show sensitively handles its heavy themes, exploring how sexuality intersects with race, religion and masculinity. We are reminded that Black people and their experiences are not a monolith. The play is also a testament to the fact that Black queer stories can be joyful, complex and full of heart.

The talented cast, Prince Kundai, Romeo Mika, Tyler OrphĂŠ-Baker and Noah Thomas, showcased palpable chemistry. The dialogue was natural and truly captured the essence of friendship as they banter, bicker and support each other.

The production boasts a strong creative team. Nathaniel Campbell’s exuberant direction kept us fully engaged and the energy high. Especially when the cast jumped, climbed and vogued around the set. It worked well to highlight the characters’ playfulness. Pierre Flasse’s sound design featured harrowing echoes from the character’s past, while Jahmiko Marshall’s atmospheric lighting perfectly set the scenes. The warm, golden brown lighting during the sequence about Black nightlife was captivating. Paired with Annie-Lunnette Deakin Foster’s slick movement direction, this created a beautiful and liberating scene.

Photo by Helen Murray

Each character delivers a powerful and thought-provoking monologue about their experience, from religion, family expectations, to mixed heritage and coming out. ‘Limp Wrist and The Iron Fist’ recognises individuality and reminds us that these men are not defined by a single identity. The cast shine in their own way; from OrphĂŠ-Baker’s warmth and optimism, to Thomas’s cheeky humour. Kundai brings an intense, almost ‘tough love’ attitude. Romeo Mika stands out as Joseph, the group’s newly ‘out’ friend, who sparks conversations with historical facts and dictionary definitions. Mika’s performance is pure and effortlessly charming, which makes a later revelation even more heartbreaking.

Photo by Helen Murray

I wish there were a slightly longer runtime to add depth to each character’s journey, and also the room for the audience to reflect. Still, Limp Wrist and the Iron Fist remains a powerful, unapologetically Black and queer story. It celebrates friendship and encourages us to embrace our full, authentic selves.

Brixton House continues to be an important space for platforming real stories and lived experiences from underrepresented communities.

Limp Wrist and The Iron Fist is not one to miss – you can catch it at Brixton House until 29 November.

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REVIEW: Wendy & Peter Pan – Barbican

🎭 Wendy & Peter Pan
📍Barbican Theatre
🎟️ Gifted
⭐⭐⭐⭐

Ella Hickson’s reimagining of J.M Barrie’s classic, Peter Pan, places Wendy at the core of the story, exploring her journey in Neverland. Originally produced by Bunkamura Theatre and Leeds Playhouse, Wendy & Peter Pan has enchanted its way around the globe – from Japan to the UK!

This adventurous production transforms a familiar tale into a coming-of-age story, exploring family, loss, navigating emotions and what it means to grow up. Having only watched the modern Peter Pan film, this adaptation was a total treat!

Colin Richmond’s set design is beautifully detailed and feels quite grand, making the most of the Barbican stage. The production certainly captures the magic of Neverland, with its enchanting design elements. There were video projections and impressive aerial stunts, with characters flying in the air. I also loved the revolving ‘Jolly Roger’ ship, where most of the action took place. The great thing about the Barbican theatre is that most seats have a good view of the stage, even from the back of the stalls! So it didn’t feel like we missed any of the action.

Photo by Manuel Harlan

At over two and a half hours, it seemed like a lengthy watch for younger audiences, but Hickson’s witty script and pacy direction kept us entertained. The humour is sharp and playful, with the Lost Boys stealing scenes through their perfect comic timing, especially Curly, Slightly, and Tootles (Tom Xander, Max Lauder and Kyle Ndukuba). One particularly sassy Lost Boy had the audience laughing as he quoted famous movie lines (‘You can take my life, but never my freedom! and ‘No one puts Baby in the corner!’). I initially struggled to connect with Tinkerbell. This interpretation was more feisty than the usual Tinkerbell we’ve seen in films.

Lucy Hind’s choreography for the Shadows was another standout; the contemporary routines were precise and very expressive, adding to the wonderful storytelling. Daniel Krikler shines as Peter, capturing the character’s boyish charisma, while Hannah Saxby was brilliant as Wendy, full of warmth and determination. Her brothers, John, Michael, and Tom, offer a new angle to the story, especially as we learn the origins of the Lost Boys.

Photo by Manuel Harlan

Toby Stephens is fantastic as the witty yet villainous Hook, alongside his amusing sidekick, Smee (performed by Scott Karim). Hook might be the villain, but he asked some valid questions; “Why does Peter need a mother but never have to grow up?”. This tied into the production’s themes on the different expectations for girls and boys. Why can the boys cling onto childhood, but the girls are forced to ‘grow up’? There’s a sequence in the show as Wendy reflects on this, and it’s like a lightbulb moment for her and the audience.

Photo by Manuel Harlan

Hickson’s modernised dialogue that featured slang and references to Snapchat amused the younger audience members, as well as the audience participation, which kept the energy high. It was refreshing to see a show that was accessible for all ages, as it explores difficult issues such as grief and dealing with our emotions. The second half sees strong character development and relationships between the characters, making this more than just a ‘retelling’. This production is a compelling reflection on growing up, loss, and the importance of finding joy in even the smallest of things. Beneath all the fun and fantasy lies a beautiful message that is sure to resonate with many.

With imaginative staging, playful humour, and wonderful performances, Wendy & Peter Pan captures the magic of a classic while offering a fresh perspective that’s both moving and full of joy!

Wendy & Peter Pan plays at Barbican until 22 November. You can book tickets here

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INTERVIEW: Not Your Superwoman – Emma Dennis-Edwards, Letitia Wright and Golda Rosheuvel

Emma Dennis-Edwards’ powerful new play, Not Your Superwoman, heads to Bush Theatre for its world premiere. Directed by Lynette Linton, the play explores the emotional aftermath of a family matriarch’s death. Acclaimed actors, Golda Rosheuvel and Letitia Wright, portray mother and daughter, Joyce and Erica, who find themselves grappling with uncertainty and inherited patterns. 

I had the wonderful opportunity to attend the rehearsals and discover more about the play. I met with playwright Emma Dennis-Edwards, Golda Rosheuvel and Letitia Wright to talk about the play, inspirations and why they believe people should see the show!

What inspired you to create a play about intergenerational dynamics?

Emma: When Lynette and I were talking about doing something around Black women and mental health, I was thinking, how many of my Black women friends are seeing therapists and unlocking some of the ancestral nature of the trauma that we’re carrying as Black women. A lot of that comes from those maternal relationships. I really wanted to do something that looks at that dynamic.

I think quite a lot of the Black British cannon, rightfully so, focuses on fatherhood and I was like ‘let’s really talk about the mums, about those relationships. That’s where the intergenerational idea of creating this play came from.’

Emma Dennis-Edwards (photo by Tyler Fyose)

Did you face any challenges when writing such an intimate, emotionally charged story?

Emma: Yeah. The Caribbean in me is like, â€˜why you chatting my business?’. This is the most personal piece of work that I’ve done in my career. Also, there’s a responsibility – because in that room with Golda, Letitia and Lynette, we’ve shared and brought quite a lot. There’s a level of responsibility because I’m holding their stuff as well within this play.

I was talking to our dramaturg, and felt I put too much of myself [in the play]. But it’s fine – it’s a shared story, it’s our story, a story for us, by us.

You’re known for powerful, screen performances. What excited you about returning to the stage?

Golda: What it speaks to. The people involved. I was looking for something I was interested in exploring – mental health, trauma, especially in the guise of Black women. I’ve been sent a lot of plays, but they didn’t speak to me.

What’s important in this project is the people involved in it. Talking and engaging with Lynette Linton’s excitement and enthusiasm for telling Black stories is something that drew me to this play, and this building and this project. I hadn’t seen one single word on the page, but through discussions and joint understanding of storytelling, and the need for Black stories to be put on stage, I was in, 100%.

Golda Rosheuvel and Letitia Wright (photo by Tyler Fyose)

Letitia: Film is good, you have maybe 2 weeks, a month to prep and learn your character. In theatre, it’s hard. You need to know the full play, all the beats, the moments, props. It’s a completely different ball game. I love both, but the difference is what’s required of you.

Theatre is like, you’re right there, I can’t hide, you’re going to see everything, feel everything, hear everything. It’s exciting! Once the stage lights go green, you’re just on. Anything can happen, you want the best to happen – you can laugh at different things and moments. The objective is always the same – whether it’s film, or TV, or theatre – is just to tell the truth. To leave something of purpose in our work.

Letitia on how she relates to the show and character, Erica:

Letitia: I wanted to do something about Black women, mental health and traumas. A play that we can all relate to. Especially the whole concept of not being a superwoman. That whole concept that plagues us, we wanted to dissect it and see what that looks like. I relate with the characters and the themes a lot.

For the first time, there is a play where I don’t have to imagine myself in a situation. Maybe there are a few elements I haven’t gone through, I won’t share, but you will discover it when you come to see the play. but everything else in the play I’ve lived it, I’ve experienced it, I know what it feels like. I relate to it a lot. I hope that other women relate to it too and feel healed once they’ve seen it.

Lynette Linton and Golda Rosheuvel (photo by Tyler Fyose)

What would you like audience to take away from the show?

Emma: Healing and healing parts of yourself. I mean, it’s one of the harshest lessons a Black woman you come to. I’ve got to really find that peace, that healing, all that stuff, myself in a world that is not set up for us to do that. I hope this play offers that.

Before we wrapped up, I asked some quick-fire questions:

Describe the show in 3 words

Emma: Funny, Black, Caribbean!
Golda: Buzzy, emotional and epic!
Letitia: Passionate, healing, hilarious!

What was the first show that made you fall in love with theatre?

Golda: Probably The Nativity in church!

Emma: Gone Too Far – Bola Agbaje

Letitia: Sucker Punch – Roy Williams

Lastly, why should people come and watch ‘Not Your Superwoman’?

Golda: Because it’s a good night out. And you’re going to learn a lot of stuff about yourself and the world.

Not Your Superwoman plays at Bush Theatre from 8 September – 1 November 2025.

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REVIEW: NewsRevue – Canal Cafe Theatre

 đŸŽ­ NewsRevue
📍 Canal Cafe Theatre
🎟️ Gifted
⭐️⭐️⭐️⭐️⭐️

Last week, I was invited to watch NewsRevue, one of the longest-running live comedy shows. It’s been on for 45 years, and this was my first visit!

The fast-paced show features a selection of sketches and parody songs, all revolving around current affairs. Under the fun and slick direction of Mo Bangura, this talented & enthusiastic cast of four – Badrika Baluch, Alexander Christofi, Karishma Friers & Nico Koch – were absolutely brilliant. They delivered an endless amount of energy, quick wit and wonderful chemistry. It felt like we were watching seasoned comedy performers. Imagine my surprise to learn some of them are recent graduates!!

The show mainly focuses on satire; most jokes may require you to be up to date with the news, chronically online or a reality TV watcher like myself (spot on Love Island sketches btw!), the show can still be enjoyed by everyone. I have to say the political gags land perfectly. They were sharp and tongue in cheek; some jokes sway so close to the truth, that you’ll laugh and nod in recognition. The jokes are plenty, and so fast you may even miss them. There was a scarily accurate Trump impression and a wonderfully weird (and cheeky) interpretation of Paddington Bear, which left us giggling.

Along with their fantastic comedy skills, the musical numbers really stood out to me. Accompanied by musical director Rohan Godfrey, the cast impresses with their strong vocals and comedic timing. I enjoyed this element of the show, especially for its creativity. Corbyn singing about his new party, a parody about doomscrolling, performed to Justin Timberlake’s What Goes Around (whose idea was it to get the ukulele out ). And my absolute highlight? The Hamilton medley! I was already won over, but that medley may be the reason I return to this incredible show.

What makes NewsRevue so unique is that the material is updated every week, with new sketches and jokes, about whatever’s happening in the world. Bangura’s direction makes great use of the small stage, with slick transitions and minimal props. From start to finish, I was locked in – so much so that when the show ended, I turned to the people next to me and asked, “Is there a second act?” I truly wished it had gone on for another hour!

I don’t tend to talk about the venues in my reviews, but I’d love to mention how charming the Canal Cafe Theatre was. Opposite Little Venice, the theatre and pub downstairs, was very cosy and welcoming. Friendly staff, great vibes, and I felt so comfortable attending as a solo audience member.

It was refreshing to see such a diverse cast and creative team, bringing their talents to such a renwnwed comedy show. Karishma, Nico, Badrika and Alexander were not only hilarious individually but together, had fantastic chemistry. I’m proud to have seen them for my first NewsRevue visit, and it won’t be the last!

The amazing thing is that the show is updated every week, with new sketches and jokes. If you fancy an evening of laughter, with sharp comedy and a fun cast, check out NewsRevue!
It’s playing at Canal Cafe Theatre until 30 August.

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REVIEW: Every Brilliant Thing – sohoplace

 TW: Mention of mental health, depression, and suicide. 

 Written by Duncan MacMillan and Jonny Donahue, the play tells the story of a child who shares their experience growing up with a mother who suffers from depression. We learn that the mother has attempted to take her own life, and so the child comes up with an idea – create a list of everything worth living for.

Things like ice cream, water fights & staying up late, it becomes a long list of various brilliant things, no matter how big or small! The show moves through the child’s youth, into adulthood, where we notice that things become more mature and emotional. I remember when ‘falling in love’ received a big ‘awwww’ from our audience. 

The subject matter is tough but important. It highlights how we talk about depression and suicide, and the reasons to keep going. It’s a beautiful reminder that joy can be found in even the simple moments. What makes Every Brilliant Thing unique is the audience. They’re a key part of the show, as they are chosen to read out numbers from the list or even joining the performers on stage to play characters in the story.

With five performers performing over the next few months…Comedy icon, Lenny Henry, took to the stage on the evening I went! Lenny is effortlessly charming and so naturally funny. His performance felt authentic, as if we were hearing his personal story, a testament to his engaging stage presence! He has an aura that draws us all in. It’s humorous, and heartfelt; we laugh and smile with him as he performs this interactive play.

At first, I was unsure about audience participation but it works beautifully. The show acknowledges the sensitive themes and allows room for empathy. We are encouraged to imagine the experience through the perspective of a child, and also end the stigma around talking about mental health.

Despite the larger scale venue, the show felt quite intimate I felt a really sweet sense of community & support. There were raucous applauses for the brave audience members who improvised on stage alongside Lenny – I loved it! And what’s special about the play is that every performance will be different!

I left reflecting on my own brilliant things. I actually used to keep a gratitude journal, and while I don’t have it at the moment (inspired to start one again!), I do try to ask my close ones, “What are you grateful for this week?”

Every Brilliant Thing plays at sohoplace until 8 November!

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REVIEW: Insane Asylum Seekers – Bush Theatre

🎭 Insane Asylum Seekers
📍Bush Theatre
🎟️ Gifted
⭐⭐⭐⭐⭐

The Bush Theatre, home to many authentic stories and emerging creatives. Part of the 2025 season is Laith Elzubaidi’s latest play, a funny and moving exploration of British-Iraqi identity, family and mental health. It’s captivating, full of wit, and an emotional watch that lingers long after the final scene…

The story

Insane Asylum Seekers is a powerful, one-person show that explores the multi-generational experiences of a British-Iraqi family. The play by Laith Elzubaidi draws upon true events in Elzubaidi’s life, including his relationships, mental health struggles, and growing up within a British-Iraqi refugee family.

We meet 27-year-old Laith (performed by Tommy Sim’aan), who takes us on a deeply personal journey through childhood memories, cultural expectations, and the lasting impact of Britain’s colonial past. As Laith recounts his experiences (both funny and traumatic), he reflects on the stigma around mental health and the weight of inherited trauma. At just 75 minutes, this comedy-drama blends sharp satire with vulnerability, offering a layered exploration of identity and the journey towards healing.

My thoughts

From the moment he stepped on stage, Sim’aan commands the room through captivating storytelling and fantastic comedic timing. He navigates the intimate studio space, oozing with charisma, as he shifts between satire and emotional moments. His energy was magnetic, and I was especially impressed with how he embodied multiple characters, with each voice and gesture feeling distinct. The writing is very expressive, painting vivid images in the audience’s mind. It feels like we are right there with Laith, reliving it all.

We are drawn into Laith’s world and the wonderfully chaotic dynamics of his family: a cousin who drives at 10 years old, a mum who throws snacks at seagulls, and a dad who insists on offering tea to paramedics mid-heart attack. It’s incredibly funny and delivered with both humour and heart! You can tell that beneath these funny moments, there is a deep love for his family. The play also uses comedy as a gateway into the deeper themes.

One powerful arc in the show is Laith’s mental health journey. He opens up about living with OCD; how it manifests, how it feels, and how it’s misunderstood. Elzubaidi explores the stigma around men’s mental health, especially within immigrant households, with nuance and care. It is refreshing to see Laith acknowledge his condition and actively seek help. When his mother learns about his diagnosis (“Are you saying I raised a crazy person?”), it cuts deep, but it is still an accurate response in communities where mental illnesses are taboo. And yet, the show never falls into resentment. It allows space for empathy and understanding, which is further exemplified during an emotional reunion in Iraq, where Laith begins to see his family through a different lens.

The storytelling was so clear and compelling from start to finish, a true testament to Emily Ling Williams’ direction. The staging and overall physicality of the performance are another highlight. The shifts in Sim’aan’s posture and expressions as we witness how Laith’s OCD infiltrates his everyday life. The staging is supported by key creative choices. Riwa Saab’s gradually intense sound design and Gillian Tan’s imposing lighting and distorted video projections. The combination works well in creating a visceral sense of anxiety and mental overload.

The script is honest, hilarious and bold! It’s particularly bold in how it confronts Britain’s role in the Iraq War, with its satirical jabs at the political hypocrisy surrounding it. Liam Bunster’s set features a stack of old school TV’s, which adds to the critique, playing montages of news footage, political and historical speeches, which all remind us of the real-world consequences behind Laith’s pain. Elzubaidi’s writing is profound and incredibly thought-provoking.

As someone from a second-generation immigrant background, I found Insane Asylum Seekers very relatable. There were the little details; parents calling us every other name but our own, arriving 10+ hours early to the airport, AND the constant reminder not to forget your passport. All were very funny in their accuracy. But how the show explored generational trauma was done in a way I have never experienced or even understood, so I thank the show for allowing me to reflect.

Balancing comedy and vulnerability to tell a story that is both personal and politically charged, Insane Asylum Seekers is brilliant theatre! Wonderfully performed, fearless, funny and honest – Laith Elzubaidi is a playwright to watch!

Insane Asylum Seekers is on at Bush Theatre until 7 June 2025.