Category: Off West End

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REVIEW: NewsRevue – Canal Cafe Theatre

 🎭 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: 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.

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REVIEW: Duck Pond – Southbank Centre

🎭 Duck Pond
📍Southbank Centre
🎟️ Gifted
⭐⭐⭐⭐⭐

Fancy a unique twist on Swan Lake? Duck Pond is a dazzling fusion of ballet and world-class circus that promises an unforgettable evening for all!

Directed by Yaron Lifschitz, CEO and director of Circa, Duck Pond is a joyful and exhilarating reimagining of the classic ballet.

Performed by an award-winning Australian-based performing arts company, Circa, the show brims with jaw-dropping stunts, breathtaking acrobatics, and playful comedy! I have watched Swan Lake before, but this interpretation was the most captivating performance I’ve ever seen.

Photo by Pia Johnson

Composer and sound designer Jethro Woodward redesigned Tchaikovsky’s iconic Swan Lake score with modern electronic bass beats, creating a thrilling atmosphere. This innovative score, especially during the lake scene, intensified those daring aerial and acrobatic acts, leaving the audience on the edge of their seats.

The performers acrobatic and aerial work is nothing short of impressive. Their movements are graceful and effortless, yet the show also embraces humour in unexpected ways. A standout scene features the performers dressed as cheeky yellow ducklings, complete with sequined socks, yellow visors, and mops. Through clever choreography, these ducklings hilariously engage in traditional circus acts—balancing mops, tumbling into piles, and forming a platform for the swan to delicately climb. It’s a testament to this incredible company’s creativity and skill.

Photo by Pia Johnson

Circa has toured the world with its creative circus shows and is renowned for blending movement, dance, theatre and circus. The fourth wall breaks added another layer of humour as well as their ode to musical theatre in that Chicago-style routine – it was genius and had the audience cheering! Another standout moment was during the second half where the performers contort their bodies to resemble swans – it was fascinating!

Telling the story of Swan Lake through circus acts is a bold and distinctive idea that works brilliantly. The storytelling is clear, structured, and utterly captivating. From the challenging acrobatics to the imaginative costumes to the playful interactions, every detail is intentional and true to the narrative, while adding their unique flair.

Photo by Pia Johnson

Duck Pond is a festive spectacle packed with extraordinary stunts. The show celebrates art, innovation, and sheer talent. It is playing at Southbank Centre until 30 December 2024!

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REVIEW: The Color Purple – Sedos London

🎭 The Color Purple
📍Sedos
🎟️ Gifted
⭐⭐⭐⭐⭐

Sedos, London’s leading amateur theatre company, is breaking barriers with its latest production of The Color Purple, marking the first all-Black cast and creative team in its 119-year history. Directed by Tasha Msanide and backed by a talented team of cast and creatives, this production is a joyful celebration of Black creativity and representation in musical theatre.

The story

Based on Alice Walker’s Pulitzer Prize-winning novel, The Color Purple tells the story of Celie, an African-American woman who endures a life of suffering; including racism, abuse and the separation from her sister, Nettie. The challenges continue when Celie is married off to a domineering Mister who further torments her. Celie develops close relationships with women such as the confident & independent Sofia and glamorous singer, Shug Avery, who teach Celie valuable life lessons.

Photo by Ben Copping

The Color Purple delves into themes of resilience, self-discovery, queer love, and redemption while highlighting the enduring strength of women, and the power of community. Having only read the book, I eagerly anticipated what the musical adaptation would have in store – and it turned out to be one of the most powerful shows I have watched.

My thoughts

Set in the early 20th-century American South, the hair and costume design perfectly encapsulates this era, along with the musical genres. The music is a blend of blues, jazz, and gospel, perfectly capturing both the era and emotion of this story. There were powerful ballads and upbeat numbers like Shug Avery’s introductory number ‘Push Da Button’

Photo by Ben Copping

The staging made full use of the theatre’s intimate space and I was impressed with the seamless transitions between scenes. The direction and choreography were carefully thought out, adding fluidity to the storytelling and keeping it at a good pace.  Ruth Luckin’s atmospheric lighting heightened the show’s emotional impact, from the shadows evoking danger and isolation to the radiant purple hues that illuminated Celie during moments of hope. It was subtle yet a significant creative choice.

Photo by Ben Copping

Now, I must talk about the phenomenal cast! Their performances were the heart and soul of the production. It felt like we were watching a cast of seasoned professionals; the talent on that stage was astounding!  Their vocal prowess was unmatched—truly some of the finest I’ve heard in musical theatre. Afope Rachelle Ojomo delivered a standout performance in the role of Celie. Their breathtaking rendition of ‘I’m Here’ was a highlight of the show, with the audience immediately erupting into applause. Ojomo’s ability to act through song was fantastic – the performance was raw, genuine and, honestly, transformative – no notes!

 Alongside Ojomo, Josephine Bannerman stars as Nettie – I loved their voices together! Those beautiful, sisterly moments made their separation all the more heartbreaking. Shug Avery, played by Michaella Moore, was utterly charming. Moore embodied glamour and had the most charismatic stage presence! Moore also brought incredible depth to the character as we saw a more vulnerable Shug in Act 2.

Photo by Ben Copping

The lively ensemble also deserves recognition. The gossiping trio, (Marnette Renee Bennett, Zahra Jennings-Grant and Lashayah Alizè Byfield) had sensational vocals and sharp wit as they provided light-hearted narration throughout. Sofia (played brilliantly by Rinrè Olusola) and her husband Harpo (Dupri Mckoy) were a great duo with plenty of humour and romantic clashes (The Squeak v Sofia showdown had us cracking up!🤣)

Photo by Ben Copping

The show is not without its tough moments. The abuse and injustice the characters face for being Black is difficult to watch yet the production handles this with sensitivity and care.  

What truly stood out was the sense of camaraderie and community among the cast. There was an undeniable warmth and authenticity in their interactions, making the production feel alive! Sedos has achieved something remarkable with this production of The Color Purple. With fantastic performances, thoughtful direction and an abundance of energy, this was a moving and inspiring piece of theatre that I am grateful to have watched.

Congratulations to the entire cast & creative team! 💜

For more information about Sedos London, check out their website and upcoming productions here

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REVIEW: Carlos Acosta’s Nutcracker in Havana

🎭 Carlos Acosta’s Nutcracker in Havana
📍Richmond Theatre
🎟️ Gifted
⭐⭐⭐⭐

Carlos Acosta, renowned ballet choreographer, dancer and director, brings a fresh, fun and dynamic take on the festive classic, with a Cuban twist!

Nutcracker in Havana is a vibrant, exciting reimagining of Tchaikovsky’s ballet. The Cuban-born star has crafted a show, infused with lively Latin rhythms & dance styles, colourful costumes and Cuban culture. I wasn’t too familiar with The Nutcracker story, but this was a beautiful way to be introduced to it!

Photo by Johan Persson

It’s Christmas Eve in Havana, where we step into Clara’s modest home, where beer cans decorate the tree, and the season’s warmth matches the tropical heat.

When Clara receives a Nutcracker doll, she is whisked away on an extraordinary adventure to defeat the fearsome Mouse King and travel to the magical realm of the Sugar Plum Fairy, guided by her Nutcracker Prince.

Featuring brand-new choreography by Acosta himself, this dazzling production is performed by over 20 dancers from his acclaimed Cuban company, Acosta Danza. The storytelling was sublime! Act 1 sees Clara’s entire family take part in joyous celebrations, as they play, laugh and dance together. Nina Dunn’s video projections take us through the bustling Havana streets while the physical staging transforms from the family home to a grand mansion. Andrew Exeter’s atmospheric lighting add to the enchanting journey we are taken on.

Photo by Johan Persson

Tchaikovsky’s iconic score has been newly arranged by composer Pepe Gavilondo Peon. I enjoyed hearing the influences from the music of Havana including Guaracha and Conga rhythms and beats. The choreography also features notable Latin dance styles like Salsa, which I adored.

Another significant change is that the Nutcracker doll is now a Cuban soldier, also known as Mambi. Dressed in traditional clothing, we loved watching the dance sequences between the mambises and the Mouse King.  Act 2 is a delight as we arrive at the Land of the Sweets. The production still includes the classic moves as well as exciting additions. There are impressive acrobatics, a flamenco-inspired routine and the ever so graceful Waltz of Flowers. The costumes were impeccable – bright, colourful and covered with the most intricate details. We also marvel at the Sugar Plum Fairy’s pas de deux, performed beautifully by Lauretta Summerscales.

Photo by Johan Persson

The performances were magnificent – Clara (Laura Rodriguez) had the most youthful and energetic presence, while Raul Reinoso gave a striking rendition of the Russian Dance. I’m not a regular ballet-goer, so I did find myself preferring the Latin dance styles more than the traditional choreography. Nonetheless, I admired this production, and the unique elements Carlos Acosta brought to a classic show, all while paying homage to his Cuban heritage—it was beautiful to see.

Nutcracker in Havana is a charming, joyful and wonderful festive show for all! It’s currently on a UK tour and heading to Southbank Centre in December. Find out more here.

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REVIEW: Murder on the Orient Express – Richmond Theatre

🎭 Murder on the Orient Express 
📍Richmond Theatre
🎟️Gifted
⭐⭐⭐⭐

Agatha Christie’s classic crime story has arrived at Richmond Theatre, in Ken Ludwig’s stage adaptation. We are taken on a thrilling ride, brimming with suspense, in this murder mystery which keeps you guessing until the very end.

The story takes place on the luxurious Orient Express, where Detective Hercule Poirot must solve the murder of a passenger. With the train stalled by a snowdrift and all suspects trapped together, Poirot delves into each character’s secrets to unravel the truth.

The eerie atmosphere is heightened by the sinister sound & video design, that keeps tensions high. I loved the revolving set that offered glimpses into the character’s motives and provided much intrigue. The costumes perfectly embodied the 1930s glamour, while the train set design was visually striking! The scene transitions felt clunky and distracting at times, however, I still appreciated seeing the variety of locations.

Photo by Manuel Harlan

Michael Maloney delivers a fantastic performance as Poirot, balancing tension and wit. I most enjoyed how much emotion was displayed in Act 2. Maloney gives a riveting speech that leaves us on the edge of our seats. My other standouts included Helen Hubbard (Christine Kavanagh) whose comedic flair & interactions with Princess Dragomiroff (Debbie Chazen), were a highlight. Bob Barrett’s Monseir Bouc added lightness to the tense moments with his exuberant eagerness to solve the mystery! 

This production of Murder on the Orient Express delivers the most engaging experience and is a must-see for mystery lovers. It’s playing at Richmond Theatre, before continuing its U.K. tour!

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REVIEW: Why A Black Woman Will Never Be Prime Minister – Camden People’s Theatre

🎭Why A Black Woman Will Never Be Prime Minister
📍Camden People’s Theatre
🎟️PR invite
⭐⭐⭐⭐⭐

Zakiyah Deen’s debut play delves into intersectionality, British politics, and Black women’s maternal health, addressing uncomfortable truths through satire and spoken word. It’s timely, important and a brilliant production!

The story

The play follows nineteen-year-old Shanice Laybá (Zakiyyah Deen) as she navigates the tricky and treacherous worlds of university and politics. Shanice, passionate about poetry, reading and determined to do well, begins her first year at university and lands an internship role as an Executive Assistant to high-profile politician, John Gainsborough (Ryan Whittle). Over nine months, we watch Shanice’s journey as she juggles her studies, her internship, and her health. The show brilliantly captures the struggles and challenges Black women face, particularly within healthcare and the political climate. As Shanice provides much of the unacknowledged labour in John’s office and his community engagements, the question echoes: Why can’t a Black woman be Prime Minister?

Photo by Ali Wright

My thoughts

Written and performed by Zakiyyah Deen, their debut play is packed with satire, spoken word and vivid storytelling that engages us right from the beginning. Deen’s writing is both powerful and rich in poetic cadence. The words flow effortlessly, direct and unflinching as it confronts uncomfortable truths and the harrowing statistics of Black maternal healthcare.

Kelechi Okafor’s direction strikes the perfect balance between humour and serious tones, ensuring the show never loses its rhythm. It’s a testament to Zakiyyah Deen’s versatile performance that the play manages to move so seamlessly between laugh-out-loud moments and heavy, thought-provoking commentary. Deen delivers a strong performance; I was so impressed with how they commanded the stage, embodying a range of characters with sharp wit and physical comedy. Deen sustains the audience’s attention throughout the entire production, with energy and precision.

Jahmiko Marshall’s atmospheric lighting design heightens the intensity of key moments, especially during Shanice’s monologues as dims to reflect her growing inner turmoil. I also loved the lighting cues during the hilariously accurate Question Time segment, which had the audience in stitches.

Photo by Ali Wright

Whittle’s portrayal of John, the bumbling politician, is an uncanny resemblance to a former prime minister, evoking plenty of laughs from the audience. Having worked in local government myself, I couldn’t help but giggle at the scenes where John attempts to engage with the community in an awkward, slightly out-of-touch manner. The scenes with John and Shanice are often where the satire sharpens; those uncomfortable microaggressions and stereotypes make the audience sigh in recognition.

Throughout the show, text projected onto the wall answers the title question, reminding us why society might believe a Black woman could never lead as Prime Minister. These words serve as a subtle transition between scenes, guiding the story while providing critical context for Shanice’s experiences.  Deen’s play articulates themes I haven’t seen in on a theatre stage before. It feels authentic, insightful and provokes essential discussion.

Photo by Ali Wright

Why A Black Woman Will Never Be Prime Minister explores intersectionality – specifically how Black women experience discrimination in the political and healthcare systems. Through Shanice’s journey, the audience sees the layered racial and gender biases she faces, which mirrors the harsh realities of society today. I’m so thankful to have witnessed a production so challenging and moving. Zakiyyah Deen has crafted a powerful piece that doesn’t just entertain—it educates and enlightens!

The show is playing at Camden People’s Theatre until 9 November!

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The Stage Debut Awards 2024

On Sunday 29 September 2024, I attended The Stage Debut Awards. The Debut Awards highlight breakthrough actors, writers, directors, designers, composers/lyricists across 8 categories.

I had the amazing opportunity to meet the award nominees, guest performers, and hosts. I loved speaking with them, learning about their journey & their excitement to be part of this joyous ceremony!

Here are my interviews from the evening:

Joshua Ginsberg – Nominee for Best Performer in a Musical for ‘Cable Street‘

How does it feel to be nominated?

Joshua: It’s an honour. I’m so proud of this show and to be a part of it. I’m very happy to be here.

Would you mind telling us about Cable Street?

Joshua: It’s set in 1936 and is the story of three different communities. A time when Oswald Moseley’s British Union Fascists were on the rise. There was a battle on Cable Street to blockade the march. It’s a story of communities coming together to rise up and stand for what’s right.

Any advice for young, aspiring performers trying to make it into Musical Theatre?

Joshua: Just be patient and focus on your craft. Keep developing your skills. There can be a lot of rejection, you’ve just got to persevere.

Francesca Amewudah-Rivers – Nominee for Best West End Debut for ‘Romeo + Juliet’

How does it feel to be nominated?

Francesca: It feels great – I am very humbled to be in a room with so many amazing people who I’ve looked up to for the longest time. Especially now to be able to celebrate. It was a tough old job, and I’m grateful for the opportunity to be like, “Yeah, I did that!” We did that – the community. It’s a win for all of us! It was all of us that got me through this. I couldn’t have done this without the community support. My fellow black creative communities. It’s amazing, I’m celebrating for all of us.

Any advice for aspiring creatives, particularly Black creatives?

Francesca: Make your own work. ‘Kola Nut’ (at Bush Theatre) was an experiment with West African storytelling and that was the beauty of that show. We were bringing our creative flexes into the space. Keep on working on your own thing, your own craft. Connect with your culture. That is what is going to carry you through. That is the secret ingredient! (laughs) That’s the sauce! It’s important. You’re not alone, it’s spiritual, it’s ancestral. We’re all behind you. 

Daniel Bailey – Winner for Best Creative West End debut for ‘Red Pitch’

How does it feel to win ‘Best Creative West End debut’?

Daniel: It feels good. It’s good to be recognised for the work you do. And it’s about recognising all those that contributed to the show and made the show what it was.

How did it feel moving ‘Red Pitch’ from Bush Theatre to the West End

Daniel: I felt it needed the space to grow. I will always love it at the Bush, but I wanted us to be able to reach new audiences. It still felt like it kept its authenticity. It still kept its south London swag. It was good to come up in the West End and have us, unapologetically Black. Unapologetically from the ends in West End

Any advice for aspiring directors/creatives?

Daniel: Your unique selling point is you. There’s no one else that can be you, better than you. And that also applies to the work that you make. Bring yourself to it as much as you can. Don’t hide that part of yourself.

Azuka Oforka – Winner for Best Writer for ‘The Women of Llanrumney’

Congratulations! How does it feel to have won ‘Best Writer’?

Azuka: To win ‘Best Writer’, for your first play – I’d say it’s a dream come true. But I honestly didn’t dream of this. Just to be commissioned to write a story that you’re passionate about, is a dream come true.

Any advice for aspiring writers?

Azuka: Finish your plays. Consistency is really important. I’m 42 – and I made my debut at 42 years old. If I was consistent, I might have had an earlier debut (laughs). Finish the work, share the work, and hopefully you get feedback. Feedback helps you grow and become a better writer.

And how are you going to celebrate?

Azuka: I only sipped slowly on a glass of bubbly earlier, because I was nervous. Now, I’m going to sip quicker! (laughs)

The Winners in Full:

Best Performer in a Play (Sponsored by Theatrical Rights Worldwide):
● Ellie-May Sheridan for London Tide at National Theatre, London
● Louis McCartney for Stranger Things: The First Shadow at Phoenix Theatre, London

Best Performer in a Musical (Sponsored by Michael Harrison Entertainment):
● Jeevan Braich for Starlight Express at Troubadour Wembley Park Theatre, London
● Grace Hodgett Young for Sunset Boulevard at Savoy Theatre, London

Best Director (Sponsored by Arts Council England):
● Sophie Drake for The Bleeding Tree at the Southwark Playhouse Borough, London

Best Designer (Sponsored by Preevue):
● Nathan Amzi and Joe Ransom (video) for Sunset Boulevard at Savoy Theatre,
London

Best Writer (Sponsored by Sonia Friedman Productions):
● Sam Grabiner for Boys on the Verge of Tears at Soho Theatre, London
● Azuka Oforka for The Women of Llanrumney at Sherman Theatre, Cardiff

Best Composer, Lyricist or Book Writer (Sponsored by Crossroads Live):
● Jack Godfrey for 42 Balloons at The Lowry, Manchester

Best West End Debut Performer (Sponsored by Noël Coward Foundation):
● Jack Wolfe for Next to Normal at Wyndham’s Theatre, London

Best Creative West End Debut (Sponsored by Trafalgar Entertainment):
● Daniel Bailey (director) for Red Pitch at @sohoplace, London

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REVIEW: Kiss Me, Kate – Barbican Theatre

🎭 Kiss Me, Kate
📍Barbican Theatre
🎟️ AD – Gifted
⭐⭐⭐⭐⭐

Kiss Me, Kate returns to London with a dazzling revival by Bartlett Sher. The 1948 musical by Bella and Samuel Spewack, with music and lyrics by Cole Porter, remains a theatrical classic! The story revolves around the production of a musical version of Shakespeare’s The Taming of the Shrew, and the off-stage romantic conflicts and entanglements among the cast.

With laugh-out-loud moments, chaotic backstage antics, powerful vocals, and spectacular choreography, Kiss Me, Kate could be the show of the season!

Photo by Johan Persson

The musical comedy follows a divorced couple, Lilli Vanessi and Fred Graham, as they attempt to perform a musical version of a Shakespeare classic. The ex-spouses star as Petruchio and Katherine and their tumultuous relationship is mirrored in their performances. Along with the romantic entanglements, there’s also a mishap with gambling debts and gangsters, further adding to the comedic chaos. Stephanie J. Block makes her London debut in the lead role, as glamourous Hollywood star, Lili Vannessi. Lilli is confident, witty and has a fiery temperament – much like the character she portrays in The Taming of the Shrew.  Stephanie J Block was outstanding in this role, showcasing her award-winning talent and the most gorgeous vocals. I especially loved when she sang ‘I Hate Men’, with such ferocity! While the titular track, ‘Kiss Me, Kate’ showed off Block’s impressive operatic range.

Adrian Dunbar stars as Fred Graham, the director of the show, playing the character with endless charm and charisma. Like Lilli, Fred is witty and exudes confidence that borders on arrogance. Dunbar and Block had great chemistry and comedic timing, providing the audience with plenty of laughter.

Photo by Johan Persson

Michael Yeargan’s two-level stage features a revolving section, creating a clever and dynamic visual experience, revealing the split narrative between the on-stage and off-stage drama.

While there were many farcical moments throughout the show, Bartlett Sher’s direction felt slick and authentically funny. The scene-stealing Gangster duo, played by Hammed Animashaun and Nigel Lindsay, had the audience in stitches with their catchy performance about the Bard in ‘Brush Up Your Shakespeare!’ The well-deserved round of applause they received was a highlight of the evening.

Jack Butterworth as Paul, led the sizzling opening in Act 2 with the notable ‘Too Darn Hot’, accompanied by a talented ensemble. Choreographed by Anthony Van Laast, this spectacular jazz-style number was an iconic way to begin the second act. Vocal powerhouse and rising star, Georgina Onuorah, also stole the show with a lively, flirtatious rendition of ‘Always True to You in My Fashion.’ Charlie Stemp, known for his signature moves, graced the stage with a mesmerising and joyful tap dance number during ‘Bianca’. 

Photo by Johan Persson

Kiss Me, Kate is oozing with energy from this brilliant cast, leaving the audience beaming with joy. The vibrant musical revival still features the hilarious comedy, the classic charm, romance and of course, those showstopping dance routines. All this combined makes the ultimate musical comedy – and a must-see this season!

Kiss Me, Kate plays at Barbican Theatre until 14 September 2024. You can book tickets for this show directly at London Box Office.

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REVIEW: Shifters – Bush Theatre

🎭 Shifters
📍 Bush Theatre
🎟️ PR invite
⭐⭐⭐⭐

Bush Theatre continue impress with their latest production from Benedict Lombe. 

‘Shifters’ is a beautiful and honest, exploration of young love, memory, and destiny. We meet Destiny and Dream (Heather Agyepong and Tosin Cole), childhood friends who reconnect after years apart. Now, aged 32, Des and Dre are living the dream in their respective careers. But a tragedy brings them together for the first in 8 years, and the memories come flooding back. The play shifts between pivotal moments in Des and Dre’s lives – from the moment they met at 16 in debate class to the challenges they faced in adulthood.

Written by Benedict Lombe, winner of the Susan Smith Blackburn Prize for Playwriting, the play is authentic, and poetic as it delves into the complexities of relationships. I adored how Lombe’s writing acknowledges the vulnerability we exude when it comes to love. Throughout this powerful two-hander, we watch Des and Dre navigate their friendship-turned-relationship, through affecting moments. 

Lombe sensitively incorporates the impact of grief and trauma on Des and Dre’s relationship, but also the heavy burden Des carries in regards to being a Black woman. This was something I and members of the audience audibly agreed on as Des emotionally described how society interacts with Black girls. 

The story makes us question whether the ‘right person, wrong time’ is true and if soulmates do exist (I believe they do!).

Photo by Craig Fuller

Tosin Cole and Heather Agyepong take to the stage with undeniable chemistry. The dialogue between them is pacy, and filled with playful jokes that double up as flirtatious. They banter about African parties, the school’s debate club, and Nigerian vs Congolese music. I found myself smiling numerous times at their exchanges and how real the performances were. My memorable moment was Des tending to Dre’s hair; this simple yet profoundly intimate moment beautifully showed the bond between the pair. That soft, playfulness remains even years after they last met. 

Agyepong’s Des is self-assured and full of sharp wit, while Cole is the epitome of cool, calm and collected, even in moments of sadness. Cole and Agyepong deliver the most captivating performances I’ve seen in a romantic play. Even during quieter moments, their passion speaks volumes. Directed by Lynette Linton, there is a playful energy between our two leads. The non-linear structure flows naturally, revealing layers of Des and Dre’s relationship with each passing year.

Photo by Craig Fuller

Alex Berry transforms the main space with a minimalist traverse staging, while Neil Austin’s stunning lighting illuminates the stage. The lighting is visually striking as we walk into the theatre and throughout the show, these lights effectively capture the shifting timelines in the story. The bold hues of greens and reds during Des and Dre’s youthful years, become dimmer as we move to present-day. I would have loved a solid conclusion to round off the story, but perhaps the ending was meant to be ambiguous.

The show is a powerful reminder of our experiences with long-term connections, and will leave audiences utterly moved. With stellar performances and evocative storytelling, Lombe’s play balances humour and heartbreaking scenes, and altogether is an authentic portrayal of young love. Shifters is another example of Bush Theatre continuing to share new, powerful and diverse stories!

Shifters plays at Bush Theatre until 30 March 2024.