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Morveren – Barons Court Theatre

šŸŽ­ Morveren
šŸ“ Barons Court Theatre
šŸŽ« Gifted
⭐⭐⭐

Drawing upon Cornish mythology, ā€˜Morveren’ is a story that explores three generations of women and the importance of community.

Written by Kate Webster and directed by Lou Corben, Morveren includes a musical arrangement by Becki Jayne Reed and audio clips of the ocean breeze, setting the scene, and transporting the audience to Cornwall.

The story

The play begins with Keren (Charlotte Blandford), an ambitious banker, arriving at a coastal Cornish village for a work project, with her daughter, Ellie (Aysha Niwaz).

Keren is a workaholic, eager to please her boss and earn a promotion. Ellie is fascinated with mermaids and the sea, carrying around the Disney Princess Ariel backpack *and* an Ariel toy. Ellie’s curiosity, and desire to be a mermaid, lead her to take a swim in the sea, much to her mother’s obliviousness.

In another scene, Morwen (Alessandra Perotto) notices Ellie struggling in the water and sets out to rescue her. Here we learn that Morwen is Keren’s grandmother and has not seen Keren in years, nor has she met her great-granddaughter, Ellie. Morwen, the matriarch of the village, stresses the importance of protecting their home and passing down wisdom to Keren and Ellie. Keren displays snobbery about her hometown, wondering why the same people are still living and working in a village so rural, her GPS watch can’t track her.

My thoughts

The pacing did feel slow and it took a while for the story to unravel. Act 2 certainly had more dramatic elements and revealed details of an unfortunate accident, which caused Keren to leave the village.

I enjoyed the duologues between the characters; Ellie and Morwen’s conversation about mermaids was endearing. Although unclear how old Ellie was meant to be, Niwaz did a great job at portraying the innocence mixed with inquisitiveness you’d associate with a young child. I also liked the staging in this particular scene. The set design was simple, with a sole rock situated at the corner of the stage. A clever and subtle directional choice from Corben, having Ellie positioned in a way we’d imagine a mermaid to lay.

The actors all gave strong performances, especially during the tense scene with Keren and Morwen. Their role as grandmother and granddaughter was believable and their scenes felt natural.

While the strengths lay within the performances, the story felt disjointed. I would have loved more cohesion between the moments of drama. Ā In my opinion, certain scenes and even intervals of dialogue from Keren interrupted the flow. Other scenes felt like a filler and could have been minimised. I would have also liked more exploration into Cornish mythology.

Keren’s character journey was a standout – Blandford played the role exceptionally well and convincingly displayed a range of emotions. Keren went from being distant, even a bit rigid to showing a softer, vulnerable side.

With great characters, who shone in their individual roles, Morveren is a heart-warming family play, emphasising the value of having a community, forming family bonds and womanhood.

Morveren is playing at Barons Court Theatre until Saturday 28 January 2023. You can get tickets online.

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Nerubashenko Ballet presents Swan Lake

šŸŽ­ Swan Lake
šŸ“Richmond Theatre
šŸŽ« PR invite
⭐⭐⭐⭐


Nerubashenko Ballet’s production of Swan Lake glides its way to Richmond Theatre, for an enchanting evening.

Premiering in 1877, Swan Lake is considered one of the masterpieces of classical ballet. It has performed many productions and new choreography across the world, enjoyed by ballet lovers and newcomers. This was my first time watching ballet and I could definitely see why Swan Lake is hailed as one of the greatest.

The story

The classic tale follows Prince Siegfried, who falls in love with Odette, Queen of the Swans. Odette and the swans are under a spell by the evil magician, Rothbart. They spend their days gliding across the lake, only for their human form to be regained at night. Enthralled by Odette’s beauty, the Prince swears eternal love for her, and Odette believes his true love can save her and the other maidens from the spell.

When Prince Siegfried must choose a bride, the evil Rothbart tricks the Prince into declaring his love for Odile, the daughter of Rothbart, who bears a striking resemblance to Odette. Realising his mistake, Prince Siegfried begs for Odette’s forgiveness and fights against the evil magician until the spell is broken. The ballet has a fairytale ending, with Siegfried and Odette having their happily ever after.

Swan Lake is a love story, performed in three acts to the iconic Tchaikovsky. There is romance and sorcery, but no tragedy. I still enjoyed the story and watched with a ballet enthusiast who explained this production strayed from the traditional ending.

The production

The live orchestra was a standout, particularly the Harp solo, which had me captivated. Scores that were instantly recognisable and beautifully complemented the ballet. The company was perfectly poised, light on their feet, effortlessly gliding across the stage. I was most impressed with how brilliantly timed the dancers and orchestra were–it was fantastic!

Performed by a hand-picked company of international ballet artists, this production included various dance styles, which I was not expecting. In a colourful Palace celebration sequence, we watch an exuberant Spanish flamenco duet followed by an upbeat Russian folk dance. Act 2 was certainly more energetic, in both the story and performance. I noticed minor mishaps, which I assume were down to the smaller-scale staging. I imagine a larger stage would elevate the production even more. Still, the company did a great job at utilising the smaller space and did not let this deter the routines.


With no words, performers must rely on their movements and facial expressions to tell the story. I wished the Prince showed more emotion, particularly in Act 1 where he falls deeply in love with Odette. By comparison, the company was full of passion, especially the entourage of swans.

As the lead ballerina eloquently danced in her roles as Odette and Odile, personality shone on her face. Dressed in a gorgeous all-black outfit, Odile’s solo was impressive. It was seductive and confident, and I watched in awe at the number of fouette turns they did. I know we were supposed to root for Odette and Prince Siegfried, but Odile had us in a trance–no wonder Siegfried fell for it!

The dancer was expressive, showcasing a delicate, timid nature in the role of Odette when meeting with the Prince. She certainly embodied the movements of a swan as the duo immaculately danced across the stage.

With a talented company of dancers, beautiful, detailed costumes, and stunning choreography, I can see why Swan Lake is a masterpiece!

Nerubashenko Ballet presents Swan Lake will continue its UK tour throughout January 2023.

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The Lavender Hill Mob – Richmond Theatre

šŸŽ­ The Lavender Hill Mob
šŸ“ Richmond Theatre
šŸŽ« PR invite
⭐⭐⭐⭐

Coined as one of the ā€˜greatest British comedy films’, The Lavender Hill Mob headed to Richmond Theatre for an all-new stage adaption.

Olivier-nominated playwright Phil Porter adapted the Ealing comedy classic, alongside Tony and Olivier-nominated director, Jeremy Sams.

The funny, fast-paced comedy tells the story of Henry Holland, an ordinary bank clerk who dreams of stealing the van of gold bullion he drives daily across London. Upon discovering that his new lodger is making Eiffel Tower paperweights out of lead, Henry devises a plan to make his dream a reality. It’s a golden opportunity for a crime of the century!

The show begins at a New Year’s Eve party in Rio, as party guests and staff prepare for the countdown. The guests are paid a visit from Farrow (Guy Burgess) a ā€˜film director’ and relish the opportunity to re-enact the infamous ā€˜Lavender Hill Heist’ for him.

Actor and comedian, Miles Jupp and Justin Edwards play Henry Holland and Pendlebury, the unsuspecting criminal duo. With Pendlebury’s skills in moulding Eiffel Tower and a comical ā€˜gang recruitment’, Holland’s plan to steal the gold is underway. Though the characters remain in Rio, their storytelling transports us to 1950s London, Dover, and parts of France.

Photo by Hugo Glendinning

The rest of the multitalented cast (Tessa Churchard, John Dougall, Victoria Blunt, Tim Sutton, and Aamira Challenger) were onstage for the entirety of the play, switching between various characters. The play may be a chaotic heist, with the cast constantly sprinting around the stage, but the staging and direction were executed so well that their moves appeared seamless.

Mark Henderson, the recipient of multiple Oliver Awards, did some incredible work with the lighting design. For instance, the cascading orange lights whenever the gold bullion appeared were genius as were the timing of the lights during significant moments. I admired Francis O’Connor’s simple staging and the use of props to accompany the story. Silver trays as steering wheels and palm trees to replicate the Eiffel Tower.

Photo by Hugo Glendinning

There were a few inside jokes that I was not familiar with as I had not watched the film. Act two was stronger; the comedy picked up and we were introduced to further multi-roleplaying. From French taxi drivers to school children to police officers – and a lot more silver-tray steering wheeled car chases! As a result, the play became fast-paced yet we never lost track of the story. Jupps and Edwards perform well as our criminal double act. The whole cast has an amazing stage presence, each shining in their roles. I enjoyed the delivery of the jokes and puns, particularly Sir Horace (Dougall) who had such natural humour.

My favourite scene was the amusing pursuit across London. As our delinquent duo race across the capital, the supporting characters hilariously recreate moments in history and reference iconic landmarks – one reference had the audience howling from laughter. In addition, the video projection with a moving map of London was a nice touch.

Guy Burgess (Farrow) and Miles Jupp (Henry Holland)
Photo by Hugo Glendinning

This stage play was strong in its delivery and interpretation, bringing the story to life. With intricate details, from the way the lighting shone on the cast to how the music aligned with the animated steps – I loved it!

The Lavender Hill Mob is a fun comedy play suitable for all ages and even those who may not be familiar with the original film. The cast performs flawlessly, with great comedic timing and a ton of puns!  

You can catch this play at Richmond Theatre until Saturday 19th November before it continues its tour! Tickets are available here.

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Ikaria – Old Red Lion Theatre

šŸŽ­ Ikaria
šŸ“ Old Red Lion Theatre
šŸŽ« PR invite

⭐⭐⭐⭐

Philippa Lawford’s new play, Ikaria, is a captivating and deeply moving portrayal of mental health. The play also depicts young love and finding salvation in others.

Simon (James Wilbraham), a third-year Classics student, returns to university having taken a year out. He meets a first-year English student, Mia (Amaia Naima Aguinaga), and the pair soon become an item. The couple attracts one another, despite their differences. Simon comes from a wealthy family and is privately educated, whereas Mia attended a state school and expressed not knowing her father. Mia ambitiously seeks work experience and begins working as an Editor for the university paper. Whilst Simon struggles to write a Dissertation proposal, missing numerous deadlines. Taking place entirely in Simon’s dorm room, I felt transported back to my university days as the set so accurately resembled student halls. 

Amaia Naima Aguinaga (Mia) and James Wilbraham (Simon)
Photo by Tristram Kenton

Aguinaga and Wilbraham deliver the most authentic performances. From amusing moments to tender moments, the dialogue is very natural! I enjoyed watching Simon and Mia’s relationship, performed with excellent chemistry from the cast.

My favourite scene was Simon telling Mia about the Greek island, Ikaria, where people live until 100 years old. As they embrace, envisioning their lives in this utopia, it felt so pure. The audience is fully immersed in the character’s relationship, especially as we see their highs and lows. Lawford’s writing is flawless, and there is the right balance of humour, which does not take away from the serious themes.Ā 

As the semester goes on, Simon’s old habits creep in; an untidy room, avoiding emails and excessive Deliveroo orders.Ā IkariaĀ is strong in its depiction of depression and the varying ways it can manifest in our everyday lives. The ways it can go unnoticed. The ways in which people may say they are fine but are experiencing so much pain.

James Wilbraham (Simon)
Photo by Tristram Kenton

Lawford’s direction is impressive, and they have shown an honest representation of men’s mental health. Shane Gill’s lighting also does well to showcase the shifting moods. I did note that some transitions could have been smoother to show the change of scene.Ā 

Wilbraham’s performance is powerful, and they brilliantly play Simon, expressing anguish and guilt in scenes that are tragic to watch. I appreciated seeing how Aguinaga displayed a range of emotions in their role as Mia. Aguinaga was convincing as the bright-eyed and enthusiastic student to then being the concerned and compassionate partner. The scenes of silence spoke volumes as we witnessed Simon’s heart-breaking ordeal.

I was grateful for the appropriate gesture from the theatre, as they had placed notes on the seats, with a list of resources for those affected by the themes explored in the play.

With a great cast, fascinating writing, and direction,Ā IkariaĀ is an important play. Its portrayal of mental health is profound and unlike anything I have seen. Phillipa Lawford has made a raw, beautiful piece of theatre – I cannot wait for what they do next!

Ikaria is showing at Old Red Lion Theatre until 19th November – you can get tickets here.

If you are affected by the themes in this play, concerned about your health or a loved one, here is some information you may find useful:

Campaign Against Living Miserably (CALM)
šŸ“ž 0800 58 58 58
CALM website

Papyrus – for people under 35
šŸ“ž 0800 068 41 41
šŸ“± Text 07860 039967
šŸ“§ pat@papyrus-uk.org
Papyrus website

Samartians
šŸ“ž 116 123
šŸ“± Text SHOUT to 852558
šŸ“§ jo@samaritans.org
Samaritans website

šŸ“ž NHS ‘111

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Blues for an Alabama Sky – National Theatre

šŸŽ­ Blues for an Alabama Sky
šŸ“ National Theatre
šŸŽŸ PR invite
⭐⭐⭐⭐

I took my first-ever visit to National Theatre to watch Blues for an Alabama Sky.

The 1995 play, written by Pearl Cleage, headed to Southbank, for a startling revival directed by Lynette Linton.

Set in an all-Black neighbourhood in 1930s Harlem, New York, the story follows a group of friends battling to keep their artistic dreams alive amidst the beginning of the Great Depression.

We meet Angel (Samira Wiley), a struggling Blues singer who recently lost her job and boyfriend. Angel shares an apartment with her gay best friend, Guy (Giles Terera), a fashion designer who dreams of being in Paris, designing outfits for the famous Josephine Baker. Across the hall is the shy and awkward Delia (Ronke Adékoluẹjo), who aspires to open a family planning clinic in Harlem. The quartet are complete with Sam (Sule Rimi), a charming, outgoing doctor, who delivers babies during the day, and then parties all night. 

Sam (Sule Rimi) and Angel (Samira Wiley)
Photo by Marc Brenner

The play takes place entirely in the apartment building, with the Harlem Renaissance serving as the backdrop. It is a time when there was economic uncertainty, hardship and dwindling opportunity. Despite this, the characters strive for freedom.

The friends frequently come together, hanging out in Angel and Guy’s apartment, reciting Langston Hughes’ poetry, and drinking champagne. This is disrupted when Angel falls for Leland Cunningham (Osy Ikhile), a God-fearing man from Alabama. Their romance is adorable, to begin with, but when Leland’s conservative views are revealed, it causes strain on Angel’s friendships and her own feelings.

Angel (Samira Wiley) and Leland (Osy Ikhile)
Photo by Marc Brenner

Lynette Linton has created a beautiful production. I admired the transitions between scenes as the stage revolved. Frankie Bradshaw’s set and costume design were stunning, transporting us back into 1930s New York.

The talented cast was incredible, and each character shone in their own way. A complex group of friends, I loved all their interactions. Samira Wiley’s performance as Angel was a brilliant mix of sass, humour, and a dash of self-centeredness. Wiley and Terera displayed the perfect friendship duo. The matching energy, flamboyancy, wit, and vocals were a joy to watch and a highlight of the performance!

AdĆ©koluįŗ¹jo’s performance was another standout, as she portrayed Delia in a timid manner, with the occasional awkward outbursts. It certainly provided many of the humorous moments of the show. Delia and Sam’s scenes were endearing, and I very much enjoyed the dialogue in their scenes and their blossoming relationship. Their moments felt poignant; AdĆ©koluįŗ¹jo and Rimi’s onstage chemistry was undeniable.

Delia (Ronke Adékoluẹjo) and Guy (Giles Terera)
Photo by Marc Brenner

Act One was far more slow-paced; there was a lot of dialogue with little action to match. The scenes picked up once the harmonic ensemble joined the stage, led by Wiley’s strong vocals. From then, the rest of the show was captivating, with some scenes causing audible gasps from the audience. 

Cleage’s writing includes heavy but necessary topics. It is a timely play, which Sule Rimi acknowledged in our interview during the rehearsals. Themes such as reproductive freedom, homosexuality, and racism, are so relevant and vital in our current climate – I appreciated how sensitively the production shared this.

Pearl Cleage has written an impactful piece of theatre with honest characters, resonant in our current society. Even with a bittersweet ending, Blues for an Alabama Sky is a story that reflects reality, and I am thankful for this revival.Ā 

You can catch Blues for an Alabama Sky until 5th November 2022!