Category: Theatre

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The Stage Debut Awards 2023

On Sunday 1st October 2023, 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:

Emily Benjamin – Guest performer, Alternate Sally Bowles in Cabaret

How does it feel to be at The Stage Debut Awards?
Emily: It’s really fun! I keep looking around, recognising all the people I’ve been fans of for years of my life – because I’m stagey. I’m performing at the same event that Rachel Wooden is performing at! I used to listen to her when I was a teen – I think she’s incredible! 

How does it feel to be a part of Cabaret?
Emily: It’s hugely important! I’m so thankful to get to tell a story, that’s scarily relevant in today’s world. The director, Rebecca Frecknall, said very early on, that to make dangerous work, we had to create a safe environment. Building this show is both dangerous and incredibly beautiful. I couldn’t be more thankful to be part of it!

What are you looking forward to in 2024?
Emily: I’m starring in a new musical called Bronco Billy at Charing Cross Theatre, that opens in January! I’m looking forward to telling a new story and reaching a new group of people.

Last question – what’s your favourite ever musical?
Emily: The Last 5 Years – Jason Robert Brown!

Bukky Bakray – Nominee for Best Performer in a Play for Sleepova at Bush Theatre

How does it feel to be nominated?
Bukky: It’s nice, I feel humbled. It was mad to be in the theatre, as I’m not training, so to be nominated with so many incredible people – I just feel really humbled!

How was the whole experience working on ‘Sleepova’? 
Bukky: It was everything I would have hoped it to be. I feel like that was because it was at the Bush [Theatre]. I’m really grateful to have a debut at that theatre. Everyone was really cool, beautiful environment!

What are you looking forward to this evening?
Bukky: I’m with Kosar Ali. We started all of this together and she also had a debut play this year. It’s nice to share this experience with her.

Elan Davies – Nominee for Best Performer in a Play in Imrie at Sherman Theatre

How does it feel to be at The Stage Debut Awards?
Elan: It’s been so cool. It’s nice to be recognised. I’m at the beginning of my career. It’s cool to be in a room with people I look up to.

Can you tell us more about ‘Imrie’? 
Elan: It’s a fully Welsh language play in Cardiff, then it toured Wales. It’s about two teenagers growing up during that transitional period where you go from teenagers to adults. Both characters feel othered in two different senses; my co-star, Rebecca Wilson, figuring out her queer identity, and my character figuring out her mixed-race roots. It was all performed in the Welsh language, which was really cool.

I wanted to go on to this project as I’d never read anything like this in the Welsh language. It platformed voices that aren’t necessarily platformed at the moment in Welsh. 

Elan Davies went on to win the Best Performer in a Play award!

Congratulations! How were you feeling, in the moment, when your name was announced?
Elan: I was crying with no tears! (laughs) It was a heave of exasperation, joy, gratitude, and a lot of emotions! I was surrounded by my family, which was the best thing about it.

I had an unconventional entrance into the industry. I left school at 17 and started working and getting into the room as much as I could. I’m still at the beginning, but it’s a massive thing to be recognised at this stage!

Emily Ling Williams – Director of A Playlist for the Revolution at Bush Theatre

What did it mean to be part of ‘A Playlist for the Revolution’?
Emily: It was incredible – one of the best experiences of my life. I worked with AJ Yi from the start. The creative team, and the actors, all coming together and making the show was really exciting! And telling a story with an all-Asian cast, about something political and also something beautiful, fun, a human story. It embraced music, love and happiness – it was such a joyful experience from beginning to end.

Myself, AJ and the designer were all working collaboratively – AJ and I were raised on rom-coms so we wanted to make it as romantic as possible! Bush Theatre was incredible. The team were amazing. I don’t think you could have a better debut show experience. They were kind and supportive from the get-go – it was a dream!

Emily Ling Williams went on to win the Best Director award!

Congratulations! How did it feel when your name was announced?
Emily: Unbelievable! I was so shocked! When they said “Hong Kong”, I was like ‘what?!’.

How are you going to celebrate?
Emily: Champagne, enjoy my dessert, tell my mum! 

I’m so happy for you! Do you have any advice for aspiring directors?
Emily: I came up through the Young Vic. I applied for an Introduction to Directing course at Young Vic. It was a free 2-week course. They supported me and helped with my first and second jobs in theatre. They’ve been amazing! Find those courses and theatres that are helping Directors – just apply and see!

And shout to the Bush Theatre!
Emily: Shout out to Bush Theatre – they take a chance on people. Lynette and Dan, the whole team are incredible. They give you the opportunity to make a great show!

The Winners in Full:

Best Performer in a Play (Sponsored by Cabbells):

● Elan Davies for Imrie at Sherman Theatre, Cardiff

● Isobel Thom for I, Joan at Shakespeare’s Globe, London

Best Performer in a Musical (Sponsored by Carnival Cruise Line):

● Jessica Lee for Miss Saigon at Crucible Theatre, Sheffield

Best Director: (Sponsored by Arts Council England)

● Emily Ling Williams for A Playlist for the Revolution at Bush Theatre, London

Best Designer (Sponsored by Wimbledon College of Arts, UAL):

● Andrea Scott (video) for My Neighbour Totoro at Barbican Theatre, London

Best Writer (Sponsored by Sonia Friedman Productions):

● Anoushka Lucas for Elephant at Bush Theatre, London

Best Composer, Lyricist or Book Writer (Sponsored by Crossroads Live):

● Michael R Jackson for A Strange Loop at Barbican Theatre, London

Best West End Debut Performer (Sponsored by TodayTix)

● Rose Ayling-Ellis for As You Like It at @sohoplace

Best Creative West End Debut: (Sponsored by Trafalgar Entertainment)

● Tingying Dong (sound designer) for The Crucible at National Theatre and Gielgud Theatre

● Rob Madge (writer) for My Son’s a Queer, (But What Can You Do?) at Garrick Theatre and Ambassadors Theatre

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Theater Camp – Film Review

🎬 Theater Camp
📍Picturehouse Central
🎟️ PR invite
⭐⭐⭐⭐

If there’s a camp I want to go to, it’s AdirondACTS!

Earlier this week, I had the pleasure of attending a special screening of the film, Theater Camp.

Written and directed by Molly Gordon, Nick Lieberman, Ben Platt and Noah Galvin, Theater Camp, is a satirical comedy film following the drama at a theatre camp in upstate New York. It’s laugh-out-loud funny, nostalgic, and amazingly wholesome.

As summer comes around, children begin preparing for their annual visit to AdirondACTS, the theatre camp for aspiring performers. When Joan, the beloved founder of the camp, falls into a coma, it’s down to her ‘entrepreneurial’ son, Troy (Jimmy Tatro), to help keep the camp afloat. A dilemma arises when Troy discovers the camp is facing bankruptcy. Clueless about the theatrical world, Troy works together with the eccentric teachers and campers to find a way to save the camp.

The film follows a ‘mockumentary’ style, capturing all the events across the camp as they all prepare for the original musical. I loved this format as it made the scenes more relatable and suited the style of humour. It’s incredibly satirical, reminding me of hit TV shows, The Office and Abbott Elementary. I wouldn’t be surprised if some of the scenes were improvisation too! The cast shone throughout with their sharp wit and comedic timing.  The younger members of the cast were also impressive, and I loved seeing their over-dramatic characterisation of ‘theatre kids’.

My favourite scene was the montage of the lessons taking place across the camp. Costume, drama, stage management – and whatever class the unqualified teacher would attempt. Notable mention to Ayo Edebiri, for the deadpan humour in the role of a teacher who lied on their CV.

Ben Platt and Molly Gordon star as Amos and Rebecca-Diane, Head of Drama and Music teachers at the camp. Described as ‘artistically linked’ best friends, I enjoyed how the film explored their quirky friendship and the changing dynamic. Platt and Gordon were fantastic and displayed great (and funny) chemistry.

The script is packed with jokes, and while the storyline felt a bit predictable, the message conveyed was wholesome. All throughout, we witness how accepting the theatre camp is. The safe and welcoming hub it provides for the campers and the staff. The character arc of Glenn (Noah Galvin) was so heartwarming and perfectly embodied that supportive, affirming theatre spirit! Even with all the tender moments throughout the finale, as the children sing ‘Camp is Home’, I still found myself giggling at the credit scenes

This is a film that certainly resonates with me. Theater Camp is a genuine, hilarious, and light-hearted film that has beautifully shown what theatre means to people.

Theater Camp opens in UK cinemas on August 25th! You can find out more information about the film at https://www.searchlightpictures.com/theater-camp/

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Chips and Ice Cream – Camden Fringe

🎭 Chips and Ice Cream
📍 Camden People’s Theatre (Camden Fringe)
🎟️ PR invite
⭐⭐⭐⭐

Martyn Hodge’s Chips and Ice Cream explores parenthood, masculinity and intergenerational struggles in this fast-paced one-man show.

The story

Chips and Ice Cream provides a glimpse into the life of Stevie, a young, working-class man from Glasgow, as he navigates the challenges of raising his son, Charlie, to the best of his ability. The story unfolds against the backdrop of a therapy session, where Stevie exudes brash energy and sharp-witted humour. Plus a clear sign of defensiveness, which could only hint at his inner turmoil. The play entwines Stevie’s memories, moving between his journey as a father and the complex layers of his past.

My thoughts

Written and performed by Hodge, the script thoroughly unveils Stevie’s journey. He is a complicated character, who is coming to terms with his traumatic childhood with an alcoholic and abusive dad.

As we witness his love and care for Charlie – whether it’s rescuing “hamsters” together or indulging in McDonald’s – we’re also shown harrowing moments of anger that mirror Stevie’s upbringing. The switch between these scenes was quick, yet nicely portrayed through Hodge’s physical performance as well as the use of lighting, which worked well in guiding the audience through Stevie’s story.

In a playful scene where Hodge covers the stage with a collection of children’s toys, I was initially unsure whether this flashback was Stevie’s childhood. But on reflection, this could easily allude to the shared experiences with his son, Charlie. I enjoyed the verbatim elements, which further explored the social and financial pressures Stevie faced, and also Charlie’s bad behaviour at school.

Under the direction of Michael Abubakar, the show is fast-paced, perfectly matching the intensity of Hodge’s performance. Even with the bare set design, Hodge held our attention with their captivating and passionate stage presence.

Described as a comedy-drama, Chips and Ice Cream covers strong themes such as aggressive parenting, toxic masculinity, and the ripple effects of generational trauma. While there were elements of humour, the play remains a heavy and emotional story that I fully appreciated.

Chips and Ice Cream played at Camden Fringe on 8 and 14 August 2023.

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Brown Girl Noise – Camden Fringe

🎭 Brown Girl Noise
📍The Hope Theatre (Camden Fringe)
🎟️ 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
🎟️ 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
🎟️ 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
🎟️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
🎫 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 £20,000, 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
🎫 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
🎫 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.