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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.

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NEWS: ‘WHY AM I SO SINGLE?’ Toby Marlow & Lucy Moss’ new big fancy musical is heading to the West End.

From the multi-award-winning writers of SIX, Toby Marlow & Lucy Moss, comes their all-new,  highly anticipated second musical, WHY AM I SO SINGLE? This Big Fancy Musical follows two besties through the ups, and mostly downs, of their dating lives in the era of Tinder (and Bumble  and Grindr and Hinge and Feeld). This musical extravaganza about love, dating, friendship – and bees – explores the weird and wonderful hilariousness of being single.  

A celebration of friendship and love, WHY AM I SO SINGLE? asks how two super interesting,  super cool, super fun pals could possibly still be single?!? This extraordinary and totally unexplainable situation faced by our fabulous duo is made even more complicated by the fact that, on a completely unrelated note, they also need to find a really great topic for their next musical.  

Lead casting has been announced.  

Jo Foster (& Juliet; Just For One Day, West End;) will return from the show’s early workshop to  co-star in this epic musical for the ages. They will be seen alongside the newly cast Leesa Tulley

(SIX, UK Tour; Kin, Theatro Technis) as their bff. Together they will navigate the difficult modern  dating world and how to flirt with your Deliveroo driver, all with their best friend firmly by their  side. They are joined on stage by Noah Thomas (Everything Now, Netflix; Everybody’s Talking  About Jamie, West End). The ensemble casting is to be announced.  

Featuring epic pop and musical-inspired songs by the dynamic writing team of Marlow & Moss  (described by British Vogue as the ‘future of musical theatre’), and high-energy choreography by  Ellen Kane (Matilda the Musical, Working Title Films; Dear England, National Theatre/West  End), WHY AM I SO SINGLE? is set to dazzle the dating world this autumn.  

Toby Marlow and Lucy Moss comment, This is ultimately a musical about two friends, their  desire for love, and how they deal with loneliness. We hope people come away feeling super  uplifted. And we hope they text someone the second they leave the theatre saying ‘omigosh just  fyi i love you soooo much!!!!’ 

Box Office Tickets are available from ÂŁ20 at www.whyamisosingle.com

Running Time: 2 hours 30 minutes (including an interval)
Age Guidance: 14+, contains adult themes and language Access https://thegarricktheatre.co.uk/your-visit/#tab-access 

Accessible Performances:
Saturday 21st September 2024 (Audio Described)
Friday 18th October 2024 (BSL interpreted) 
Saturday 25th January 2025 (Captioned)

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REVIEW: The Boy at the Back of the Class – Rose Theatre

🎭 The Boy at the Back of the Class
📍Rose Theatre
🎟️ PR invite
⭐⭐⭐⭐⭐

Onjali RaĂşf’’s award-winning children’s novel into a stage adaptation, The Boy at the Back of the Class makes its world premiere with a timely and moving story that resonates deeply.

The story

The story follows the journey of Ahmet, a nine-year-old boy fleeing a war-torn Syria who finds himself in a British school, separated from his parents. Ahmet sits in the empty chair at the back of the Year 5 class. He’s quiet and doesn’t speak fluent English, leaving the other children intrigued to know more about him. They invite Ahmet to play football, share Sherbet Lemon sweets and even write down questions to ask. 

When Ahmet’s classmate, Alexa, overhears some of the parents making rude comments about refugees and rejoicing over the country ‘closing the borders’, she and her friends, Josie, Michael and Tom, embark on a daring mission to reunite Ahmet with his family before times runs out. 

Narrated from the children’s perspective, we go on a funny, unexpected and heartwarming adventure. The Boy at the Back of the Class strikes the right balance between humour and heart and exemplifies the importance of friendship, kindness and hope. 

Photo by Manuel Harlan.

My thoughts

Adapted for the stage by Nick Ahad, The Boy at the Back of the Class is a timely and moving piece of theatre. Its powerful message resonates with audiences of all ages, reminding us of the profound impact of compassion in a world often divided by prejudices. The narrative being told from the nine-year-old’s point of view is a brilliant and engaging style of storytelling. We learn about the struggles Ahmet faced and the attitude towards refugees from his peers, teachers, and even the media. 

Farshid Rokey is strong in the role of Ahmet, as he embodies the apprehensive nature of a child adjusting to a new environment. Sasha Desouza-Willock wonderfully plays Alexa with inquisitiveness and confidence to help Ahmet. She is supported by Josie, Michael and Tom (Petra Joan-Athene, Abdul-Malik Janneh, Gordon Millar) as they prepare for their ‘A-Team’ style mission (ironically to the theme of 007!). 

Photo by Manuel Harlan.

Ryan Day and Giles Thomas’ lighting and sound design are slick and perfectly timed. Although I haven’t read the book, I imagine these creative choices have accurately brought the story to life, elevating this stage production even more. What I enjoyed is how the show encourages us to use our imagination. Monique Touko expertly directs the show, with playfulness and a captivating energy that immerses us in the children’s world. Paired with Kloé Dean’s movement direction, which sees the characters running around, doing roly poly’s and swinging off the set.

Lily Arnold’s set design cleverly mimics local landmarks and everyday British school scenes, creating a sense of familiarity and even nostalgia (the school apparatus!). The versatile set allows for seamless scene transitions too, transporting us from one location to another. I was also impressed with how the production incorporated basic props to elevate and portray certain scenes.

Photo by Manuel Harlan.

Similarly, there are strong performances from the ensemble as they flawlessly transition between characters; from children to parents to market sellers to even the Queen’s Guards. The talented cast performs an array of distinct, hilarious and diverse characters, who all play a part in Ahmet’s journey. While there was some hostility from the bullies at school and bigoted parents, there were also members of the community who showed care and willingness to support. These examples of empathy and solidarity are echoed throughout.

The show highlights the humanity of refugees through the character of Ahmet. His new friends realise they hold shared interests such as football and favourite foods, just like them. Between adventure and humour, lies a beautiful and important story – it’s hard not to get emotional! The determination and courage of the young characters, using their voices to support Ahmet is incredibly inspiring.

Photo by Manuel Harlan.

As part of Rose Theatre’s collaboration with the Children’s Theatre Partnership, the production is a powerful in raising awareness and engaging children in discussions of refugee rights.

The Boy at the Back of the Class encourages us to practice kindness and embrace differences. The show is for audiences of all ages and comes at a time when compassion is needed more than ever. It serves as a necessary reminder that everyone deserves a home. 

The Boy at the Back of the Class plays at Rose Theatre until 22 February 2024 before continuing on tour.

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NEWS: New Cast of ‘For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy’ announced.

Today, the Royal Court Theatre and Nimax Theatres welcomes six new cast members to the For Black Boys family. Starring in the iconic roles of Onyx, Pitch, Jet, Sable, Obsidian and Midnight are a powerful new blend of talented actors including Tobi King Bakare, Shakeel Haakim making his professional debut, Fela Lufadeju, Albert Magashi, Mohammed Mansaray and Posi Morakinyo respectively.

The brand-new ensemble will be directed by Ryan Calais Cameron. The six will bring their own interpretation and lived experiences to their respective roles, infusing a fresh dynamic and energy to this transformative theatrical experience which uniquely mixes music, movement, storytelling and verse.

Writer Ryan Calais Cameron was inspired by Ntozake Shange’s seminal work For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf. For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy is located on the threshold of joyful fantasy and brutal reality where six men clash and connect in a desperate bid for survival.

About the new cast Ryan Calais Cameron, writer and Nouveau Riche Artistic Director, said:
“The themes explored in the play are timeless, and I am genuinely thrilled about the prospect of witnessing the new cast infuse their own unique energy and brilliance into the production. Each member brings a wealth of talent and dedication to their roles, and I am confident that their interpretation will breathe new life into the narrative.”

You can book tickets to For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy here.

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REVIEW: Kim’s Convenience – Park Theatre

🎭 Kim’s Convenience
📍Park Theatre
🎟️ PR invite
⭐⭐⭐⭐

“There’s humour and heart in every aisle”

The story

Written by Ins Choi, Kim’s Convenience revolves around Korean-Canadian family, The Kims, who run a convenience store in Toronto. Based on Choi’s experiences growing up, the play offers a hilarious yet heartwarming insight into the experiences of immigrant families navigating life in a new country.

Choi plays the lead role, Appa, the stubborn and often blunt patriarch of the family. When Mr Lee informs Appa on the recent regeneration in the area, Lee suggests Appa sells the store. The conversation prompts Appa to talk to his photographer daughter, Janet, about taking over the family store, despite her lack of interest. The play also touches upon the strained relationship between Appa and estranged son, Jung. At just 80 minutes long, Kim’s Convenience highlights the struggles when bridging generational and cultural gaps. The show focuses on family dynamics, with the characters partaking in intense discussions about their hopes and dreams, further highlighting the cultural differences within the Kim family.

Photo by Marc Douet

My thoughts

Upon arrival at the Park200, it’s Mona Camille’s striking set design that instantly catches our eyes. The vibrancy and fantastic attention to detail provide a familiarity with all the local convenience stores we’ve entered.  In later scenes, Jonathan Chan’s soft lighting transports us to another significant place for the family, with religious symbols dimly lit in the background. 

Esther Jun’s direction strikes a good balance between the humorous and serious scenes. This allows the audience to fully understand the characters and see a vulnerable side to them, beneath their wit and humour. The second half showcases sincere moments between the family members, revealing their true dreams and hopes for one another. 

Photo by Marc Douet

There are strong performances from the cast of five – Janet (Jennifer Kim), Jung (Brian Law), Alex (performed by Miles Mitchell who does some impressive multi-role playing!) and Umma, played by Namju Go. Umma quietly graced the stage and only spoke to Appa in Korean. I would have loved to have seen more of Umma on stage and further exploration into her character. Particularly as we saw she had a stronger relationship with their son, Jung. Ins Choi completes the cast, playing Appa, with a fantastic stage presence and hilarious comic delivery.

As the play goes on, it was nice to see Appa’s stoic exterior melt away, albeit briefly, during conversations with his children. Choi’s characterisation of Appa shows he is a hard-working father with a big heart. There is a flashback scene that is succinct but significant enough to reveal Appa and Umma’s sacrifices when they first moved to Canada. Choi’s writing skilfully acknowledges the challenges of adjusting to new ways of life and values. As a child of immigrant parents, these scenes felt incredibly relatable! 

Photo by Marc Douet

 First staged at the Toronto Fringe Festival in 2011, this play won many plaudits for its East Asian representation and went on to become adapted into a successful five-season TV series. Described as a love letter to first-generation immigrant parents, Kim’s Convenience is a joy to watch. I am always glad to see authentic representation on theatre stages. The show is embedded with Korean culture, packed with hilarity, and makes a heartwarming family story. 

Kim’s Convenience is playing at Park Theatre until Saturday 10 February 2024. You can buy tickets here 

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REVIEW: Stranger Sings – Southwark Playhouse

🎭 Stranger Sings
📍Southwark Playhouse – Borough
🎟️ PR invite
⭐⭐⭐⭐⭐

Jonathan Hogue’s award-winning parody musical, Stranger Sings, first made its way to London in 2022 at The Vaults. The musical has since gone on to entertain audiences on a U.K. tour and has returned to Southwark Playhouse for an alternative festive show!

Stranger Sings is a guaranteed evening of laughter – expect big hair, heavy 80s synths and a dancing Demogorgon! We are transported to season one of Stranger Things, joining the whole Hawkins Gang on a mission to find Will. We may even find #JusticeForBarb! The show also features cameos from characters in later seasons. While the show is sure to be popular with fans of the show, I don’t think it’s necessary to have watched all seasons (or any!) to enjoy and appreciate the musical. 

Justin William’s set design is incredible and effortlessly portrays notable scenes from the series. We are seamlessly transported to the woods, to Joyce’s festive-lights living room and into the Upside Down. Alongside the great set design, Ellie Farrow’s costume design is so detailed, matching the characters perfectly. Clancy Flynn’s lighting and Richard Carter’s sound design worked well to enhance the eerie atmosphere. 

Directed by Ellis Kerkhoven, the show is fast-paced, and brimming with jokes, all of which are hilariously timed.  Stranger Sings features an impressive selection of original music, including classic 80s-inspired songs, upbeat pop tunes and even big 11 o’clock numbers. The score is exciting, and catchy with some of the most witty lyrics. I also loved how throughout the show, the writing constantly pokes fun at the decade and references iconic pop cultural moments from that era. Musical theatre fans may also spot the lyrical references from popular musicals.


Musical director, Olivia Zacharia leads the talented cast of 9, who are absolute stars. They showcased impressive multi-roleplaying, showing off their range by playing different characters. All the costume changes were seamlessly executed, never interrupting the flow of the show. The cast stayed true to the characters while adding their unique flair. Howard Jenkins gave a strong performance in the role of Jim Hopper, perfectly embodying the character with his mannerisms (that walk!) and their dry comic delivery. Verity Power is equally incredible as she perfectly encapsulates the chain-smoking, slightly manic character of Joyce. Power displayed an incredible vocal range in a spectacular song with surprise cameos, but also in their role as Will Byers (performed via puppet!)

Alfie Doohan was fantastic as Steve Harrington, Jonathan Byers and Dr Brenner – each role from Doohan had us laughing at how precise his portrayal was (and all those wigs!) Elliott Wooster, Jessie Jae Davis and William Shackleton perform as Mike, Lucas and Dustin, the beloved trio of friends. Shackleton was perfect as Dustin; paired with the baseball hat and lisp, Shackleton delivered strong vocals and hilarious characterisation in the role. Anna Amelia had the most gorgeous vocals and gave great performances as Nancy Wheeler and Eleven. Davis’ performance as the Demogorgon was an unexpected highlight, with catchy choreography by Lucinda Lawrence.

Philippa Leadbetter is a powerhouse in the role of Barb Holland  – “the throwaway plot device character from season 1”. Leadbetter had the most impeccable comedic timing, and delivered a performance that can only be described as theatrical excellence! The cast is supported by two super swings, Ally Kennard and Shannon Bourne. 

Hogue’s writing is clever and serves as a love letter to the 80s and one of the most popular TV series. As a Stranger Things fan, this musical has become one of my all-time favourites! It’s nostalgic, packed with hilarity and utter mayhem! The entire cast and creative team have put on a spectacular show, that I highly recommend! 

Stranger Sings is playing at Southwark Playhouse until 6 January 2024, before continuing its UK tour. 

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REVIEW: Reuben Kaye: The Butch is Back – Southbank Centre

🎭 Reuben Kaye: The Butch is Back
📍Purcell Room, Southbank Centre
🎟️ PR invite
⭐⭐⭐⭐

Reuben Kaye: The Butch is Back at Southbank Centre is a cabaret stand-up comedy extravaganza that takes audiences on a journey through the life of this Australian sensation.

Through a blend of song, adult jokes and witty one-liners, Reuben shares the story of his upbringing as a young queer boy in Melbourne in this comedy performance. We also have an exploration of the nuanced relationships between father and sons. 

Dubbed the Christopher Nolan of Cabaret, we are treated to exciting renditions of popular songs from The Rolling Stones, Geri Halliwell and Stormzy, sung wonderfully by Reuben. The bold use of lighting design creates a captivating atmosphere during the show. Those striking hues of red emphasise Reuben’s statement entrance as enters the stage, in a Marie Antoinette-inspired costume. 

 â€˜The Butch is Back’ takes us through various timelines of Reuben’s life. There is a myriad of adult content throughout, and even audience interaction, some of which was improvised and flowed well with the show.  

Photo by Holly Jackson

Reuben’s quick-wit and great comic timing shine throughout Act 1, with fast-paced jokes about British politics and the monarchy. I initially struggled with the lack of linear structure in the first act, while Act 2 felt more cohesive. The show delves into relationships between fathers and sons, portraying Reuben’s journey from childhood to cabaret stardom. Reuben also acknowledges growing up queer and being a drag act.

Backed by a fantastic band led by musical director, Shannon D.Whitelock, the show seamlessly blends jazz, soul, and rock, which I adored. Kaye’s vocals and musical versatility were a standout and I couldn’t wait to hear more! Amidst the adult jokes and occasional audience interaction, I found that the music did incredibly well in enhancing the storytelling.

The show had a good balance between humour and serious moments, particularly in the second act as the show reveals vulnerable moments drawn from Reuben’s personal experiences. The honesty and authenticity displayed by Reuben, particularly in the childhood stories and memories of his father, contribute to a mesmerising performance. 

While I think the show could benefit from being one act, the humour, raw emotion, glamorous outfits and Reuben’s natural stage presence, makes ‘The Butch is Back’ a must-see.

Reuben Kaye: The Butch is Back is playing at Southbank Centre until 30 December 2023!

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REVIEW: Cinderella – Brixton House Theatre

🎭Cinderella
📍Brixton House
🎟️ PR invite
⭐⭐⭐

Brixton House welcomes audiences to a reimagined Cinderella tale with a local twist by Danusia Samal!

The story

We meet Sindi-Ella (Yanexi Enriquez) a teenager who resides above a greengrocers her late father owned. Sindi is determined to keep the family business afloat – so determined she even grows various vegetables, fruit and plants in her room! Living with her bougie step-mum and step-sister, Sindi finds solace in conversations with her reliable ‘Delphy’ (Delphinium) plant and wonders how she can keep the business running amidst all the constant changes happening in Brixton…

One of those changes happens to be Charmz; a popular influencer and CEO of Flip Flop, a social media platform for teens, who aspires to buy out all local shops on Brixton Lane and build a ‘mega mall’. When Sindi meets Charmz, the pair have an undeniable connection and he invites her to his party…which happens to be on the same day as her greengrocers ‘rebrand’ event. With turmoil unfolding at home, can Sindi make the party? Perhaps her faithful houseplants can assist…

Photo by Alex Brenner.

My thoughts

Set against a backdrop of lively beats and directed by Ola Ince, this Cinderella retelling is a unique adaption, that explores strong themes such as gentrification, family dynamics and loss. As a South Londoner, I enjoyed the authentic representation of Brixton during this production.

Amelia Jane Hankin’s set design impresses, with eye-catching elements that were split across two levels. It was a great depiction of a green grocers as well the Brixton Lane logo which was suspended above. Anna Watson’s lighting worked wonderfully to enhance that transformative ‘Cinderella’ moment towards the end of Act 1. It did feel quite magical, and I had hoped for more moments like this throughout.

Duramaney Kamara’s music shines throughout, with a brilliant mix of catchy garage-inspired songs, along with rap, pop, and reggae. Enriquez had such star quality; they delivered a strong performance and showed off beautiful vocals. Alex Thomas-Smith’s was captivating as Charmz, from the moment they entered the stage. They were quite literally shining, with a ring light propped behind them during all the ‘Flip Flop’ announcements. Like their characters, Enriquez and Thomas Smith showcased sweet, authentic chemistry, and I loved their songs (and choreography!) together. 

Photo by Alex Brenner.

Ray Emmett Brown played Delphy, the charismatic delphinium plant who also happened to be Sindi’s father. They provided us with laughter and I especially liked how he balanced the humorous moments with sensitive scenes later in the show. The cast is completed with Julene Robinson, who multi roles as Sindi’s step mum and a school friend. Step sister, Tia is played by Jesse Bateson who delivers great comedy as the influencer longing for West London – with a running joke that is her constantly insulting South London (ouch!).  

While the cast maintained high spirits, I couldn’t help but feel the pacing was slower than expected, and some jokes fell flat. The show deviates from a traditional pantomime to the point where I wouldn’t quite define this as a panto. I wondered how the show would be received by younger audience members as I felt there was too much going on with the storyline and it became confusing. I felt the ‘fun’ factor fizzled out in Act 2. As I mentioned earlier, it would have been nice to have more lively, magical moments, something I associate with the original Cinderella. On the day I saw the show, there wasn’t much audience participation, and even when prompted, not many of the audience knew how to respond… 

Photo by Alex Brenner.

Despite this, I applaud this production for having a different take on Cinderella, with the inclusion of resonating themes such as navigating loss, the impact of gentrification and family dynamics. Samal’s writing sensitively explores all of this. With poignant scenes between the characters, fun, catchy selection of songs and an empowering ending, allowing for a happily ever after. 

Cinderella is playing at Brixton House until 31st December 2023.

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REVIEW: The Woman in Black – Richmond Theatre

🎭 The Woman in Black
📍Richmond Theatre
🎟️ PR invite
⭐⭐⭐

For over 33 years, The Woman in Black has captivated audiences and now embarks on a UK tour, heading to Richmond Theatre for a spooky evening of theatre!

The story

The Woman in Black has been adapted by Stephen Mallatratt from Susan Hill’s best-selling novel. The play follows the story of Arthur Kipps (Malcom James), a solicitor who becomes obsessed with a curse he believes has been cast upon his family by the spectral figure of the ‘Woman in Black.’ Arthur has drafted a manuscript of his story, and seeks help from an Actor (Mark Hawkins). Together, they perform the play, delving deeper into Arthur’s memories. As the story goes on, we watch as the lines between reality and make-believe begin to blur…

Photo by Marc Douet

My thoughts

Malcolm James and Mark Hawkins delivered strong, engaging performances throughout the two-hander play.  The duo’s flawless execution of multi-roleplaying showcased their theatrical prowess, and I enjoyed seeing the range of emotions displayed by the characters. Hawkins, in the role of The Actor, was convincing during the tense scenes, showcasing such authentic emotion and terror. Similarly, James delivered a great performance, particularly in Act 2, where we witness a more fearful and desperate Arthur Kripps. 

Photo by Marc Douet

Michael Holt’s set design was straightforward, with minimal props and mostly antique furniture that established the time era. I liked the use of the long white sheets as the backdrop, eventually unveiling other parts of the mysterious house. These simple design choices certainly created a haunting experience. Kevin Sleep’s warm vintage orange lighting added a nostalgic ambiance and played a crucial role in the scene transitions. I found this helpful as it allowed us to follow the character’s performances and distinguish the change in characters. The subtle yet impactful shadow work also enhanced the mysterious atmosphere. 

Despite the commendable performances, some of the dialogue went unheard due to a lack of microphones (and the audience’s screams!). Act 1 had a cohesive narrative, whereas, by Act 2, the plot became confusing and relied on some predictable jumpscares. While I enjoyed the eerie and unexpected appearances from the ‘Woman in Black’, I found the pacing too slow, impacting my anticipated level of fear. 

Photo by Marc Douet

While the scare factor seemed underwhelming, The Woman in Black excels in its strong performances and atmospheric setting.  It manages to engage audiences and feels like the ideal theatre show for these dark, winter evenings.

The Woman in Black plays at Richmond Theatre until Saturday 18 November 2023, before continuing its U.K. tour!

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REVIEW: Flip! – Soho Theatre

First published on Lost in Theatreland website.

🎭 Flip!
📍 Soho Theatre
🎟️ Gifted
⭐⭐⭐⭐⭐

FLIP! takes the audience on an exhilarating journey into the intricate world of social media, examining the ever-evolving digital world.

We meet Carleen and Crystal (Leah St Luce and Jadesola Odunjo), a content-creating duo and inseparable best friends, who desire to become famous influencers! 

Their latest post pushes boundaries, but on FLIP!, a new social media platform, they find a second chance at fame and wealth. But what happens when morals are traded for engagements, likes, and reposts? Written by Racheal Ofori, FLIP! shows us the impact an ever-growing social platform has on ethics, compassion, and friendships. 

St Luce and Odunjo are fantastic in their roles, delivering comical and high-energy performances. I adore their natural chemistry and the authenticity of the characters. They are quirky, fun honest…and so in sync, (shoutout to Aline David’s movement direction!) St Luce and Odunjo are brilliant comedic actors, but also wonderfully showcase the more emotive and vulnerable moments. I was also impressed with how the two seamlessly embodied multiple roles. As they portray a chorus of online users – some sharing compliments, others outrightly hating –  the show delves into the nuances of influencer culture.

Emily Abaoud’s fast-paced direction pairs well with Ofori’s sharp script. Together, they create an exciting and engaging production that keeps the audience on their toes. I also enjoyed Abaoud’s direction mirroring the instantaneous nature of the online world. The absurd scenarios and parodies of real-life social channels made the audience cackle, adding an extra layer of humour to the show.

Ofori has cleverly portrayed the impact of our actions in the pursuit of validation. The characters exclaim, “Collect the cheques!” which prompts the audience to question the cost of chasing fame. 

FLIP! is not only entertaining – it’s a timely and relevant piece that perfectly captures the essence of our digital age. The script offers thought-provoking commentary in a way that reminds me of the TV show, Black Mirror. Particularly with the incorporation of Artificial Intelligence in the story, Ofori has created a unique exploration into one of society’s hot topics.

With a witty script, slick direction, and strong performances, FLIP! is a hilarious and reflective show on the dilemmas of social media.

Flip! plays at Soho Theatre until 25 November 2023!