Tag: rachel reviewed

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REVIEW: Limp Wrist and The Iron Fist – Brixton House

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

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

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

Photo by Helen Murray

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

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

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

Photo by Helen Murray

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

Photo by Helen Murray

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

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

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

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REVIEW: 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 Devil Wears Prada Musical – Dominion Theatre

🎭 The Devil Wears Prada Musical
📍Dominion Theatre
🎟️ Gifted
⭐⭐⭐

I attended the Gala Night performance of The Devil Wears Prada Musical, where an array of icons were in attendance including Elton John, Donatella Versace and Anna Wintour! It was an evening so stylish, that even Miranda Priestly might have cracked a smile.

The story

The stage adaption of Lauren Weisbeger’s book and the popular 2006 film starring Meryl Streep and Anne Hathaway, has been one of the most-anticipated shows of the year. With an original score by the legendary Elton John, lyrics by Shaina Taub & Mark Sonnenblick and a book by Kate Wetherhead, The Devil Wears Prada guarantees a fun evening at the theatre.

Photo by Matt Crockett

The story follows Andrea ‘Andy’  Sachs (Georgie Buckland), a recent college grad and aspiring journalist who is on the hunt for a job. Andy lands herself a role as an assistant at Runway, a prestigious fashion magazine despite having no interest in fashion! Her boss, Miranda Priestly (Vanessa Williams), is the ruthless editor-in-chief who pushes Andy to her limits as she struggles to balance her ambition, personal values, and the cut-throat fashion industry.

My thoughts

Directed and choreographed by Jerry Mitchell, the show is packed with upbeat songs, lively dance routines and the most extravagant costumes you’ll see on the West End. Visually, the show is marvellous! Tim Hatley’s scenic design shines, particularly in Act 2, where we are transported to Paris, with the sites of the Eiffel Tower, glittering in the background. There were also lavish runway moments, with the cast strutting through the aisles in extravagant gowns.

I wished the score was as exciting as the visuals. Some of the music fell flat, with lazy lyrics and forgettable melodies. Even the Act 1 finale song – despite its grand staging with bold red and black palettes – was mediocre. Most of the music had a disco-pop and eighties feel, with fun tracks like Emily’s ‘Runway’ and Nigel’s ‘Dress Yourself Up’. These were the standouts, particularly ‘Dress Yourself Up’ which brought energy and style, featuring fabulous choreography from the ensemble.

Photo by Matt Crockett

Florals for spring might not be groundbreaking, but the performances certainly were! Making her West End debut, Georgie Buckland stars as Andy Sachs, showcasing phenomenal vocals and riffs for days! While Amy Di Bartolomeo brings a unique portrayal of Emily, the first assistant to Miranda, which I loved! Her comic presence & the delivery of witty lines paired with her impressive vocals made her one of my favourite characters in the show. Her subplot with the Hot Nurse was also amusing, even if the song felt more like filler.

Photo by Matt Crockett

Another supporting character who stole the show was Matt Henry in the role of Miranda’s stylist, Nigel. Henry’s performance was fantastic, from his showstopping number ‘Dress Yourself Up’ to ‘Seen’, the heartfelt ballad about his journey at Runway. These supporting characters elevated the production and made fresh additions to the TDWP story, which I appreciated.

Vanessa Williams was iconic as Miranda Priestley, commanding the stage with style and gravitas. Her entrance was superb and so funny; rising dramatically from the depths of the stage—was nothing short of devilishly brilliant.  Williams portrayed a more empathetic Miranda Priestly than the film’s icy version. I much preferred this take on the character – it felt more nuanced and relatable. With all the music in this show, I wished for more big musical numbers from Miranda, which never quite materialised.

Photo by Matt Crockett

I must confess that I had not watched the film until days before I saw the musical! While I appreciated the production for staying true to the film, complete with iconic lines and references, it felt like this stage adaptation didn’t dig much deeper. I didn’t care much for the characters, and there seemed to be a lack of chemistry between them (particularly Andy and her partner Nate). As a result, Andy’s climactic decision lacked the emotional impact it deserved, especially with this more sympathetic Miranda. The overall show felt a bit manufactured and lacking in substance—though this may be more of a reflection on the source material than the production itself.

While The Devil Wears Prada musical doesn’t fully deliver, the stunning visuals and standout performances make this a glamorously entertaining night out!

The Devil Wears Prada is currently playing at The Dominion Theatre until October 2025

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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: Princess Essex – Shakespeare’s Globe

🎭 Princess Essex
📍Shakespeare’s Globe Theatre
🎟️ AD-Gifted
⭐⭐⭐⭐⭐

‘Anyone can be a Queen, but a real Queen wears the crown, she doesn’t let the crown wear her.’

Princess Essex at Shakespeare’s Globe transports us to 1908 Southend-on-Sea in this fast-paced, empowering comedy inspired by true events. Written and performed by Anne Odeke, the show is based on a woman who broke racial barriers, becoming the first Black woman to enter a beauty pageant in the UK.

In this playwrighting debut, Odeke is also the first woman of colour to write and star in a play at Shakespeare’s Globe. We quite literally were watching history being made!

c. Johan Persson

Odeke stars in the role of Joanna, a mixed-race maid who is fed up with how she is treated, and the limitations imposed on her. Joanna decides she should enter the local beauty pageant, by pretending to be a Senegalese royal named Princess Dinubolu. By presenting herself as a princess, Joanna believes people will be more accepting of her race because she is of a higher social class.

Directed by Robin Belfield, this production is infused with irresistible energy, humour, and musical moments, played by an impressive supporting band. Though the set is minimal, it doesn’t detract from the experience. With clever use of props and numerous, vibrant costumes, the audience is transported to the seaside town, and it becomes one of the most entertaining and imaginative productions I’ve seen.

Odeke’s writing is as much an inspiring history lesson as it is a comedy, highlighting issues of race, class and feminism, that resonate powerfully today. As the show challenges stereotypes and barriers placed on people of colour and women, it encourages the audience to reflect on how far we’ve come—and how much further we still must go. I also appreciated how the farcical moments did not diminish the gravity of the themes. The writing and direction successfully balance the light-hearted moments with the more serious themes.

c. Johan Persson

Odeke is a standout on the stage. Her quick wit, charm and precise comedic timing keep the audience laughing while rooting for Joanna throughout. The satirical humour is sharp, clever and well-paced. Odeke is supported by a talented ensemble, who seamlessly shift between multiple roles, while singing and dancing. They add a lively energy to the show and deliver strong comedy performances. Notable mentions to Eloise Secker who hilariously performs as Violet, while John Cummins’s portrayal of King Edward VI is delightfully absurd! These hysterical moments

My interpretation of this production is that it tackles the erasure of Black history, particularly the stories of women whose contributions are often overlooked. With themes of identity, beauty standards and belonging, Odeke has written a bold and refreshing story. The final scenes were a significant reminder of the importance of representation, which made me feel quite emotional.

c. Johan Persson

Princess Essex is an empowering, thought-provoking and entertaining piece of theatre. The show challenges stereotypes and celebrates the importance of being our true authentic selves. With lively performances and a fantastic script, this is an incredible debut from Anne Odeke & Robin Belfield and a must-see theatre show!

Princess Essex is playing at Shakespeare’s Globe until 26 October 2024!