🎭 Kiss Me, Kate 📍Barbican Theatre 🎟️ AD – Gifted ⭐⭐⭐⭐⭐
Kiss Me, Kate returns to London with a dazzling revival by Bartlett Sher. The 1948 musical by Bella and Samuel Spewack, with music and lyrics by Cole Porter, remains a theatrical classic! The story revolves around the production of a musical version of Shakespeare’s The Taming of the Shrew, and the off-stage romantic conflicts and entanglements among the cast.
With laugh-out-loud moments, chaotic backstage antics, powerful vocals, and spectacular choreography, Kiss Me, Kate could be the show of the season!
Photo by Johan Persson
The musical comedy follows a divorced couple, Lilli Vanessi and Fred Graham, as they attempt to perform a musical version of a Shakespeare classic. The ex-spouses star as Petruchio and Katherine and their tumultuous relationship is mirrored in their performances. Along with the romantic entanglements, there’s also a mishap with gambling debts and gangsters, further adding to the comedic chaos. Stephanie J. Block makes her London debut in the lead role, as glamourous Hollywood star, Lili Vannessi. Lilli is confident, witty and has a fiery temperament – much like the character she portrays in The Taming of the Shrew. Stephanie J Block was outstanding in this role, showcasing her award-winning talent and the most gorgeous vocals. I especially loved when she sang ‘I Hate Men’, with such ferocity! While the titular track, ‘Kiss Me, Kate’ showed off Block’s impressive operatic range.
Adrian Dunbar stars as Fred Graham, the director of the show, playing the character with endless charm and charisma. Like Lilli, Fred is witty and exudes confidence that borders on arrogance. Dunbar and Block had great chemistry and comedic timing, providing the audience with plenty of laughter.
Photo by Johan Persson
Michael Yeargan’s two-level stage features a revolving section, creating a clever and dynamic visual experience, revealing the split narrative between the on-stage and off-stage drama.
While there were many farcical moments throughout the show, Bartlett Sher’s direction felt slick and authentically funny. The scene-stealing Gangster duo, played by Hammed Animashaun and Nigel Lindsay, had the audience in stitches with their catchy performance about the Bard in ‘Brush Up Your Shakespeare!’ The well-deserved round of applause they received was a highlight of the evening.
Jack Butterworth as Paul, led the sizzling opening in Act 2 with the notable ‘Too Darn Hot’, accompanied by a talented ensemble. Choreographed by Anthony Van Laast, this spectacular jazz-style number was an iconic way to begin the second act. Vocal powerhouse and rising star, Georgina Onuorah, also stole the show with a lively, flirtatious rendition of ‘Always True to You in My Fashion.’ Charlie Stemp, known for his signature moves, graced the stage with a mesmerising and joyful tap dance number during ‘Bianca’.
Photo by Johan Persson
Kiss Me, Kate is oozing with energy from this brilliant cast, leaving the audience beaming with joy. The vibrant musical revival still features the hilarious comedy, the classic charm, romance and of course, those showstopping dance routines. All this combined makes the ultimate musical comedy – and a must-see this season!
Kiss Me, Kate plays at Barbican Theatre until 14 September 2024. You can book tickets for this show directly at London Box Office.
Tyrell Williams’ powerful play returns to Bush Theatre, and explores friendship, change and the impact of gentrification.
The story
We meet Bilal, Omz and Joey (Kedar Williams Stirling, Francis Lovehall and Emeka Sesay) – 3 Black teenagers and aspiring footballers who hang out on Reedbury estate in South London. The trio frequently play football on ‘Red Pitch’, practicing their skills for when they make it professionally. They banter, bicker, talk about girls and recollect their memories on the estate. Throughout the play, the boys prepare for the demolition of the estate and their impending relocation from ‘ends’.
As the play unfolds, we discover Bilal, Omz and Joey’s aspirations, their family life, and the pressure and expectations held upon them. The regeneration of their estate has a profound impact and the show cleverly explores the disadvantages and potential benefits of this. This powerful story is about friendship, community, our dreams and change.
Photo by Helen Murray
My thoughts
As soon as we enter the space, we are immersed into Bilal, Omz and Joey’s world. The actors arrive on stage, performing kick-ups, and chatting with the crowd – some audience members even joined them on stage!
Having watched the show at the Bush Theatre, it was amazing to see the elevation of the production in terms of the creative design. We feel like we are directly on the estate, with distant sounds of destruction, rattling from the scaffolding, and protests from the residents – all while the boys talk and play football. Khalil Madovi’s sound design is such a subtle yet significant way to showcase the impending changes. Amelia Jane Hankin’s football-inspired set design transports us to Red Pitch, with the fenced area and goal markings on the floor. This is supported by incredible lighting from Ali Hunter. During the dream-like sequences, the theatre is lit up like a stadium, where the characters envision scoring goals as professional footballers. It’s a literal snapshot of their aspirations, with the flashing lights, cameras, and encores from the crowd – it felt electric!
Photo by Helen Murray
While we may assume football is the focus, ‘Red Pitch’ covers various topics such as friendship, ambitions, and gentrification. Williams has created an authentic piece of theatre, highlighting a relevant topic in our society, that is rarely seen on stage. Inspired by Williams’ own experiences growing up, the story takes a personal approach as we look at the regeneration through the lens of the characters. Bilal, Omz and Joey have been friends for years and the chemistry between the cast makes this even more believable. All three are fantastic in their roles; they bounce off one another, especially during the comical moments (which were plenty!) and a brilliant dance sequence – it’s a joy to watch! Their portrayal as teenagers was spot on too, and I enjoyed the raw emotion they brought to the characters.
With movement choreographed by Gabrielle Nimo, the cast maintains high energy and an impressive display of stamina and football skills. Under Daniel Bailey’s direction, I enjoyed how the show struck the perfect balance between comedy and sincere moments. It was also interesting to hear the character’s varying views about the regeneration of Reedbury Estate. Omz is hopeful the change will be good for his elderly grandad’s access needs, while Joey appears frustrated that the local Morley’s has been replaced with a coffee shop. The show serves a reminder of the social and economic impact of London’s changing landscape.
Photo by Helen Murray
The storytelling is unique, engaging and a great representation of what it means to have a sanctuary and a shared space. The tapping in and out of the pitch was a genius move, highlighting the bond and what Red Pitch means to Omz, Bilal and Joey.
The one-act play takes us on an emotional journey as we discover the boy’s family life and the pressures they face. The chemistry between the cast was so palpable that it felt tough watching the characters argue and fight. Kev McCurdy directs one of the most intense and realistic fight scenes I’ve ever seen, as the boys scrap on the pitch. In the quieter, emotional moments, particularly in the final scenes, we see just how much the boys mean to one another. It’s a beautiful, and authentic display of friendship.
You can tell a lot of heart has gone into making this production and I appreciate having stories like this in theatre! With a talented cast and creative team, Red Pitch is funny, thought-provoking, empathetic and refreshing story for the West End. I highly recommend going to see this show!
Following three sold-out runs and award nominations, Ryan Calais Cameron’s ‘For Black Boy Who Have Considered Suicide When The Hue Gets Too Heavy’ returns to the West End with an all-new ensemble. The play is an authentic exploration of the Black male experience, located on the threshold of joyful fantasy and brutal reality where six men clash and connect in a desperate bid for survival.
I sat down with Posi Morakinyo, Tobi King Bakare and Mohammed Mansaray, who play Midnight, Onyx and Obsidian, to discuss their characters, memorable moments and why they believe people should see the show!
How were the first preview performances?
Tobi: Our first preview was the beginning of a really exciting journey. Doing that first preview wasn’t just a sense of accomplishment, but was an assurance of the work that we’re doing. I was like, ‘We’ve got a sick piece of theatre’. And not only was it good to do, it was good to hear – I’ve never heard a reaction like that. We feel we have a piece of theatre that is doing more than what it says on the box – and that’s just the first preview!
Posi: It was amazing, we had a lot of energy for it. We wanted to make sure that we were getting that story across. And I think we did. Everyone was electric and buzzing. I remember sitting and watching the energy, the audience was really loud. I think it was really cool.
Mohammed: The first few previews have been good. That first one [preview], like, we needed that energy. And now we’re just working on it from there. So it’s been good.
What drew you to the production?
Posi: It’s the title. The first three words – For Black Boys. How can you go wrong? As a Black boy in the scene, like there’s nothing like it. I’ve done loads of shows that are similar to the last one. I work with the same people, the same creatives, and similar venues. [For Black Boys] was a familiar difference that I’d never experienced before. Like, I’ve been in space with Black creatives, but not like this. I’ve done Black shows, but not like this. This is a different piece of work. And it’s the beginning of a really exciting wave of new material that is actually shaping the audience’s minds and giving them something other to think about other than a good time.
Photo by Johan Persson
Tobi: When I watched the show years back, I remember feeling like each and every one of those stories could be mine. I don’t think I’ve ever felt so seen in a show before as an audience member. I’m sitting there, captivated. going ‘wow, all those stories’. Getting an opportunity to tell these stories and add to that art form – how could I not say yes, as a young Black man? Shout out to Ryan [Calais Cameron].
Mohammed: I knew some of the guys in the show, so I came to support them. Then I came a second time with my younger brother and thought it’d be good for him to watch it. You don’t see plays like this. If you’re talking about Black theatre in the UK, there have been some prominent Black shows, but shows that talk about the condition of Black men, Black boys, and just really delve into that, you don’t really see shows like that too often. So for me, it was very eye-opening. And it was even better to see it on stage knowing that I can relate to this. But then there’s a plethora of people that are gonna come and see this, and who knows what it’s gonna do for them.
Tell us a bit about your character.
Posi: Midnight is a cool guy. He’s vibes central, always down for a good time. I think he gravitates towards the party. Everything is on the surface. Midnight’s been through life but hasn’t been through it with anybody. Anybody who navigates life alone will tell you even the highs don’t feel that high. Midnight is an isolated individual beyond the surface. It’s tough to play when you can see yourself in a character, and you know their journey.
Tobi: Onyx is kind of the opposite to me. I’m very smiley, calm and very approachable. Onyx feels the need to be the alpha; he’s hot-headed and impulsive. Onyx is probably the most recognisable character, but not for great reasons. But that’s why the play is so awesome because it shows why and how a boy could end up like that. It all comes down to systematic racism and his environment/surroundings.
Mohammed: Obsidian is a young man who went through something dark that encouraged him to learn more about his history and empower himself through education. Empower himself through learning about his ancestors, particularly Black African history that has emboldened him. Obsidian is fighting for the evolution of the Black man. He’s fighting for us to go back to the root and understand who we are, as Black people and the people that have come before us and the examples that they’ve given us as to how we can be our best and most authentic selves. I’ve learned a lot from him – the way he’s not scared to be the catalyst for change.
Photo by Johan Persson
How do you find joy while performing the difficult themes in the show?
Tobi: Like yin and yang – pain and joy aren’t exclusive. This show is a brilliant example of that. There’s literally scenes where you go from “haha” to sobbing instantly. That real experience is what makes this show and the writing so captivating. As a Black community, we have joy. Plenty joy. There’s never not enough joy to share. We have moments [in the show] where we talk about praise and worship. For me, the joy reminds me about how important this show is. The way the world has been set up for Black people, sometimes that joy is silenced. This show reminds me that that joy will continue to roll.
Mohammed: We’ve always tried to keep a high spirit because we understand the gravitas and the heaviness of the story. As artists, you have to find a balance. The things these characters go through on stage are a reality for a lot of people. And if you’re not able to relate to it yourself personally, at least one of the six men on that stage might be your brother, cousin, uncle, or grandad. Coming to see a play like this will allow people to better understand and support the people around them. As much as it is heavy, it is a responsibility that we have as artists to service these stories and to do our due diligence in our preparation and telling the stories. It isn’t really about us on stage.It’s about the audience and the people we are telling these stories for.
How do you feel about the use of music and movement to share the emotions of the story?
Mohammed: Some of it was challenging at first. There are elements of Krump in the show. I can dance; I trained in Musical Theatre and was doing ballet every morning for three years. It was good for me to step back into it a bit more. When you understand all the functions of these different forms of expression, and how it serves the story and pushes it forward, you’re really able to embrace it.
Photo by Johan Persson
Tobi: One of my favourite parts of the show is the opening sequence, seeing six boys moving between each other and just flowing. We’re telling a story of rebirth and the story of birth through our creative expression of moving. Six Black men doing that style of movement, to me, is super powerful and gets me ready to tell some stories. The movement and music in the show are really important additions.
Posi: We have found so many ways to communicate with one another, that doesn’t just rely on words. The reason why this piece speaks to so many people is because we’re not just talking. Music, movement – it’s more than just a wow factor. It’s a language. And there’ll be somebody refusing to listen as we’re speaking, but cannot refuse the melody that sits on the heart. I try not to think about it as a song or as a dance. I think about it as another form of monologue. The movement and the music add another way of communicating to the audience.
What has been your most enjoyable or memorable moments so far in this production?
Tobi: The most enjoyable moment in the show for me is being held by my brothers. We have a culture where before each performance we come together as men and share a space. I’ve never had that on any other job where I felt like, I’m held by my cast and team. I’m literally physically held. That experience is unmatched.
Posi: Seeing everybody be so invested in this has been the most enjoyable experience.
Mohammed: The other day, Posi’s friend, who is a caterer, bought soul food for us – oxtail, chicken, mac and cheese, plantain. Those moments of camaraderie and community, off and on stage, are very important to me. Also, our singing moments – when we’re an ensemble, and we’re putting our heart into the songs, it’s like we feel it.
Why should people come and see the show? What do you hope the audiences take from seeing For Black Boys?
Posi: People are talking a lot about it. Everybody should come and see it to have their own opinion. I would hope that everybody can benefit from a piece of theatre like this, that isn’t just enjoyable – it’s educational. It’s informative, it’s insightful. I hope people feel seen. This show does a really good job of capturing the humanity of people.
Tobi: I hope audiences leave the show, feeling like they can tell their own stories as well. What Ryan does really well about pinpointing these stories, is, it feels like ‘Yeah, I’ve had that experience before.’ He talks about specific things where you still feel like you can relate. I think a show like this with the format, the structure, the openness, the rawness of it – I would love for people to come and leave inspired.
Photo by Johan Persson
Mohammed: So, I like to describe this show as edutainment. Education through entertainment. There’s loads of information that can educate people on the psyche, the human condition and the Black man.
I hope people take this as a form of enlightenment. I hope that you learn a bit more about Black men; our strengths, our vulnerabilities, our challenges, our happiness. I hope it enables people to understand and appreciate that a bit more. And I hope that if people come in and see themselves represented on the stage – we’ve done our job. I just hope it’s able to bring people together.
For Black Boy Who Have Considered Suicide When The Hue Gets Too Heavy plays at Garrick Theatre until 4 May 2024.
🎭 Standing at the Sky’s Edge 📍 Gillian Lynne Theatre 🎟️PR invite ⭐⭐⭐⭐⭐
Following two successful runs in Sheffield and London, and many prestigious awards,Standing at the Sky’s Edge returns to London for a West End run, proving what a remarkable, new musical it is!
Set in a brutalist housing estate in Sheffield, the story spans over 5 decades, focusing on three families who lived in the same flat. Written by Chris Bush, their stories showcase significant moments and changes on the Park Hill estate. In the sixties, we meet newlyweds, Harry and Rose (Joel Harper-Jackson and Rachael Wooding), bursting with optimism and joy as they arrive in their new home, longing to complete their family with a child. In the nineties, we see teenager Joy (Elizabeth Ayodele), a refugee who has fled Liberia with her cousins Grace and George (Sharlene Hector and Baker Mukasa), arriving in Sheffield. In 2015, Poppy (Laura Pitt-Pulford), a Londoner, moves to the regenerated estate, following a breakup with her fiancee.
Photo by Brinkhoff-Moegenburg
All three narratives overlap in this multi-generational story. It is a heartwrenching yet powerful production about hopes and dreams. Sky’s Edge beautifully touches on love, loss and the importance of community.
Ben Stone’s set design marvellously replicates the brutalist ‘streets in our sky’ architecture of the Park Hill estate. With towering flats, concrete pillars, walkways, and balconies that see the ensemble walk and dance through. There’s an intimacy with the set design, especially as we watch the band perform across two levels of the set. This is further exemplified by the new space at Gillian Lynne Theatre, which sees the ensemble perform in the theatre aisles. The design is complete with the notable, “I love you, will you marry me?” graffiti, a spectacle to look at during the final scenes, against Mark Henderson’s warm orange and yellow-toned lighting.
Photo by Brinkhoff-Moegenburg
With music from Sheffield singer-songwriter, Richard Hawley, the musical also guides us through the history of Park Hill and its iconic building over the decades. Bush is a gifted playwright; they brilliantly explore the socioeconomic impact on the Park Hill residents over the years including unemployment, anti-social behaviour and the end of social housing. The show also includes immigration, gentrification and politics. There are references to the 2016 EU Referendum and Thatcher’s policies – key moments in the British political landscape that had an impact on people’s livelihoods and society as a whole.
Photo by Brinkhoff-Moegenburg
This is unlike most ‘jukebox’ musicals and is incredibly unique with how the themes are presented. Under Robert Hastie’s direction, the three timelines are intertwined, and performed simultaneously on stage, with the characters sharing the living space. It’s an ingenious directorial choice which becomes meaningful towards later scenes. Through captivating storytelling and heavenly vocals, the performances from the cast are passionate, and filled with raw emotion that left members of the audience teary-eyed.
Photo by Brinkhoff-Moegenburg
I enjoyed Joy’s storyline and her sweet blossoming relationship with local teen, Jimmy (Samuel Jordan), while Poppy and her ex-girlfriend, Nicky (Lauryn Redding) provided us with plenty of humour. Wooding and Harper-Jackson perform in moving scenes as we watch the breakdown of their marriage, which has devastating consequences. Wooding’s heartbreaking rendition of ‘After the Rain’ was one of my standouts. I also loved the moments from the ensemble cast whenever they led the songs and choreography, further adding to the sense of community that is present throughout the show.
While I wasn’t familiar with Hawley’s music, the songs complement the story wonderfully. The stunning musical arrangements are packed with emotions ranging from joy to rage, particularly in numbers like ‘The Streets Are Ours’ and the gripping Act 1 finale, ‘There’s A Storm Coming’.
Photo by Brinkhoff-Moegenburg
Often defined as a love letter to Sheffield, Standing at the Sky’s Edge provides a universal experience. Its themes of home, community, resilience and change resonate with many, including myself. Chris Bush, who hails from Sheffield, has crafted a beautiful story that is filled with heart, and authenticity and is an example of a modern musical theatre masterpiece!
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.
🎭 The Boy at the Back of the Class 📍Rose Theatre 🎟️ PR invite ⭐⭐⭐⭐⭐
Onjali Raúf’’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.
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.
🎭 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.
‘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.
🎭 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!
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.
English