Tag: rachel reviewed

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Blood Brothers – Richmond Theatre

🎭 Blood Brothers
📍 Richmond Theatre
🎫 PR invite
⭐⭐⭐⭐

“How comes you got everything and I got nothing?”

Willy Russell’s award-winning musical, Blood Brothers heads to Richmond Theatre for an emotionally compelling production that explores family, fate and social class.

Directed by Bob Tomson and Bill Kenwright, the musical follows twins separated at birth, not knowing their relationship and leading very different lives. Russell has written a striking story, depicting nature vs nurture, class inequality and the impact this has on our lives.

This was my first time watching the production, which opened in 1983. I was eager to know more about the nation’s much-loved musical.

The story

Set in Liverpool during the 1950s, Mrs Johnstone (Niki Colwell Evans), a single, hard-working mother of 7 falls pregnant with twins and worries about the financial burden. Mrs Johnstone is approached by the rich, middle-class Mrs Jennifer Lyons (Paula Tappenden) who offers to take one of the twins and raise him as her own. Mrs Johnstone makes the heartbreaking decision and they both agree to never let the brothers know the truth.

The brothers meet when they are 7 years old, unbeknownst about their relationship, and quickly become best friends – or as they called each other, “blood brothers”. Their friendship quickly blossoms, despite the stark contrast in their lives.

Photo by Jack Merriman

Mickey (Sean Jones) youngest of seven siblings, grows up in a working-class area of Liverpool, while Eddy (Joe Sleight) is the only child of a wealthy family who lives nearby. As they grow older, their bond slowly fades. The brothers go down different trajectories and have opposing opportunities afforded to them.

My thoughts

The Narrator (Richard Munday) guides us through the story and shares a forewarning of the brothers’ fate. Munday’s intense stage presence and strong vocals paired perfectly with Nick Riching’s powerful lighting. A beautiful score plays throughout, although the music was a little too loud at times, which made it difficult to hear the lyrics. 

Jones and Sleight delivered fantastic performances; I was impressed with the range of emotions they showcased throughout the musical. Initially, I felt distracted by adults playing 7-year-olds, but I must commend the cast for their abilities to accurately portray the different life stages. Olivia Sloyan (who played childhood sweetheart, Linda), Jones and Sleight expertly captured the naivety and energetic playfulness among children. The ensemble also did brilliantly in their supporting roles, and I enjoyed how animated they were.

Photo by Jack Merriman

It was endearing to watch the two boys, whose parents tried so hard to keep them apart, become so close. The lighthearted humour balanced nicely against the more sinister and heart-rending second act. Mickey and Eddy’s social differences became more apparent as they grew older. From what they wore, to how authorities treated them, and their financial situations. 

Jones takes us on an emotional rollercoaster. He puts on a strong performance in the second act as we witness Mickey’s depression following his time in jail. It’s heartbreaking, especially as it appears Eddy has his life together. 

Photo by Jack Merriman

Evan’s flawless vocals and raw emotion in every scene made her a total standout in this musical. We smiled as she sang about her love for dancing and when the family were rehomed. We sympathised as she battled with debt collectors. The finale song ‘Tell Me It’s Not True’ was emotionally moving – I wasn’t surprised to hear a few sniffles from the audience.

Despite being written over 40 years ago, the story feels relevant in the present day as the UK faces economic hardship amidst the cost-of-living crisis. Blood Brothers is poignant, powerful and certainly a classic musical.

It’s playing at Richmond Theatre until 25 February 2023, before continuing its UK tour.

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The High Life – Barons Court Theatre

🎭 The High Life
📍 Barons Court Theatre
🎫 PR invite
⭐⭐⭐

Scott Younger’s new play The High Life heads to Barons Court theatre for a funny yet honest portrayal of toxic work environments.

The story

The story follows Kayla (Feyisara Mendes) a graduate who moved to London and began work in a hipster coffee shop. Kayla dreams of having a ‘proper’ job and after a run-in with an old acquaintance, she soon lands a new role at a PR firm. We follow Kayla on her journey at Performance PR, and the eventual burnout she experiences. The complicated (and secret!) relationship with her boss paired with the workload, takes a toll on Kayla and she results to alcohol as a coping mechanism.

My thoughts

‘The High Life’ is humourous, and at times heartbreaking, as we witness Kayla’s decline throughout her time at the PR firm. 

Directed by Sarah Githugu, Mendes gave a strong performance and their comedic timing was brilliant. They skillfully captured our attention and maintained high energy throughout the 2 hour-long solo show. The character, Kayla, was incredibly likeable from the moment she entered the stage, dancing to Whitney Houston and retelling funny stories about her cafe job.

Mendes performed various characters in the story, effortlessly switching between accents and mannerisms. While I did notice some slip-ups, they still delivered a great performance and I especially enjoyed the emotive range we were shown by Mendes. Act 2 features a more vulnerable Kayla as she struggles with the pressure to be ‘successful’ and becomes reliant on alcohol to manage her stress.

Younger’s writing is authentic and sheds light on a multitude of issues, that sadly may feel familiar to many of us 20-somethings-year-olds. Kayla experiences casual racism from clients, sexual harassment from strangers and dodgy propositions from landlords. On top of that, her boyfriend’s behaviour seems to knock her confidence, making Kayla question her ability in the job.

While I appreciated all the themes, some scenes (the Dubai work trip) were too long and didn’t necessarily add much to the overall story. Other scenarios with Kayla’s boss/boyfriend also felt predictable.

I commend Younger for writing a unique play that explores a young black woman’s experience in toxic workplaces. Going a step further to delve deep and highlight industry racism would have elevated the story even more. From hearing the description of Kayla’s colleagues who quit or were fired, there is something to be said about them all being women of colour. This could have been an interesting plot to focus on, especially as Kayla acknowledged that her white colleagues and Darren seem to get away with doing minimal work. 

Overall, I enjoyed ‘The High Life‘. The creative team have developed an original piece of theatre, performed wonderfully by Mendes. With some minimised scenes and more focus on specific issues, this story could be even stronger. I’m looking forward to where it will go next!

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Chicken Burger N Chips – Brixton House

🎭 Chicken Burger N Chips
📍 Brixton House
🎫 Gifted
⭐⭐⭐⭐⭐

“The world wasn’t designed for us to succeed playboy, you gotta clock that we’re living in an uneven society.”


Written by Corey Bovell and directed by TD. Moyo, Chicken Burger N Chips is a fast-paced, witty play that tells a story about gentrification and the impact it’s having on the lives of its youths. 

Set in South London, Bovell has produced an authentic coming-of-age story, full of nostalgic references, notable music and the most upbeat performance.

The story

Summer holidays are here and 18-year-old Corey awaits his A-Level results. During his regular routine of hanging out in fast food chain, Morleys with the mandem, Corey meets Jodie, who makes him realise the changes occurring in the Lewisham borough. The more time spent together, Corey grapples with the notion of staying in ‘ends’ or leaving to pursue his dreams.

The play explores gentrification as Corey watches local Lewisham landmarks be demolished and replaced with flats, yoga mats & hipsters – leaving no shops, no markets, and no culture. 

A run-in with rivals further touches on the impact of gang violence and the fear and uncertainty this causes amongst young Black men. As a friend tells Corey that “we live in an uneven society”, Corey wonders what the future holds for him. 

Photo by Helen Murray

My thoughts

TD. Moyo creatively directs the performance with Corey (played by Gamba Cole) cooking fried chicken live on stage as shares his story. This was a fascinating directional choice from Moyo, that didn’t interrupt the flow of the play.

Allyson Julien’s set design accurately represented a family kitchen; photographs on the fridge, a noughties-looking stereo, Ainsley Harriot cookbooks and Dunn’s River seasoning on the counter. Cole utilises the entire space as he shares his adoration for Lewisham. He describes Morley’s as the ‘beacon of South London’, and it’s clear the food spot became a sanctuary for him and his friends. 

Photo by Helen Murray

Gamba Cole puts on a fantastic performance as Corey in this solo show. Cole oozed charisma and humour in the role, keeping the audience engrossed all throughout. 

Bovell’s writing is engaging, witty and sparks pure joy, which is exactly what Cole delivered. I laughed a lot during the performance, especially during the scenes in Morley’s. 

There was multi-roleplaying from Cole as he effortlessly transformed into different characters in the story. Cole impressively showcased a range of mannerisms. Each character portrayal felt relatable, adding even more depth to the story. Additionally, Ben Garcia’s seamless lighting design did well to indicate the transitions between characters. The show also featured musical interludes of various genres, and the audience couldn’t help but join in.

Photo by Helen Murray

Overall, Chicken Burger N Chips is captivating, filled to the brim with enthusiasm and joy. It’s incredibly moving as Bovell incorporates important themes throughout. At its core, the show is a celebration of South London. It also takes its time to explore issues teenagers face and the socio-economic impacts of gentrification in working-class areas in London.

As a Millenial that grew up in South London, eating Morley’s every other day after school, I am thankful that this play exists. I hope it returns for an even longer run on stage!

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Counter – VAULT Festival

🎭 Counter
📍 VAULT Festival
🎫 PR invite
⭐⭐⭐⭐

So, do lies hold a relationship together? 👀

Written and directed by Maggie N. Razavi, Counter follows the breakdown of a long-term relationship. With a minimal set, taking place at a bar counter, we are immersed in a couple’s relationship, whose inner thoughts question whether they should stay together or break up.

The story

The couple, played by Max Norman and Rivkah Bunker, have been together for a decade but haven’t communicated in three weeks. We soon learn the man had proposed to his partner, which caused her to run off, take a ‘break’ – and cease all communication with him. They exchange passive-aggressive small talk, but each character breaks the fourth wall to reveal true feelings about the situation. And each other. 

My thoughts

The duo put on strong performances; both convincingly deliver satirical monologues that had me switching sides on who I personally thought was in the wrong. Razavi’s script is engaging and authentic – I appreciated them highlighting real-life issues people in relationships face. He strives for marriage, kids, and a house before 30, while she wants to be free to travel the world. Their differences and lack of communication lead to controversial secrets. 

‘Her’ (Bunker) questions whether she really loves ‘Him’ (Norman). He may provide security, family, and stability, but she feels unseen. Sure, she’s committed some (okay, several!) wrongdoings, but we soon learn ‘Him’ isn’t innocent either. 

Our characters speak directly to audience members, asking for their opinions. “Am I in the wrong? Should I stay? What dating apps do people use?” I must commend Bunker for their improvisation skills and also their added humour in this intense play.

The concept in Counter is great, and I believe it could be elevated in terms of audience participation. Having an alternative ending depending on the response from the audience could be an interesting plot device. I also would prefer if there was more dialogue in their scenes together, rather than awkward silence. There could have been tender moments, with movement or speech, demonstrating that they are deeply in love, but their monologues suggesting otherwise. Having that contrast would certainly add to the humour.

I won’t spoil the ending but it certainly divided opinions and sparked a post-show debate between friends and me!  

Maggie N. Razavi has created a unique piece of theatre by including interactive elements, crafting compelling characters and initiating discussion both during and after the show. 

Although the show has finished its tour at the VAULT festival, I hope to see Counter back on stage soon!

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I am not Black – Barons Court Theatre

🎭 I am not Black
📍 Barons Court Theatre
🎫 PR invite
⭐⭐⭐⭐

Written and performed by Akin Wright, ‘I am not Black’ is a coming-of-age story, exploring one man’s plight of growing up in an environment where he was ‘‘too white for the black kids and too white for the white kids”. Directed by Joseph Junkere, this one-man show is funny, powerful and an honest exploration of the black experience.

The story

When Temz Thomas (Akin Wright) is invited by his former school to give a speech to current students, this sparks a trip down memory lane. As he finds an old Blackberry phone, Temz begins to reminisce of his experiences at school. He reveals the microaggressions and casual racism faced during that time and reflects on what it was like to feel as though he didn’t belong.

As Temz dresses in school uniform, he shares what it was like being at a private all-boys school, where he was one of few black students, and made to feel othered. Temz succumbed to the jokes about his race as well as the negative and ridiculous stereotypes about Black people. We also discover the jokes sadly continued outside of school, and in his church community.

My thoughts

Wright incorporates many colloquial phrases and cultural references that were all too familiar to me. Blackberry phones, Channel U, and even the CGP GCSE books sprawled on the floor took me back to my own younger years. The set design was simple but was enough to transport the audience back to Temz’s school days.

Racism is a key theme throughout the play, as well as belonging. It’s tough to hear, but I commend the script for being authentic and not diminishing the experiences many young black kids have faced.

Wright’s storytelling is engaging, and they successfully capture our attention for all 60 minutes. The writing is entertaining, quick-witted, and included so many nostalgic references that made me chuckle (The Blackberry battery hack was such a throwback!). There’s also a nice balance between the humour and the serious nature of the topic.  

I enjoyed the pacing of the show. Even with all the content and backstories, it didn’t feel rushed. There was multi-roleplaying from Wright, as they portrayed the supporting characters in Temz’s life. At times, it was difficult to keep up with the number of characters in the story. Wright did a great job at performing them all and I particularly liked the use of audio during conversations with other characters.  

The second half was the strongest, as we saw even more emotion from our protagonist. Temz lets out pent-up frustrations from the years of casual racism faced by his peers, teachers, and his own community. Under Jinkere’s powerful direction, we see Temz sit in the middle of the stage, lights dimmed, revealing a written wall of racial slurs and microaggressions. This was my standout and such a profound way to echo the stories Temz shared.

In an impassioned poem, Temz rightfully expresses that black people are not a monolith. We are unique. Personally, I am proud there are shows like ‘I Am Not Black’ that have the platform to share our unfiltered stories and experiences.

‘I am not Black’ is playing at Barons Court Theatre until 4 February. (Although tickets have sold out!)

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Ripe Tomato, After Peribañez – VAULT Festival

🎭 Ripe Tomato, After Peribañez
📍 The Cavern, VAULT Festival
🎫 PR invite
⭐⭐⭐⭐

“Jealousy is the price you pay for love.”

The story

Written by Siofra Dromgoole and Gráinne Dromgoole, Ripe Tomato is a modern adaption of the 16th-century Spanish tragicomedy, Peribañez. The premise remains the same but has been reworked into a ‘Queer Epic’, with a focus on relevant issues in our society today. Taking place in South London, Cass and Peri are celebrating their nuptials with their best friends, when a man has an accident right outside the home, they have been squatting in. As Cass tends to this wounded stranger, it’s revealed the man is the landlord of the property. The landlord, Jeremy, takes an instant liking to Cass, and we see his crush turn into a manipulative series of events.

My thoughts

Directed by Avigail Tlalim, this is a stripped-back production, with minimal props, allowing us to focus entirely on the characters and their interactions. The friendship between Cass, Peri, Ines, and Ben (Gráinne Dromgoole, Yohanna Ephrem, Camila Segal and Charlie Collinson) is endearing to watch. Their dynamic isn’t perfect, and even with each of them going through a personal struggle, they still looked out for one another.

Gráinne Dromgoole’s Cass is calm, soft-hearted, and reliant on her wife, Peri, and her friends. Peri is assertive and immediately questions Jeremy’s motives as he buys gifts for Cass. This contemporary take touches on relevant topics affecting us today, such as the housing crisis. Ephrem is a passionate performer and showed a great range of emotions throughout the play. From her impassioned speech about the state of the housing system to a more vulnerable side when she speaks about her love for Cass. There were powerful performances all round.

Os Leanse was another standout as they convincingly played the selfish and obsessive Jeremy. We could feel the desperation and couldn’t help but laugh at his attempts to woo Cass. From reciting (the wrong) romantic Shakespeare lines, arranging household repairs to even questioning her sexuality! Overcome with jealousy, Jeremy ultimately abuses his power, which leads to come conniving actions. He’s supported by his witty assistant, Lujana (Olivia Mills) who also forms a connection with Ines.

One improvement would be the accompanying music; at times, it was playing louder than the dialogue, especially with the acoustics of the venue space.

Siofra Dromgoole and Gráinne Dromgoole have written a strong piece of theatre, that had us engrossed from start to finish. It’s a clever take on a literary classic, and representative of our society today. I’m excited to see where this production goes next!

You can catch Ripe Tomato, After Peribanez at The Vaults Festival on 18 and 19 February.
Visit here to get tickets!

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Steel Magnolias – Richmond Theatre

🎭 Steel Magnolias
📍 Richmond Theatre
🎫 PR invite
⭐⭐⭐

Steel Magnolias revolves around a group of Southern women in Louisiana who regularly meet at the local hair and beauty salon run by Truvy (Lucy Speed). The play spans a few years, as we see the group laugh, cry, bicker, and, importantly, build meaningful friendships.

Written by Robert Harling, Steel Magnolias is based on Harling’s family tragedy and adapted into the 1989 film with an ensemble cast, including Dolly Parton and Julia Roberts.

The story

The first scene takes place on the day of Shelby’s wedding as all the women appear in the salon. Truvy introduces her new, eager assistant, Anelle (Elizabeth Ayodele) to the ladies. Shelby (Diana Vickers) is confident, cheeky and has a likeable aura about her and often disputes with her mother, M’Lynn (Laura Main). M’Lynn, who is quite the contrast, is overprotective and worrisome over her daughter’s choices – from wedding flowers to hairstyles. Completing the group is Clairee (Caroline Harker), former First Lady of Louisana and the incredibly witty, Ouiser (Harriet Thorpe).

We soon learn of Shelbie’s diabetic health condition, which risks her life as she desires to become a mother. The drama centres around this and the tragic events to come.

Photo credit: Pamela Raith

My thoughts

Steel Magnolias is a good representation of strength and the importance of being unified in tough circumstances. Directed by Anthony Banks, the first act did well to establish the varying personalities amongst the group. While I admired watching the bonds the characters formed, I couldn’t help but feel the play suffered some pacing issues. Act 1 felt drawn out, and almost as though nothing was happening. Once Ouiser entered the stage, their one-liners bought the much-needed humour and energy the show required.

The production takes place entirely in the salon; the set and costume design are quintessentially 80s, representing the era well. Laura Hopkins’ set includes neon signs, photos of Dolly Parton and a ‘the higher the hair, the closer to God’ poster. Kulkari’s costume choices similarly showcased typical eighties attire. The characters have several outfit changes, between bright, bold mismatched prints and varying wigs with scrunchies.  

There were a couple of moments where lighting cues were missed, and I also noted that the Southern accents were not as strong as we would hope. Described as a comedy-drama, some jokes fell flat, while others I didn’t really understand. This could be a case of the script being written for its time and not as culturally relevant today. It would be interesting to see a total revival of this play mainly as the themes are key.

Photo credit: Pamela Raith

The cast worked well together, and their friendship appeared natural. Diana Vickers’ was a standout and gave an authentic performance in the role of Shelby. Lucy Speed was also wonderful as the kind-hearted, reassuring friend to them all, especially in Act 2.

I liked how the salon signified a safe space for the characters. We watched them experience love, laughter, and loss. It’s unfortunate circumstances, with the final scenes proving to be the most powerful. The tragedy brings the group closer, emphasising the true meaning of friendship.

Steel Magnolias is playing at Richmond Theatre until 28 January 2023, before continuing its tour.

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Morveren – Barons Court Theatre

🎭 Morveren
📍 Barons Court Theatre
🎫 Gifted
⭐⭐⭐

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

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

The story

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

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

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

My thoughts

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

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

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

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

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

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

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

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Nerubashenko Ballet presents Swan Lake

🎭 Swan Lake
📍Richmond Theatre
🎫 PR invite
⭐⭐⭐⭐

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

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

The story

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

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

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

The production

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

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


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

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

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

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

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

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Queenz: The Show With Balls! – Arts Theatre

🎭 Queenz: The Show with Balls!
📍 Arts Theatre
🎫 PR invite
⭐⭐⭐⭐⭐

Five fabulous Drag Queens take to the stage to perform an impressive medley of classic songs from much-loved singing stars such as Gaga, Beyonce, Whitney and more! There is not a lip sync in sight as our Queenz showcase the most spectacular live vocals. The audience is treated to sassy dance routines, sparkly sequinned outfits, and a heap of cheeky humour!

Created and produced by David Griego, Queenz: The Show with Balls is hands down one of the best Drag shows I have watched. It began as an Edinburgh Fringe show and has since gone on tour across the UK.

The atmosphere was already buzzing as we were handed glowsticks upon entry. The show began with a bang and straight into a megamix of our favourite Pop songs! The entire show felt like a full-blown party; with glowsticks and phone torches parading the air and of course, a group sing-along. The lighting design wonderfully added to this party atmosphere with cascading lights around the theatre and accurately timed spotlights on the performers. I loved the variety of lighting choices, with colour tints that complemented the Queenz’ gorgeous, dazzling outfits. 

With its final London performance on a West End stage, it felt very fitting for our Queenz to perform a hilarious (and clever!) Musical Theatre medley. I was so impressed with the number of theatre classics the performers sang, with original lyrics – in just under 7 minutes! The energy was consistent, and each queen showcased their talents.

I was in awe of ZeZe Van Cartier’s (Lew Ray) and Billie Eyelash’s (Craig Colley) choreography AND hair-ography skills! Candy Caned’s (Josh Hanson) stunning outfits and Bella Du Balle’s (Ben Sell) powerhouse vocals! Completing the fabulous five was Dior Monte (Jaymi Hensley) whose comedic timing was perfect, as they had a string of funny audience participation moments!

Sass, sequins, sensational vocals – the Queenz energy was infectious and had us hooked for the entire evening. As we sang, danced, and laughed along, the show proved that time flies when you’re having fun!

The Queenz rendition of Cyndi Lauper’s True Colours was beautiful and encouraging. We were shared with an empowering message on acceptance, loving who you want and the importance of supporting the LGBTQIA+ community. 

Whether you’re a non-binary finery or a fierce ally, Queenz: The Show with Balls is the ultimate Drag show you won’t want to miss when they return on tour!