Tag: theatre review

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REVIEW: Bitch Boxer – Arcola Theatre

🎭 Bitch Boxer
📍Arcola Theatre
🎟️Gifted
⭐⭐⭐⭐⭐

Charlie Josephine’s smash hit play returns to London following a critically-acclaimed run at Watford Palace Theatre last year.

The story

The play takes place in 2012 London, ahead of the London Olympics in Stratford, where we meet aspiring boxer, Chloe Jackson (wonderfully played by Jodie Campbell). 2012 is a pivotal year in sports – women were finally allowed to compete in the Olympic boxing ring! It’s a triumphant moment for Chloe as it’s an opportunity she’s been training for her whole life. 

Chloe speaks fondly about her father, his constant support, and the bond they share over boxing. When he suddenly passes away, Chloe puts her entire focus into boxing, rather than allowing herself to mourn. She’s convinced that showing vulnerability may cost her the dream she and her father shared.

The play explores grief, ambitions, love and societal expectations. Chloe goes through a rigorous training schedule, a new relationship and the loss of her father. All while balancing the pressure of this Olympic dream.

Photo by Ross Kernahan

My thoughts

From the moment she steps on stage, Jodie Campbell captivates the entire room. The opening monologue carries a fun, charismatic energy that immediately commands our attention. Paired with Campbell’s brilliant comic delivery and conversational storytelling, it genuinely felt like we were listening to a friend. She showcases an impressive versatility, seamlessly shifting between characters, from her girlfriend, to her coach. Chloe feels like a character we all know – playful, confident, swears a lot, and seems like a great person to go clubbing with!

It’s interesting to learn that Chloe didn’t cry at her father’s funeral, and while we all grieve differently, in Chloe’s case, it’s feels as though she must prove that she is tough. Behind the bravado, there is a softer side to Chloe, which we see when she’s with her girlfriend, Jamie, who even says, “I like when you’re ill, because you let your guard down”.

Photo by Ross Kernahan

Directed by Prime Isaac, the production maintains high momentum and tension throughout. Campbell utilises the entire stage (designed by Hazel Low), circling the boxing ring, and ducking in and out of the ropes. Isaac’s direction also maximises the lighting and sound design, which elevates the storytelling.

Mwen’s sound design transports us between training gyms, nightclubs (shoutout to the nostalgic playlist!) and boxing matches, while Jessie Addinall’s lighting transitions are so precise! Whether it was capturing the intense fight scenes or Chloe’s moments of reflection, the lighting was perfectly in sync with the story.

Mateus Daniel’s movement direction was incredible, particularly for showcasing authentic boxing techniques. Campbell’s jabs, hooks and uppercuts are sharply choreographed, her physicality poised and convincing. We became spectators, cheering her on.

Photo by Ross Kernahan

Charlie Josephine balances humour with an exploration of the pressures Chloe, a young Black queer woman, faces. The show sparks an interesting discussion – how should we mourn? Who is allowed to be seen as fragile? Chloe’s reluctance to show vulnerability feels rooted in the expectations placed on her identity. Society tends to expect strength or resilience from Black women in particular, often denying them the space to be vulnerable, or, in this story, publicly mourn.

Overall, Bitch Boxer is funny, intense and unique exploration into loss, ambition and the pressure to remain strong. This production boasts a fantastic creative team and a standout performance by Jodie Campbell – it’s not one to miss!

Bitch Boxer is playing Arcola Theatre until 14 March!

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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: 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: Kiss Me, Kate – Barbican Theatre

🎭 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.

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REVIEW: Standing at the Sky’s Edge – Gillian Lynne Theatre

🎭 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!

Standing at the Sky’s Edge plays at the Gillian Lynne Theatre until Saturday 3rd August 2024

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REVIEW: Shifters – Bush Theatre

🎭 Shifters
📍 Bush Theatre
🎟️ PR invite
⭐⭐⭐⭐

Bush Theatre continue impress with their latest production from Benedict Lombe. 

‘Shifters’ is a beautiful and honest, exploration of young love, memory, and destiny. We meet Destiny and Dream (Heather Agyepong and Tosin Cole), childhood friends who reconnect after years apart. Now, aged 32, Des and Dre are living the dream in their respective careers. But a tragedy brings them together for the first in 8 years, and the memories come flooding back. The play shifts between pivotal moments in Des and Dre’s lives – from the moment they met at 16 in debate class to the challenges they faced in adulthood.

Written by Benedict Lombe, winner of the Susan Smith Blackburn Prize for Playwriting, the play is authentic, and poetic as it delves into the complexities of relationships. I adored how Lombe’s writing acknowledges the vulnerability we exude when it comes to love. Throughout this powerful two-hander, we watch Des and Dre navigate their friendship-turned-relationship, through affecting moments. 

Lombe sensitively incorporates the impact of grief and trauma on Des and Dre’s relationship, but also the heavy burden Des carries in regards to being a Black woman. This was something I and members of the audience audibly agreed on as Des emotionally described how society interacts with Black girls. 

The story makes us question whether the ‘right person, wrong time’ is true and if soulmates do exist (I believe they do!).

Photo by Craig Fuller

Tosin Cole and Heather Agyepong take to the stage with undeniable chemistry. The dialogue between them is pacy, and filled with playful jokes that double up as flirtatious. They banter about African parties, the school’s debate club, and Nigerian vs Congolese music. I found myself smiling numerous times at their exchanges and how real the performances were. My memorable moment was Des tending to Dre’s hair; this simple yet profoundly intimate moment beautifully showed the bond between the pair. That soft, playfulness remains even years after they last met. 

Agyepong’s Des is self-assured and full of sharp wit, while Cole is the epitome of cool, calm and collected, even in moments of sadness. Cole and Agyepong deliver the most captivating performances I’ve seen in a romantic play. Even during quieter moments, their passion speaks volumes. Directed by Lynette Linton, there is a playful energy between our two leads. The non-linear structure flows naturally, revealing layers of Des and Dre’s relationship with each passing year.

Photo by Craig Fuller

Alex Berry transforms the main space with a minimalist traverse staging, while Neil Austin’s stunning lighting illuminates the stage. The lighting is visually striking as we walk into the theatre and throughout the show, these lights effectively capture the shifting timelines in the story. The bold hues of greens and reds during Des and Dre’s youthful years, become dimmer as we move to present-day. I would have loved a solid conclusion to round off the story, but perhaps the ending was meant to be ambiguous.

The show is a powerful reminder of our experiences with long-term connections, and will leave audiences utterly moved. With stellar performances and evocative storytelling, Lombe’s play balances humour and heartbreaking scenes, and altogether is an authentic portrayal of young love. Shifters is another example of Bush Theatre continuing to share new, powerful and diverse stories!

Shifters plays at Bush Theatre until 30 March 2024.

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

🎭 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.

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REVIEW: Kim’s Convenience – Park Theatre

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

“There’s humour and heart in every aisle”

The story

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

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

Photo by Marc Douet

My thoughts

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

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

Photo by Marc Douet

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

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

Photo by Marc Douet

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

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

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REVIEW: Stranger Sings – Southwark Playhouse

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

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

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

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

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


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

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

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

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

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