Tag: theatre review

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REVIEW: Flip! – Soho Theatre

First published on Lost in Theatreland website.

🎭 Flip!
📍 Soho Theatre
đŸŽŸïž Gifted
⭐⭐⭐⭐⭐

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

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

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

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

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

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

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

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

Flip! plays at Soho Theatre until 25 November 2023!

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REVIEW: Brenda’s Got A Baby – New Diorama Theatre

🎭 Brenda’s Got A Baby
📍New Diorama Theatre
đŸŽŸïž PR invite
⭐⭐⭐⭐

Jessica Hagan’s new comedy play heads to New Diorama Theatre for an entertaining and insightful production on Black womanhood, sisterhood, motherhood and…babies!

The story

Following an unforeseen breakup with her long-term boyfriend, Dami (Jordan Duvigneau) and feeling constantly overshadowed by her happily married younger sister, 29-year old Ama (Anita Uwajeh) sets out on a quest to embrace motherhood. Ama has made great achievements including securing her own home and a successful career, but as she approaches her late twenties, she believes the missing piece in her life is a child.

Ama navigates a rollercoaster ride that includes grappling with a shortage of available Black sperm donors, confronting a racially biased healthcare system, and dealing with her own demanding family. Still, Ama charges ahead with determination. Along the way, she finds herself entangled in awkward encounters, even more awkward conversations and defiant decisions. With the clock ticking, Ama’s sense of urgency only intensifies.

Photo by Cesare De Giglio

My thoughts

The show opens with sisters, Ama and Jade (Jahmila Heath), as Ama delivers a scathing commentary on a peer’s fifth pregnancy. Together, the two light up the stage with their quick wit and humour, setting the tone for the show. As they listed all the societal pressures and expectations they were told as teenagers, I enjoyed watching their convincing sisterly bond. The show featured pop cultural and TV references, including a notable scene from The Real Housewives of Atlanta. While this had the audience immediately engaged, with some even reciting the scene, I found this to be a smart foreshadowing technique for the events to come. 

Brenda’s Got A Baby was jam-packed with jokes that had the audience in constantly laughing. Hagan’s script is razor-sharp, witty and performed wonderfully by the cast of 5. Whether it was Dami’s audacious attitude, Jade’s innocence or Skippy’s (Edward Kagutuzi) naive but charming nature, I found the characters incredibly fun to watch. They had such natural chemistry and charisma throughout.

Photo by Cesare De Giglio

Michelle Asante gave a strong performance as Ama’s mum, with the exaggerated facial expressions and hilariously outlandish remarks. I couldn’t help but wonder how this character was so identical to my own Ghanaian mother (bravo to the team!) The infusion of the Ghanaian dialect, Twi, added to her character’s charm. Anita-Joy was utterly brilliant in the role of Ama and displayed great stage presence. The character’s overly sarcastic demeanor worked well with Uwajeh’s seamless comedic timing. Among the hilarity, I adored the poignant scene between Asante and Uwajeh as they portrayed a beautiful, mother-daughter bond.

Photo by Cesare De Giglio

The jigsaw set design by TK Hay added a colourful and playful dimension to the story, reflecting Ama’s vibrant dynamics of her family, but also the inner thoughts of her fragmented life. As Act 2 peeled back the layers of Ama’s vulnerability, we also learn more about her younger sister, Jade’s, health. I wished this particular scene wasn’t so hysterical between the characters. Though various revelations come to light, Jade’s announcement felt hurried. This would have been a significant plot to the story and further discussion into black women and healthcare.

Khalil Madovi provided subtle shifts in sound whenever babies and marriage were mentioned to Ama. This conveyed a strong sense of isolation, a theme that unfolds throughout the play. Anastasia Osei-Kuffour’s direction paired incredibly well with Madovi’s distorted sound design, both effectively mirroring the disjointed pieces of Ama’s life. The relentless (and literal!) countdown, symbolizing a ticking body clock further added to her desperation. It’s quite a tough experience to watch as Ama frantically paces around the stage, undergoing questionable actions. Osei-Kuffour skillfully balances between the playful direction in Act 1 to the sombre Act 2, where coercive cracks begin to surface.

Photo by Cesare De Giglio

I appreciated the show for addressing the societal pressures women face. But also acknowledging the issues within black women’s maternal care and health, with the inclusion of statistics that I wasn’t even aware of! Jessica Hagan is a talented writer, and cleverly blends satire with sensitivity, ensuring that the humorous moments do not overshadow the serious undertones.

Brenda’s Got A Baby is a brilliant production, offering constant laughter, thought-provoking themes, and a cast that delivers a marvellous performance!

Brenda’s Got A Baby plays at New Diorama Theatre until 2 December 2023.

Access performances:

Captioned: Wednesday 22 November 2023 – 7:30pm

Relaxed: Thursday 16 November 2023 – 7:30pm

Babes-in-Arms: Thursday 16 & Thursday 30 November – 2pm

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Brown Girl Noise – Camden Fringe

🎭 Brown Girl Noise
📍The Hope Theatre (Camden Fringe)
đŸŽŸïž PR invite
⭐⭐⭐⭐⭐

Kaya Uppal’s ‘Brown Girl Noise’ is a hilarious and heartfelt ode to South Asian Womanhood

The story

The story follows four South Asian girls who meet at an audition for Priti Patel’s autobiographical film. As they wait, they decide to tell their own stories, sharing personal anecdotes – from childhood experiences to first crushes to nosey aunties. Brown Girl Noise brims with laughter, emotion, and unapologetic authenticity.

My thoughts

Directed by Neetu Singh, the play is fueled by razor-sharp wit and a brilliant script that moves between dialogue, spoken word, and entertaining dance breaks. I enjoyed how the production effortlessly shifts between hilarity to poignant moments. Performed at The Hope Theatre, the show works well in its intimate setting, and there are playful breaches of the fourth wall. 

The humour takes centre stage and I found myself laughing out loud numerous times. I loved the iconic nods to pop culture moments including Love Island, Bend It Like Beckham, and *that* Big Brother India scene. While some reenactment scenes felt too drawn out, I quite enjoyed the theatrical impressions of UK politicians. 

The characters are wonderfully performed by Misha Domadia, Kerena Jagpal, Amber Zarya and writer, Kaya Uppal. Their chemistry was palpable; even in the moments where their dialogue overlapped, it only added to the natural camaraderie on display. They also showcased impeccable comedic timing and delivery. Whether it was plaiting each other’s hair or falling into a tight embrace, Singh’s direction beautifully portrayed a strong sense of unity and sisterhood.

The cast skillfully explores the challenges faced by South Asian women including name-calling, family pressure and gender discrimination. Uppal doesn’t hold back in revealing these obstacles and uses satire to portray this. As the play changes tone, I appreciated the more vulnerable moments, particularly the touching ‘Dear Me’ scene.

The second half of the play honours all South Asian women, and pay homage to their history as the characters state, ‘We are descendants of warriors’. The show provides a powerful way to share and embrace their stories, making them feel proud and empowered in who they are.

Brown Girl Noise serves as a clear example of why South Asian stories are important in theatre. As the characters humorously express their long wait for representation, (“I’ve waited 20 years for Bridgerton!“), the sentiment rings true.  The production is a lively blend of rebellion, humour, honesty, and unfiltered authenticity – qualities that make great theatre. With fantastic performances, resonating themes and a heartfelt core, this is a show with a lot of potential. I’m excited to see where it goes next!

Tickets are currently sold out, but you can find more information about the show here

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Heart – Barons Court Theatre

🎭 Heart
📍 Barons Court Theatre
đŸŽŸïž PR invite
⭐⭐⭐

Reece Lewis’ honest and personal one-man show heads to Barons Court Theatre for an evening of laughter, heartbreak and harrowing insight into the experience of a young queer man.

The story

Described as a love letter to all gay men in London, we meet Tyler – a 24-year-old mixed-race gay man from London. He adores his mum, and his friends and loves a party! But that’s not Tyler’s story – what lies beneath is far more complex. We learn that Tyler longs for a meaningful, romantic connection – which proves to be difficult to find in an era of online dating apps and casual encounters. The show also focuses on Tyler’s journey with an absent, disapproving parent.

My thoughts

We enter the theatre to various electronic dance tracks and nightclub-style lighting; this set the atmosphere of the show which I enjoyed as I admired the set. A Pride poster was centre stage, along with a multicoloured swivel chair and a Pride blanket. The set design did well to establish the theme of the show and reflect the character’s personality. Lewis had a fantastic stage presence from the moment they entered the stage. Tyler is instantly likeable, witty, and by the look of those dance moves – the life of the party! Lewis performed as multiple characters in the story effortlessly switching between the different accents and mannerisms.

‘Heart’ reveals the societal judgements gay people face, be it from family members or people in the queer community. Tyler is tired of being straight people’s ‘experiment’ and battles to find a real connection. His dating experiences are explored in a vivid scene, directed by Koreen Howel. As Tyler moves around the stage on the swivel chair, scrolling through explicit and racist Grindr messages, we can’t help but feel sorrow.

The show captures the freedom Tyler finds in queer spaces, the feeling of safety, and a space to be his true self. It was beautiful to hear and warmed my heart. The rhythmic, and slightly poetic script also nicely portrayed Tyler’s stream of consciousness.

While the show moved at a fast pace, some transitions felt disjointed and too abrupt. I liked some lighting choices throughout, including the warm blue for softer scenes. But during a moment of intimacy, we had a deep shade of red lighting but this was quickly turned off, despite the ongoing scene.

We lean into more sensitive themes, involving Tyler’s father, who is disapproving of his son’s sexuality and is abusive. The last scenes focused on their relationship and despite the poignant moments, this felt like a drawn-out conclusion. Tyler’s journey with his love interest seemed like the more fitting way to conclude the show. Considering the production is described as a love letter to the gay community in London, I wasn’t sure where the final 25 minutes fit into that. Nonetheless, I still appreciated the themes throughout the show. Reece Lewis is a strong performer and writer and I especially loved seeing a gay, mixed-race character (we need more POC queer stories!).

‘Heart’ is playing at Barons Court Theatre until 19 August 2023. You can buy a ticket online here!

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A Playlist for the Revolution – Bush Theatre

🎭 A Playlist for a Revolution
📍 Bush Theatre
đŸŽŸïž PR invite
⭐⭐⭐⭐

AJ Yi’s new romantic comedy follows the journey of Jonathan and Chloe, who meet at a family wedding and unexpectedly find love amidst one of the largest demonstrations in Hong Kong’s history.

The story

Set in 2019, we follow the journey of Jonathan and Chloe, who meet at a family wedding in Hong Kong. Chloe (Mei Mei Macleod) is enjoying freedom before returning to England for university, while Jonathan (Liam Lau-Fernandez) The pair strike up a connection; bonding over musical choices, they spend the evening dancing and drinking before Chloe has to leave for the UK. Their long-distance friendship unfolds through endless messaging and the creation of a shared Spotify playlist. 

Photo by Craig Fuller

As this beautiful relationship forms, the world around them is changing. One of the largest demonstrations in Hong Kong’s history is taking place, as citizens fight for their rights and for a better future. Chloe is inspired by the movement and wants to ‘change the world with a playlist’, adding protest songs – Beyonce, N.W.A and John Lennon – to their playlist. Jonathan is initially less inclined to join the protests, until he meets the school’s janitor, Mr Chu (Zak Shukor), who has been protesting all his life, and convinces Jonathan to take part.

My thoughts

The chemistry between Jonathan and Chloe is undeniable. Chloe’s quirkiness and spontaneity contrast with Jonathan’s more pragmatic approach to life, creating a dynamic that kept us engaged. Jamie Ye and Nicola T. Chang’s sound design form a great part of the show. The use of music and the shared Spotify playlist was clever and added a layer of intimacy to their long-distance relationship.

Emily Ling William’s creative direction elevates this, and despite the physical distance, Jonathan and Chloe feel closer than ever. Ling Williams opts to have the characters read their texts (and the emojis!) aloud. They share Asian snack recommendations, and musical tastes, dancing alongside one another to the pop, rap, and classical music songs that fill their revolution playlist. Both Ling Williams and Yi have beautifully captured the essence of a rom-com. 

Photo by Craig Fuller

The play explores themes of identity, resilience and the meaning of protests. Chloe longs to feel closer to her Hong Kong heritage and idolizes the movement. Jonathan brings her down to earth, reminding her what it is truly like to be living in the middle of the protests. 

An integral character in the play is Mr Chu, portrayed brilliantly by Zak Shukor. Chu is a stern yet caring mentor and fatherly figure to Jonathan. The pair displayed amazing onstage chemistry. Their scenes were filled with a good balance of humour and poignancy. It was endearing to see the two form a friendship and I especially enjoyed Chu’s witty one-liners. The entire cast gave strong performances, particularly Lau-Fernandez who was utterly captivating in the role of Jonathan. They showcased a range of genuine emotions; the sense of vulnerability and fear left me feeling quite moved. 

Photo by Craig Fuller

Yi’s writing emphasises the very reason why the people of Hong Kong are fighting in the first place. As Chu exclaims Hong Kongers “are not quiet”, he passionately embodies the anger and lifelong commitment to fighting for rights and change. 

Gillian Tan’s video design and sound bites from the Hong Kong protests ground the play in the reality of the events and act as a powerful reminder. AJ Yi expertly weaves together romance, comedy, and political themes.

Photo by Craig Fuller

With fantastic performances and creative direction, A Playlist for the Revolution is a wonderfully written, powerful piece of theatre. 

I have so much respect for Bush Theatre and felt immense joy to see a predominantly Asian cast and creative team. Representation in theatre is something I am passionate about. Being able to experience real, diverse stories on stage makes me feel proud and excited for the future of theatre. 

A Playlist for the Revolution is playing at Bush Theatre until 5 August 2023!

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School Girls; Or, The African Mean Girls Play – Lyric Hammersmith Theatre

🎭 School Girls; Or, The African Mean Girls Play
📍Lyric Hammersmith
đŸŽŸïžPR invite
⭐⭐⭐⭐⭐

Jocelyn Bioh’s award-winning comedy play arrives in London, for a hilarious, heartfelt story that explores the experiences of young Black girls.

The story

We’re transported back to 1980s Ghana, at the prestigious Aburi Girls Boarding School. ‘Queen Bee’ Paulina Sarpong (Tara Tijani) and her group of friends eagerly await the arrival of the Miss Ghana pageant recruiter, who will be looking for candidates to represent Ghana in the Miss Global contest. Paulina is cheeky, and pretentious and seeks praise by putting her friends down with snide remarks about their intelligence and appearance. 

Despite these unlikable qualities, Paulina holds the leading position to claim the title of Miss Ghana. That is until Ericka (Anna Shaffer) a new mixed-race student, transfers from America to complete her studies at the school. Ericka’s lighter complexion fascinates the school girls but enrages Paulina who fears Ericka will ‘steal’ the title because she fits the beauty standard that favours fairer skin. The arrival of Ericka disrupts the friendship dynamics, sparks rivalry (and singing battles) and uncovers heartbreaking revelations.

Photo by Manuel Harlan

My thoughts

Bioh’s writing is hilarious and heartfelt. The constant, quick-witted jokes keep the energy high for the entirety. The play focuses on the characters’ desire to be like the women they see in pageants, conforming to a particular beauty standard.

Paul Wills’ set design is subtle yet beautiful in depicting the Aburi mountains against an orange hue background. Similarly, Kinnetia Isidore’s costume designs strongly represent Ghana with the school girls wearing cute kente-patterned skirts. Headmistress Francis (Allison A Addo) dons a striking pink kente fit, which suited her stern but sweet personality. 

The play has clear parallels to American high school dramas (including the iconic 2004 film, Mean Girls!). The girls enthusiastically gather together to gossip about hair, fashion, and boys. Monique Touko’s direction infuses the production with playful and youthful energy, perfectly capturing the essence of teenage schoolgirls.  

Photo by Manuel Harlan

The cast is fantastic and each actor brings their own individual personalities to the stage. They performed so naturally and had authentic chemistry. It felt like we were watching a real group of friends banter with one another! Gifty and Mercy (Francesca Amewudah-Rivers and Bola Akeju), the humorous duo, had me laughing out loud, with their naivety, bubbly personalities, and impeccable comedic timing. Heather Agyepong’s Ama is intelligent, and sensible, while Jadesola Odunjo brilliantly portrays Nana as the timid, kind-hearted schoolgirl. Nana gained sympathy from us as Paulina verbally attacks her, simply for being her.

Photo by Manuel Harlan

The complex character of Paulina surprises us when she finally drops the mean girl exterior to reveal the heartbreaking reasons behind her actions. Tijani’s portrayal is brilliant; I adored their overall stage presence and mannerisms (also, *that* sequin dress!). Tijani showed raw emotions, that evoked empathy from us, despite the flaws of the character. 

As Headmistress Francis attempts to uplift Paulina, recruiter and former Miss Ghana winner, Eloise (Deborah Alli), crushes Paulina’s dreams, asserting that the Ghana representative for the pageant must possess a “universal and commercial look”. It’s heartbreaking and some of the language used to describe the darker-skinned pupils is difficult to hear. Sadly, this is the reality of people’s experience in a world that favours a certain image.

Photo by Manuel Harlan

Bioh successfully weaves in other related topics, such as self-image, education, and materialism. This is cleverly done, as Bioh strikes the right balance of seriousness and comedy. I do believe an extra 10-20 minutes could have allowed further exploration into the themes, and perhaps include more affirmation that Black, no matter the shade, is beautiful!

Through its hilarious characters, engaging storyline, and universal themes, ‘School Girls; or African Mean Girls Play’ is a heartwarming comedy, exploring the vulnerable moments of teenagers worldwide. As a British-Ghanaian, I was ecstatic to discover this play and to witness a cast & creative team that represents me. It’s unique, entertaining and a joy to watch – I highly recommend it!!

You can catch ‘School Girls’ playing at Lyric Hammersmith until Saturday 15 July 2023!

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Around The World in 80 Days – Richmond Theatre

🎭 Around The World in 80 Days
📍 Richmond Theatre
đŸŽ« PR invite
⭐⭐⭐⭐

Jules Verve’s famous novel ‘Around The World in 80 Days’ has been transformed into a new, vibrant theatrical adaption, directed by Juliet Forster. The Tilted Wig production is a delightful, fun, colourful show, that would make the perfect family evening out!

The story

The story begins with a group of travelling performers, who embark on their most daring venture yet: recreating the adventures of Phileas Fogg. Phileas Fogg of London (Alex Phelps) attempts to travel the world in 80 days, on a wager of ÂŁ20,000, a bet set by his snobby companions at the Reform Club. Phileas and his newly employed French valet, Passepartout (Wilson Benedito), set out on a race around the world. The 1873 novel is retold with a mix of adventure, comedy and a touch of history that I hadn’t known!

The show does not only focus on Phileas Fogg’s journey; it intertwines fact and fiction, sharing the remarkable story of Nellie Bly, an American journalist known for her record-breaking trip around the world in 72 days. This adaption brings to life the original novel in an exciting and engaging way!

Photo by Anthony Robling

My thoughts

This production is lighthearted, silly at times and has a modern take on Jules Verve’s story. Sara Perks’ stage design is visually stunning, with bright primary colours that emulate a circus atmosphere. I noticed the cast’s microphones weren’t as loud as we would have expected. Some moments also could have benefitted from a bit of background music to add emphasis to the scenes. The pacing felt slow in Act One, but this soon picked up, particularly as we saw more slapstick comedy scenes – including a lengthy circus act that involved tiny bicycles, hula hoops and whips!?

The strong cast of five is completed with Genevieve Sabherwal, Eddie Mann and Katriona Brown, who showcase their talent through energetic multi-roleplaying. I enjoyed Brown’s performance as Nellie Bly; having her story alongside Phileas Fogg’s added a modern, feminist approach to the story. I wanted to snap my fingers in solidarity when Bly exclaimed; “I said I could, and I would. And I did.” Additionally, I really liked how the characters took moments out of the retelling to challenge the traditional text and call out historical inaccuracies and culturally insensitive terms.

Photo by Anthony Robling


Eddie Mann gave a standout performance in the role of Detective Fix. The actor commanded the stage with their impeccable comedic timing, and I found myself laughing out loud numerous times. Mann worked brilliantly alongside Benedito, who also did a great job with the comedy, shown through the moments of audience participation and improv. The improvisation in the show was certainly one of the highlights, adding an element of surprise to the performance. The actors also break the fourth wall, further allowing the audience to become a part of the show. These interactive elements kept us engaged and entertained throughout.

Another standout was the movement direction by Asha Jennings-Grant, which was incredibly inventive The cast was slick with their moves, the scene changes and utilised each and every prop to demonstrate this raucous journey across the globe.

Photo by Anthony Robling

With a unique take on a classic story, a talented cast, and great comedic moments, this production of ‘Around The World in 80 Days’ is sure to be a hit with audiences of all ages.

‘Around The World in 80 Days’ plays at Richmond Theatre until Saturday 20 May 2023!

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Wish You Were Dead – Richmond Theatre

🎭 Wish You Were Dead
📍 Richmond Theatre
đŸŽ« PR invite
⭐⭐⭐

Peter James’ best-selling novel, ‘Wish You Were Dead’ returns to the stage with a thrilling production and star-studded cast.

The story

Detective Superintendent Roy Grace and his wife, Cleo (George Rainsford and Giovanna Fletcher), head to France with their newborn son, for their first holiday together. Cleo hopes the holiday will finally be a chance for her and Roy to spend quality time, without the interruption of his demanding, crime-solving job. They are joined by Kaitlynn (Gemma Stroyan), the fiancee of Roy’s colleague Jack, who agrees to babysit Noah. 

As they arrive at their French chateau, which resembles more of a haunted house, the guests notice a strange atmosphere and suspicions arise. From flickering lights to no mobile signal to a knight in shining armour (yes, really). The sarcastic host, Madam L’Eveque (Rebecca McKinnis) appears to greet the guests, but her demeanour sparks even more doubt about their stay.

DS Roy and Cleo’s dream holiday quickly turns into a nightmare, as a dark past comes back to haunt them.

My thoughts

My first impressions were of Matthew Holt’s intricately designed set, which featured a split-level stage of the living room and bedroom. I loved the clever use of gauze that revealed the secret room, adding to the mystery. The stuffed animal heads and an obnoxiously large painting of The Crucifixion added to the haunting atmosphere and led up to what the show was going to entail.

The sinister music throughout the play certainly added to the suspense, as did the bursts of thunder and lightning however, these were played too loud and were not always necessary. 

Although it was revealed quickly, the twist was good. It made an appropriate ending to the first act, however, I couldn’t help but feel it veered into a farce – the audience’s laughter didn’t help either. Once we discovered the villains’ motivations, the second act featured several witty back-and-forth dialogues between the characters. Despite the brandishing of weapons, there was still a lack of tension and just an overall threat to the guests.

Clive Mantle’s villainous role as Curtis provided humour, with some comical lines/delivery. Whether this was intentional, I enjoyed their portrayal as the bitter, grief-stricken father, seeking revenge. Rainsford and Fletcher are convincing as a couple, and I enjoyed Rainsford’s strong performance as the determined detective. They had me fully engaged, particularly during those final scenes. 

While ‘Wish You Were Dead’ did feature a predictable plot, I still enjoyed this crime-thriller and can see why Peter James’ stage adaptions have been a success!

‘Wish You Were Dead’ is playing at Richmond Theatre until Saturday 22 April 2023.

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Someone of Significance – VAULT Festival

🎭 Someone of Significance
📍 VAULT Festival – Network Theatre
đŸŽ« PR invite
⭐⭐

Written by Amalia Kontesi and directed by Sam Tannenbaum, Someone of Significance explores whether love is enough for two people with nothing in common. Will structural barriers and personal beliefs keep them apart or is their connection strong enough to remain together?

The story


We meet Brad and Rosie (Simon Bass and Funlola Olufunwa) colleagues who work for a multinational banking corporation. They hail from different backgrounds, hold opposing views, and are believed to have nothing in common. Despite this, they soon begin an affair (Brad is married!) and fall in love.

As time goes by, their careers take different paths. Rosie turns to politics, holding strong views opposing gentrification. Brad disagrees, believing the new development will bring in opportunities for the community. We witness Rosie’s rise to prominence as a leftwing politician, running for president and continuing advocacy for workers’ rights. Despite Rosie and Brad’s differences in beliefs, they still share their love for one another and continue their secret relationship, hidden away in hotel rooms.

My thoughts

The story intrigued me; I was at least hoping for some in-depth discussion on politics, but what we had was quite a concise overview. Kontesi’s script veered towards ‘rom-com’ territory, and the character’s discussions surrounding societal issues, politics, and structural barriers, were never fully fleshed out.

I did enjoy Rosie and Brad’s debate on the impact of gentrification as both raised interesting arguments. It’s also a timely topic as gentrification is affecting many cities across the world. The script would have gained strength by delving further into these issues, and tying them into the character’s professional and personal opinions, especially as they came from different backgrounds. 

It’s hinted that Brad didn’t ‘have’ to work for his career in contrast to Rosie. As the play was only 60 minutes, there wasn’t enough time to get to know the characters and explore this, so I was left making assumptions. Olunfunwa and Bass gave their best efforts, but the chemistry between the actors was lacking. This made it quite difficult to believe in Rosie and Brad’s relationship and ultimately connect with the story.

The second half of the performance was stronger and included some humorous moments. I enjoyed the staging of the characters in one scene as they stood side by side, showing the contrast between their new lives. The set design is minimal, with two rail wardrobes on either side of the stage. Our characters underwent numerous outfit changes, as political sound bites played in the background. This went on for too long and interrupted the show’s pacing. I also didn’t see the necessity of the costume changes, for they didn’t add to the narrative.

Someone of Significance is a work in progress. Kontesi clearly has great ideas to share, though the execution needs improvements. The themes are strong, the characters have potential – these could be linked cleverly with the current political climate in the USA. Hopefully, over time, there will be a refocus on making this an engaging political-romance drama.

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Sleepova – Bush Theatre

🎭 Sleepova
📍 Bush Theatre
đŸŽ« PR invite
⭐⭐⭐⭐

Matilda FeyiáčŁayọ Ibini’s new play, Sleepova is an authentic, funny and moving piece of theatre. We follow 4 Black millennial girls as they gossip, joke, and quarrel during their sleepovers and navigate through their teenage years. Directed by Jade Lewis, Sleepova is a beautiful representation of Black sisterhood and a total joy to watch!

The story

The show begins in 2016, in East London, with four childhood friends celebrating Shan’s (Aliyah Odoffin) 16th birthday with their first-ever sleepover. Shan is vibrant, and full of enthusiasm, despite her long-term health condition. Then we have Elle, the incredibly devout Christian (Shayde Sinclair) and Rey (Amber Grappy), the cool and confidently queer friend. The quartet is complete with the exuberant and proud Yoruba,  Funmni (Bukky Bakray).

Spanning over two years, we witness the girl’s rocky transition from adolescence into adulthood. From prom nights, A-Levels, sexuality, and grief, they grapple with the idea of being friends forever as life doesn’t pan out quite how they had imagined


Photo by Helen Murray

My thoughts

Sleepova is heartwarming, honest and utterly hilarious. The show is a fun-filled bubble of nostalgia – Ibini perfectly encapsulates the experiences of teenagers.

I appreciated every pop cultural and online meme reference that was effortlessly woven into the script. The subtle set and lighting design were effective enough to establish the scenes and varying locations. 

The cast was simply fantastic in their roles. The natural chemistry between them made the scenes even more genuine- it felt like we were watching a real-life group of friends at a sleepover.

Photo by Helen Murray

Sinclair’s Elle is well-mannered and seemingly brainwashed by her religious parents. As Elle battles with her identity, I enjoyed her and Rey’s scene together. It was heartbreaking and the pair displayed such raw emotion. Bakray’s Funmi is captivating, and charismatic, showcasing impeccable comedic timing. I loved the Yoruba phrases Funmi would inject into their speech. Similarly, Odffin performs with wonderful enthusiasm. Despite the character’s chronic illness, this rarely dampens her spirit and she appears to be the glue keeping the girls together.

The second act is far more emotional and features a poignant finale. The characters go through different experiences but what remains the same is the abundant support. Even during their ups and downs, the girls’ loyalty and sisterhood make this play so special.

Photo by Helen Murray

Described as an ‘ode to black women’, Ibini has successfully crafted a relatable play, with honest representation that acknowledges many aspects people may face in life; long-term illness, family struggles, sexuality and grief.

With unique characters performed by a talented cast, Sleepova is a beautiful, modern coming-of-age story depicting teenage dreams and sisterhood. It’s playing at Bush Theatre until 8 April 2023.

All performances of Sleepova are in a relaxed environment. Audiences are free to respond how they like, free to laugh loudly and dance to the music. It makes the experience all the more worthwhile.

Bush Theatre continually stage authentic & diverse stories – it’s the representation needed on theatre stages. I am filled with joy whenever I visit the venue. Their accolades are so well deserved and I’m extremely excited for their future!