Tag: theatre review

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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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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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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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The Lavender Hill Mob – Richmond Theatre

🎭 The Lavender Hill Mob
📍 Richmond Theatre
🎫 PR invite
⭐⭐⭐⭐

Coined as one of the ‘greatest British comedy films’, The Lavender Hill Mob headed to Richmond Theatre for an all-new stage adaption.

Olivier-nominated playwright Phil Porter adapted the Ealing comedy classic, alongside Tony and Olivier-nominated director, Jeremy Sams.

The funny, fast-paced comedy tells the story of Henry Holland, an ordinary bank clerk who dreams of stealing the van of gold bullion he drives daily across London. Upon discovering that his new lodger is making Eiffel Tower paperweights out of lead, Henry devises a plan to make his dream a reality. It’s a golden opportunity for a crime of the century!

The show begins at a New Year’s Eve party in Rio, as party guests and staff prepare for the countdown. The guests are paid a visit from Farrow (Guy Burgess) a ‘film director’ and relish the opportunity to re-enact the infamous ‘Lavender Hill Heist’ for him.

Actor and comedian, Miles Jupp and Justin Edwards play Henry Holland and Pendlebury, the unsuspecting criminal duo. With Pendlebury’s skills in moulding Eiffel Tower and a comical ‘gang recruitment’, Holland’s plan to steal the gold is underway. Though the characters remain in Rio, their storytelling transports us to 1950s London, Dover, and parts of France.

Photo by Hugo Glendinning

The rest of the multitalented cast (Tessa Churchard, John Dougall, Victoria Blunt, Tim Sutton, and Aamira Challenger) were onstage for the entirety of the play, switching between various characters. The play may be a chaotic heist, with the cast constantly sprinting around the stage, but the staging and direction were executed so well that their moves appeared seamless.

Mark Henderson, the recipient of multiple Oliver Awards, did some incredible work with the lighting design. For instance, the cascading orange lights whenever the gold bullion appeared were genius as were the timing of the lights during significant moments. I admired Francis O’Connor’s simple staging and the use of props to accompany the story. Silver trays as steering wheels and palm trees to replicate the Eiffel Tower.

Photo by Hugo Glendinning

There were a few inside jokes that I was not familiar with as I had not watched the film. Act two was stronger; the comedy picked up and we were introduced to further multi-roleplaying. From French taxi drivers to school children to police officers – and a lot more silver-tray steering wheeled car chases! As a result, the play became fast-paced yet we never lost track of the story. Jupps and Edwards perform well as our criminal double act. The whole cast has an amazing stage presence, each shining in their roles. I enjoyed the delivery of the jokes and puns, particularly Sir Horace (Dougall) who had such natural humour.

My favourite scene was the amusing pursuit across London. As our delinquent duo race across the capital, the supporting characters hilariously recreate moments in history and reference iconic landmarks – one reference had the audience howling from laughter. In addition, the video projection with a moving map of London was a nice touch.

Guy Burgess (Farrow) and Miles Jupp (Henry Holland)
Photo by Hugo Glendinning

This stage play was strong in its delivery and interpretation, bringing the story to life. With intricate details, from the way the lighting shone on the cast to how the music aligned with the animated steps – I loved it!

The Lavender Hill Mob is a fun comedy play suitable for all ages and even those who may not be familiar with the original film. The cast performs flawlessly, with great comedic timing and a ton of puns!  

You can catch this play at Richmond Theatre until Saturday 19th November before it continues its tour! Tickets are available here.

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Ikaria – Old Red Lion Theatre

🎭 Ikaria
📍 Old Red Lion Theatre
🎫 PR invite
⭐⭐⭐⭐

Philippa Lawford’s new play, Ikaria, is a captivating and deeply moving portrayal of mental health. The play also depicts young love and finding salvation in others.

Simon (James Wilbraham), a third-year Classics student, returns to university having taken a year out. He meets a first-year English student, Mia (Amaia Naima Aguinaga), and the pair soon become an item. The couple attracts one another, despite their differences. Simon comes from a wealthy family and is privately educated, whereas Mia attended a state school and expressed not knowing her father. Mia ambitiously seeks work experience and begins working as an Editor for the university paper. Whilst Simon struggles to write a Dissertation proposal, missing numerous deadlines. Taking place entirely in Simon’s dorm room, I felt transported back to my university days as the set so accurately resembled student halls. 

Amaia Naima Aguinaga (Mia) and James Wilbraham (Simon)
Photo by Tristram Kenton

Aguinaga and Wilbraham deliver the most authentic performances. From amusing moments to tender moments, the dialogue is very natural! I enjoyed watching Simon and Mia’s relationship, performed with excellent chemistry from the cast.

My favourite scene was Simon telling Mia about the Greek island, Ikaria, where people live until 100 years old. As they embrace, envisioning their lives in this utopia, it felt so pure. The audience is fully immersed in the character’s relationship, especially as we see their highs and lows. Lawford’s writing is flawless, and there is the right balance of humour, which does not take away from the serious themes. 

As the semester goes on, Simon’s old habits creep in; an untidy room, avoiding emails and excessive Deliveroo orders. Ikaria is strong in its depiction of depression and the varying ways it can manifest in our everyday lives. The ways it can go unnoticed. The ways in which people may say they are fine but are experiencing so much pain.

James Wilbraham (Simon)
Photo by Tristram Kenton

Lawford’s direction is impressive, and they have shown an honest representation of men’s mental health. Shane Gill’s lighting also does well to showcase the shifting moods. I did note that some transitions could have been smoother to show the change of scene. 

Wilbraham’s performance is powerful, and they brilliantly play Simon, expressing anguish and guilt in scenes that are tragic to watch. I appreciated seeing how Aguinaga displayed a range of emotions in their role as Mia. Aguinaga was convincing as the bright-eyed and enthusiastic student to then being the concerned and compassionate partner. The scenes of silence spoke volumes as we witnessed Simon’s heart-breaking ordeal.

I was grateful for the appropriate gesture from the theatre, as they had placed notes on the seats, with a list of resources for those affected by the themes explored in the play.

With a great cast, fascinating writing, and direction, Ikaria is an important play. Its portrayal of mental health is profound and unlike anything I have seen. Phillipa Lawford has made a raw, beautiful piece of theatre – I cannot wait for what they do next!

Ikaria is showing at Old Red Lion Theatre until 19th November – you can get tickets here.

If you are affected by the themes in this play, concerned about your health or a loved one, here is some information you may find useful:

Campaign Against Living Miserably (CALM)
📞 0800 58 58 58
CALM website

Papyrus – for people under 35
📞 0800 068 41 41
📱 Text 07860 039967
📧 pat@papyrus-uk.org
Papyrus website

Samartians
📞 116 123
📱 Text SHOUT to 852558
📧 jo@samaritans.org
Samaritans website

📞 NHS ‘111‘

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Blues for an Alabama Sky – National Theatre

🎭 Blues for an Alabama Sky
📍 National Theatre
🎟 PR invite
⭐⭐⭐⭐

I took my first-ever visit to National Theatre to watch Blues for an Alabama Sky.

The 1995 play, written by Pearl Cleage, headed to Southbank, for a startling revival directed by Lynette Linton.

Set in an all-Black neighbourhood in 1930s Harlem, New York, the story follows a group of friends battling to keep their artistic dreams alive amidst the beginning of the Great Depression.

We meet Angel (Samira Wiley), a struggling Blues singer who recently lost her job and boyfriend. Angel shares an apartment with her gay best friend, Guy (Giles Terera), a fashion designer who dreams of being in Paris, designing outfits for the famous Josephine Baker. Across the hall is the shy and awkward Delia (Ronke Adékoluẹjo), who aspires to open a family planning clinic in Harlem. The quartet are complete with Sam (Sule Rimi), a charming, outgoing doctor, who delivers babies during the day, and then parties all night. 

Sam (Sule Rimi) and Angel (Samira Wiley)
Photo by Marc Brenner

The play takes place entirely in the apartment building, with the Harlem Renaissance serving as the backdrop. It is a time when there was economic uncertainty, hardship and dwindling opportunity. Despite this, the characters strive for freedom.

The friends frequently come together, hanging out in Angel and Guy’s apartment, reciting Langston Hughes’ poetry, and drinking champagne. This is disrupted when Angel falls for Leland Cunningham (Osy Ikhile), a God-fearing man from Alabama. Their romance is adorable, to begin with, but when Leland’s conservative views are revealed, it causes strain on Angel’s friendships and her own feelings.

Angel (Samira Wiley) and Leland (Osy Ikhile)
Photo by Marc Brenner

Lynette Linton has created a beautiful production. I admired the transitions between scenes as the stage revolved. Frankie Bradshaw’s set and costume design were stunning, transporting us back into 1930s New York.

The talented cast was incredible, and each character shone in their own way. A complex group of friends, I loved all their interactions. Samira Wiley’s performance as Angel was a brilliant mix of sass, humour, and a dash of self-centeredness. Wiley and Terera displayed the perfect friendship duo. The matching energy, flamboyancy, wit, and vocals were a joy to watch and a highlight of the performance!

Adékoluẹjo’s performance was another standout, as she portrayed Delia in a timid manner, with the occasional awkward outbursts. It certainly provided many of the humorous moments of the show. Delia and Sam’s scenes were endearing, and I very much enjoyed the dialogue in their scenes and their blossoming relationship. Their moments felt poignant; Adékoluẹjo and Rimi’s onstage chemistry was undeniable.

Delia (Ronke Adékoluẹjo) and Guy (Giles Terera)
Photo by Marc Brenner

Act One was far more slow-paced; there was a lot of dialogue with little action to match. The scenes picked up once the harmonic ensemble joined the stage, led by Wiley’s strong vocals. From then, the rest of the show was captivating, with some scenes causing audible gasps from the audience. 

Cleage’s writing includes heavy but necessary topics. It is a timely play, which Sule Rimi acknowledged in our interview during the rehearsals. Themes such as reproductive freedom, homosexuality, and racism, are so relevant and vital in our current climate – I appreciated how sensitively the production shared this.

Pearl Cleage has written an impactful piece of theatre with honest characters, resonant in our current society. Even with a bittersweet ending, Blues for an Alabama Sky is a story that reflects reality, and I am thankful for this revival. 

You can catch Blues for an Alabama Sky until 5th November 2022!