Tag: theatre

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REVIEW: Talking People – Underbelly Boulevard Soho

🎭 Talking People
📍Underbelly Boulevard Soho
🎟️ Gifted
⭐⭐⭐⭐⭐

I was invited to Talking People, an improvisational show directed by Richard Vincent and produced by Elina Saleh. The scenarios focus on relationship dynamics, created through audience participation. Each show offers a unique experience, as no performance is the same!

The story

We are introduced to 5 characters: Tony, Ria, Carly, and Zoe (played by Will Merrick, Aaliyah Odoffin, Elisha Applebaum, and Amelia Clarkson), who have been friends since university. Now, in their late twenties, their friendship dynamic is disrupted by Tony’s new relationship with John (Alexander Theo). Tony’s friends clearly dislike John and have strong opinions about the relationship, including intimate details. Meanwhile, John believes the group are using Tony for his money. It’s a funny and surprising evening exploring the dynamics of friendships and how people are perceived.

My thoughts

In the first act, Richard remains on stage, asking the characters probing questions. Richard (and the audience) control who hears what, meaning some characters are unaware of the conversations happening.

Richard has a bag of prompts and playing cards that audience members can draw at random. The cards contain key details that determine the circumstances of the relationships, such as ‘who loves their partner more?’. This was a fantastic storytelling tool that allowed the actors to showcase their impressive improvisation skills. They were quick to craft believable backstories and develop their characters. With improv, it’s not just the quick thinking, but also the ability to bounce off one another, using all the small details to create the drama, which we saw during the second act.

I attended a Talking People show back in the summer and was amazed by the concept. The show incorporates audience participation in a way we don’t always see, and it works brilliantly! The floor is open for the audience to ask the characters questions directly, testing the actors’ improvisational skills. These ranged from playful (who is the weak link in the friendship?) to deeper questions (how much do you love your partner?). The overall responses were great; we were cheering, laughing, and snapping our fingers.

The second act is entirely improvised. The scene is Zoe’s birthday, as she hosts pre-drinks before the group heads out for a fancy sushi dinner. Odoffin, Applebaum and Clarkson are natural performers, portraying a typical friendship group. As there’s no structure in the second act, it can be easy for one or two characters to dominate the story. In this show, John became the central character. Theo’s portrayal of John was a standout. He had such confidence and wonderful comic timing that it genuinely felt as if it were scripted at times. Lines like, “I’m seen by the right people”, and the proud declaration about buying his own Arsenal season ticket had us all full-on cheering.

Talking People provides the collective joy and connection that comes from watching a totally unique show. The focus on relationships is an interesting concept; it felt like we were all agony aunts, analysing every character’s decision, confession, even their movements! Conversations continued during the interval and even after the show ended (Justice for John was my tagline of the evening).

What makes Talking People special is that it’s shaped by everyone in the room! It is exactly the kind of connection we need right now, which is what producer, Elina, emphasised at the end of the show, thanking the audience for their support.

I am manifesting even more Talking People shows – perhaps a monthly residency! 😉

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REVIEW: Wendy & Peter Pan – Barbican

🎭 Wendy & Peter Pan
📍Barbican Theatre
🎟️ Gifted
⭐⭐⭐⭐

Ella Hickson’s reimagining of J.M Barrie’s classic, Peter Pan, places Wendy at the core of the story, exploring her journey in Neverland. Originally produced by Bunkamura Theatre and Leeds Playhouse, Wendy & Peter Pan has enchanted its way around the globe – from Japan to the UK!

This adventurous production transforms a familiar tale into a coming-of-age story, exploring family, loss, navigating emotions and what it means to grow up. Having only watched the modern Peter Pan film, this adaptation was a total treat!

Colin Richmond’s set design is beautifully detailed and feels quite grand, making the most of the Barbican stage. The production certainly captures the magic of Neverland, with its enchanting design elements. There were video projections and impressive aerial stunts, with characters flying in the air. I also loved the revolving ‘Jolly Roger’ ship, where most of the action took place. The great thing about the Barbican theatre is that most seats have a good view of the stage, even from the back of the stalls! So it didn’t feel like we missed any of the action.

Photo by Manuel Harlan

At over two and a half hours, it seemed like a lengthy watch for younger audiences, but Hickson’s witty script and pacy direction kept us entertained. The humour is sharp and playful, with the Lost Boys stealing scenes through their perfect comic timing, especially Curly, Slightly, and Tootles (Tom Xander, Max Lauder and Kyle Ndukuba). One particularly sassy Lost Boy had the audience laughing as he quoted famous movie lines (‘You can take my life, but never my freedom! and ‘No one puts Baby in the corner!’). I initially struggled to connect with Tinkerbell. This interpretation was more feisty than the usual Tinkerbell we’ve seen in films.

Lucy Hind’s choreography for the Shadows was another standout; the contemporary routines were precise and very expressive, adding to the wonderful storytelling. Daniel Krikler shines as Peter, capturing the character’s boyish charisma, while Hannah Saxby was brilliant as Wendy, full of warmth and determination. Her brothers, John, Michael, and Tom, offer a new angle to the story, especially as we learn the origins of the Lost Boys.

Photo by Manuel Harlan

Toby Stephens is fantastic as the witty yet villainous Hook, alongside his amusing sidekick, Smee (performed by Scott Karim). Hook might be the villain, but he asked some valid questions; “Why does Peter need a mother but never have to grow up?”. This tied into the production’s themes on the different expectations for girls and boys. Why can the boys cling onto childhood, but the girls are forced to ‘grow up’? There’s a sequence in the show as Wendy reflects on this, and it’s like a lightbulb moment for her and the audience.

Photo by Manuel Harlan

Hickson’s modernised dialogue that featured slang and references to Snapchat amused the younger audience members, as well as the audience participation, which kept the energy high. It was refreshing to see a show that was accessible for all ages, as it explores difficult issues such as grief and dealing with our emotions. The second half sees strong character development and relationships between the characters, making this more than just a ‘retelling’. This production is a compelling reflection on growing up, loss, and the importance of finding joy in even the smallest of things. Beneath all the fun and fantasy lies a beautiful message that is sure to resonate with many.

With imaginative staging, playful humour, and wonderful performances, Wendy & Peter Pan captures the magic of a classic while offering a fresh perspective that’s both moving and full of joy!

Wendy & Peter Pan plays at Barbican until 22 November. You can book tickets here

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INTERVIEW: Not Your Superwoman – Emma Dennis-Edwards, Letitia Wright and Golda Rosheuvel

Emma Dennis-Edwards’ powerful new play, Not Your Superwoman, heads to Bush Theatre for its world premiere. Directed by Lynette Linton, the play explores the emotional aftermath of a family matriarch’s death. Acclaimed actors, Golda Rosheuvel and Letitia Wright, portray mother and daughter, Joyce and Erica, who find themselves grappling with uncertainty and inherited patterns. 

I had the wonderful opportunity to attend the rehearsals and discover more about the play. I met with playwright Emma Dennis-Edwards, Golda Rosheuvel and Letitia Wright to talk about the play, inspirations and why they believe people should see the show!

What inspired you to create a play about intergenerational dynamics?

Emma: When Lynette and I were talking about doing something around Black women and mental health, I was thinking, how many of my Black women friends are seeing therapists and unlocking some of the ancestral nature of the trauma that we’re carrying as Black women. A lot of that comes from those maternal relationships. I really wanted to do something that looks at that dynamic.

I think quite a lot of the Black British cannon, rightfully so, focuses on fatherhood and I was like ‘let’s really talk about the mums, about those relationships. That’s where the intergenerational idea of creating this play came from.’

Emma Dennis-Edwards (photo by Tyler Fyose)

Did you face any challenges when writing such an intimate, emotionally charged story?

Emma: Yeah. The Caribbean in me is like, ‘why you chatting my business?’. This is the most personal piece of work that I’ve done in my career. Also, there’s a responsibility – because in that room with Golda, Letitia and Lynette, we’ve shared and brought quite a lot. There’s a level of responsibility because I’m holding their stuff as well within this play.

I was talking to our dramaturg, and felt I put too much of myself [in the play]. But it’s fine – it’s a shared story, it’s our story, a story for us, by us.

You’re known for powerful, screen performances. What excited you about returning to the stage?

Golda: What it speaks to. The people involved. I was looking for something I was interested in exploring – mental health, trauma, especially in the guise of Black women. I’ve been sent a lot of plays, but they didn’t speak to me.

What’s important in this project is the people involved in it. Talking and engaging with Lynette Linton’s excitement and enthusiasm for telling Black stories is something that drew me to this play, and this building and this project. I hadn’t seen one single word on the page, but through discussions and joint understanding of storytelling, and the need for Black stories to be put on stage, I was in, 100%.

Golda Rosheuvel and Letitia Wright (photo by Tyler Fyose)

Letitia: Film is good, you have maybe 2 weeks, a month to prep and learn your character. In theatre, it’s hard. You need to know the full play, all the beats, the moments, props. It’s a completely different ball game. I love both, but the difference is what’s required of you.

Theatre is like, you’re right there, I can’t hide, you’re going to see everything, feel everything, hear everything. It’s exciting! Once the stage lights go green, you’re just on. Anything can happen, you want the best to happen – you can laugh at different things and moments. The objective is always the same – whether it’s film, or TV, or theatre – is just to tell the truth. To leave something of purpose in our work.

Letitia on how she relates to the show and character, Erica:

Letitia: I wanted to do something about Black women, mental health and traumas. A play that we can all relate to. Especially the whole concept of not being a superwoman. That whole concept that plagues us, we wanted to dissect it and see what that looks like. I relate with the characters and the themes a lot.

For the first time, there is a play where I don’t have to imagine myself in a situation. Maybe there are a few elements I haven’t gone through, I won’t share, but you will discover it when you come to see the play. but everything else in the play I’ve lived it, I’ve experienced it, I know what it feels like. I relate to it a lot. I hope that other women relate to it too and feel healed once they’ve seen it.

Lynette Linton and Golda Rosheuvel (photo by Tyler Fyose)

What would you like audience to take away from the show?

Emma: Healing and healing parts of yourself. I mean, it’s one of the harshest lessons a Black woman you come to. I’ve got to really find that peace, that healing, all that stuff, myself in a world that is not set up for us to do that. I hope this play offers that.

Before we wrapped up, I asked some quick-fire questions:

Describe the show in 3 words

Emma: Funny, Black, Caribbean!
Golda: Buzzy, emotional and epic!
Letitia: Passionate, healing, hilarious!

What was the first show that made you fall in love with theatre?

Golda: Probably The Nativity in church!

Emma: Gone Too Far – Bola Agbaje

Letitia: Sucker Punch – Roy Williams

Lastly, why should people come and watch ‘Not Your Superwoman’?

Golda: Because it’s a good night out. And you’re going to learn a lot of stuff about yourself and the world.

Not Your Superwoman plays at Bush Theatre from 8 September – 1 November 2025.

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REVIEW: NewsRevue – Canal Cafe Theatre

 🎭 NewsRevue
📍 Canal Cafe Theatre
🎟️ Gifted
⭐️⭐️⭐️⭐️⭐️

Last week, I was invited to watch NewsRevue, one of the longest-running live comedy shows. It’s been on for 45 years, and this was my first visit!

The fast-paced show features a selection of sketches and parody songs, all revolving around current affairs. Under the fun and slick direction of Mo Bangura, this talented & enthusiastic cast of four – Badrika Baluch, Alexander Christofi, Karishma Friers & Nico Koch – were absolutely brilliant. They delivered an endless amount of energy, quick wit and wonderful chemistry. It felt like we were watching seasoned comedy performers. Imagine my surprise to learn some of them are recent graduates!!

The show mainly focuses on satire; most jokes may require you to be up to date with the news, chronically online or a reality TV watcher like myself (spot on Love Island sketches btw!), the show can still be enjoyed by everyone. I have to say the political gags land perfectly. They were sharp and tongue in cheek; some jokes sway so close to the truth, that you’ll laugh and nod in recognition. The jokes are plenty, and so fast you may even miss them. There was a scarily accurate Trump impression and a wonderfully weird (and cheeky) interpretation of Paddington Bear, which left us giggling.

Along with their fantastic comedy skills, the musical numbers really stood out to me. Accompanied by musical director Rohan Godfrey, the cast impresses with their strong vocals and comedic timing. I enjoyed this element of the show, especially for its creativity. Corbyn singing about his new party, a parody about doomscrolling, performed to Justin Timberlake’s What Goes Around (whose idea was it to get the ukulele out ). And my absolute highlight? The Hamilton medley! I was already won over, but that medley may be the reason I return to this incredible show.

What makes NewsRevue so unique is that the material is updated every week, with new sketches and jokes, about whatever’s happening in the world. Bangura’s direction makes great use of the small stage, with slick transitions and minimal props. From start to finish, I was locked in – so much so that when the show ended, I turned to the people next to me and asked, “Is there a second act?” I truly wished it had gone on for another hour!

I don’t tend to talk about the venues in my reviews, but I’d love to mention how charming the Canal Cafe Theatre was. Opposite Little Venice, the theatre and pub downstairs, was very cosy and welcoming. Friendly staff, great vibes, and I felt so comfortable attending as a solo audience member.

It was refreshing to see such a diverse cast and creative team, bringing their talents to such a renwnwed comedy show. Karishma, Nico, Badrika and Alexander were not only hilarious individually but together, had fantastic chemistry. I’m proud to have seen them for my first NewsRevue visit, and it won’t be the last!

The amazing thing is that the show is updated every week, with new sketches and jokes. If you fancy an evening of laughter, with sharp comedy and a fun cast, check out NewsRevue!
It’s playing at Canal Cafe Theatre until 30 August.

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REVIEW: Every Brilliant Thing – sohoplace

 TW: Mention of mental health, depression, and suicide. 

 Written by Duncan MacMillan and Jonny Donahue, the play tells the story of a child who shares their experience growing up with a mother who suffers from depression. We learn that the mother has attempted to take her own life, and so the child comes up with an idea – create a list of everything worth living for.

Things like ice cream, water fights & staying up late, it becomes a long list of various brilliant things, no matter how big or small! The show moves through the child’s youth, into adulthood, where we notice that things become more mature and emotional. I remember when ‘falling in love’ received a big ‘awwww’ from our audience. 

The subject matter is tough but important. It highlights how we talk about depression and suicide, and the reasons to keep going. It’s a beautiful reminder that joy can be found in even the simple moments. What makes Every Brilliant Thing unique is the audience. They’re a key part of the show, as they are chosen to read out numbers from the list or even joining the performers on stage to play characters in the story.

With five performers performing over the next few months…Comedy icon, Lenny Henry, took to the stage on the evening I went! Lenny is effortlessly charming and so naturally funny. His performance felt authentic, as if we were hearing his personal story, a testament to his engaging stage presence! He has an aura that draws us all in. It’s humorous, and heartfelt; we laugh and smile with him as he performs this interactive play.

At first, I was unsure about audience participation but it works beautifully. The show acknowledges the sensitive themes and allows room for empathy. We are encouraged to imagine the experience through the perspective of a child, and also end the stigma around talking about mental health.

Despite the larger scale venue, the show felt quite intimate I felt a really sweet sense of community & support. There were raucous applauses for the brave audience members who improvised on stage alongside Lenny – I loved it! And what’s special about the play is that every performance will be different!

I left reflecting on my own brilliant things. I actually used to keep a gratitude journal, and while I don’t have it at the moment (inspired to start one again!), I do try to ask my close ones, “What are you grateful for this week?”

Every Brilliant Thing plays at sohoplace until 8 November!

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REVIEW: Why A Black Woman Will Never Be Prime Minister – Camden People’s Theatre

🎭Why A Black Woman Will Never Be Prime Minister
📍Camden People’s Theatre
🎟️PR invite
⭐⭐⭐⭐⭐

Zakiyah Deen’s debut play delves into intersectionality, British politics, and Black women’s maternal health, addressing uncomfortable truths through satire and spoken word. It’s timely, important and a brilliant production!

The story

The play follows nineteen-year-old Shanice Laybá (Zakiyyah Deen) as she navigates the tricky and treacherous worlds of university and politics. Shanice, passionate about poetry, reading and determined to do well, begins her first year at university and lands an internship role as an Executive Assistant to high-profile politician, John Gainsborough (Ryan Whittle). Over nine months, we watch Shanice’s journey as she juggles her studies, her internship, and her health. The show brilliantly captures the struggles and challenges Black women face, particularly within healthcare and the political climate. As Shanice provides much of the unacknowledged labour in John’s office and his community engagements, the question echoes: Why can’t a Black woman be Prime Minister?

Photo by Ali Wright

My thoughts

Written and performed by Zakiyyah Deen, their debut play is packed with satire, spoken word and vivid storytelling that engages us right from the beginning. Deen’s writing is both powerful and rich in poetic cadence. The words flow effortlessly, direct and unflinching as it confronts uncomfortable truths and the harrowing statistics of Black maternal healthcare.

Kelechi Okafor’s direction strikes the perfect balance between humour and serious tones, ensuring the show never loses its rhythm. It’s a testament to Zakiyyah Deen’s versatile performance that the play manages to move so seamlessly between laugh-out-loud moments and heavy, thought-provoking commentary. Deen delivers a strong performance; I was so impressed with how they commanded the stage, embodying a range of characters with sharp wit and physical comedy. Deen sustains the audience’s attention throughout the entire production, with energy and precision.

Jahmiko Marshall’s atmospheric lighting design heightens the intensity of key moments, especially during Shanice’s monologues as dims to reflect her growing inner turmoil. I also loved the lighting cues during the hilariously accurate Question Time segment, which had the audience in stitches.

Photo by Ali Wright

Whittle’s portrayal of John, the bumbling politician, is an uncanny resemblance to a former prime minister, evoking plenty of laughs from the audience. Having worked in local government myself, I couldn’t help but giggle at the scenes where John attempts to engage with the community in an awkward, slightly out-of-touch manner. The scenes with John and Shanice are often where the satire sharpens; those uncomfortable microaggressions and stereotypes make the audience sigh in recognition.

Throughout the show, text projected onto the wall answers the title question, reminding us why society might believe a Black woman could never lead as Prime Minister. These words serve as a subtle transition between scenes, guiding the story while providing critical context for Shanice’s experiences.  Deen’s play articulates themes I haven’t seen in on a theatre stage before. It feels authentic, insightful and provokes essential discussion.

Photo by Ali Wright

Why A Black Woman Will Never Be Prime Minister explores intersectionality – specifically how Black women experience discrimination in the political and healthcare systems. Through Shanice’s journey, the audience sees the layered racial and gender biases she faces, which mirrors the harsh realities of society today. I’m so thankful to have witnessed a production so challenging and moving. Zakiyyah Deen has crafted a powerful piece that doesn’t just entertain—it educates and enlightens!

The show is playing at Camden People’s Theatre until 9 November!

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The Stage Debut Awards 2024

On Sunday 29 September 2024, I attended The Stage Debut Awards. The Debut Awards highlight breakthrough actors, writers, directors, designers, composers/lyricists across 8 categories.

I had the amazing opportunity to meet the award nominees, guest performers, and hosts. I loved speaking with them, learning about their journey & their excitement to be part of this joyous ceremony!

Here are my interviews from the evening:

Joshua Ginsberg – Nominee for Best Performer in a Musical for ‘Cable Street‘

How does it feel to be nominated?

Joshua: It’s an honour. I’m so proud of this show and to be a part of it. I’m very happy to be here.

Would you mind telling us about Cable Street?

Joshua: It’s set in 1936 and is the story of three different communities. A time when Oswald Moseley’s British Union Fascists were on the rise. There was a battle on Cable Street to blockade the march. It’s a story of communities coming together to rise up and stand for what’s right.

Any advice for young, aspiring performers trying to make it into Musical Theatre?

Joshua: Just be patient and focus on your craft. Keep developing your skills. There can be a lot of rejection, you’ve just got to persevere.

Francesca Amewudah-Rivers – Nominee for Best West End Debut for ‘Romeo + Juliet’

How does it feel to be nominated?

Francesca: It feels great – I am very humbled to be in a room with so many amazing people who I’ve looked up to for the longest time. Especially now to be able to celebrate. It was a tough old job, and I’m grateful for the opportunity to be like, “Yeah, I did that!” We did that – the community. It’s a win for all of us! It was all of us that got me through this. I couldn’t have done this without the community support. My fellow black creative communities. It’s amazing, I’m celebrating for all of us.

Any advice for aspiring creatives, particularly Black creatives?

Francesca: Make your own work. ‘Kola Nut’ (at Bush Theatre) was an experiment with West African storytelling and that was the beauty of that show. We were bringing our creative flexes into the space. Keep on working on your own thing, your own craft. Connect with your culture. That is what is going to carry you through. That is the secret ingredient! (laughs) That’s the sauce! It’s important. You’re not alone, it’s spiritual, it’s ancestral. We’re all behind you. 

Daniel Bailey – Winner for Best Creative West End debut for ‘Red Pitch’

How does it feel to win ‘Best Creative West End debut’?

Daniel: It feels good. It’s good to be recognised for the work you do. And it’s about recognising all those that contributed to the show and made the show what it was.

How did it feel moving ‘Red Pitch’ from Bush Theatre to the West End

Daniel: I felt it needed the space to grow. I will always love it at the Bush, but I wanted us to be able to reach new audiences. It still felt like it kept its authenticity. It still kept its south London swag. It was good to come up in the West End and have us, unapologetically Black. Unapologetically from the ends in West End

Any advice for aspiring directors/creatives?

Daniel: Your unique selling point is you. There’s no one else that can be you, better than you. And that also applies to the work that you make. Bring yourself to it as much as you can. Don’t hide that part of yourself.

Azuka Oforka – Winner for Best Writer for ‘The Women of Llanrumney’

Congratulations! How does it feel to have won ‘Best Writer’?

Azuka: To win ‘Best Writer’, for your first play – I’d say it’s a dream come true. But I honestly didn’t dream of this. Just to be commissioned to write a story that you’re passionate about, is a dream come true.

Any advice for aspiring writers?

Azuka: Finish your plays. Consistency is really important. I’m 42 – and I made my debut at 42 years old. If I was consistent, I might have had an earlier debut (laughs). Finish the work, share the work, and hopefully you get feedback. Feedback helps you grow and become a better writer.

And how are you going to celebrate?

Azuka: I only sipped slowly on a glass of bubbly earlier, because I was nervous. Now, I’m going to sip quicker! (laughs)

The Winners in Full:

Best Performer in a Play (Sponsored by Theatrical Rights Worldwide):
● Ellie-May Sheridan for London Tide at National Theatre, London
● Louis McCartney for Stranger Things: The First Shadow at Phoenix Theatre, London

Best Performer in a Musical (Sponsored by Michael Harrison Entertainment):
● Jeevan Braich for Starlight Express at Troubadour Wembley Park Theatre, London
● Grace Hodgett Young for Sunset Boulevard at Savoy Theatre, London

Best Director (Sponsored by Arts Council England):
● Sophie Drake for The Bleeding Tree at the Southwark Playhouse Borough, London

Best Designer (Sponsored by Preevue):
● Nathan Amzi and Joe Ransom (video) for Sunset Boulevard at Savoy Theatre,
London

Best Writer (Sponsored by Sonia Friedman Productions):
● Sam Grabiner for Boys on the Verge of Tears at Soho Theatre, London
● Azuka Oforka for The Women of Llanrumney at Sherman Theatre, Cardiff

Best Composer, Lyricist or Book Writer (Sponsored by Crossroads Live):
● Jack Godfrey for 42 Balloons at The Lowry, Manchester

Best West End Debut Performer (Sponsored by Noël Coward Foundation):
● Jack Wolfe for Next to Normal at Wyndham’s Theatre, London

Best Creative West End Debut (Sponsored by Trafalgar Entertainment):
● Daniel Bailey (director) for Red Pitch at @sohoplace, London

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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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NEWS: THE STAGE DEBUT AWARDS – Who will be the breakthrough stars of 2024? Submissions are now OPEN!

The Stage Debut Awards, the only awards devoted solely to recognising breakthrough theatre talent both on and off stage, today announces that submissions for 2024 are now officially open. The live ceremony will be held on Sunday, September 29, and promises to be an unforgettable night celebrating the outstanding achievements of upcoming performers and creatives who have made their professional debuts on stages across the UK over the past 12 months.

This much-anticipated annual fixture in the awards calendar will be hosted again at 8 Northumberland Avenue, London. On the night, a mix of the industry’s freshest talent and a starry who’s who of established names will be entertained by Theatreland’s most exciting artists, performing musical numbers up close in this intimate space. Tickets will go on sale soon. 

Newly rebranded ATG Entertainment returns as the headline sponsor. Trafalgar Entertainment reaffirms its sponsorship for the Best West End Creative category, Crossroads Live for Best Composer, Lyricist or Book Writer and Sonia Friedman Productions for Best Writer. This year, we welcome the Noël Coward Foundation and Michael Harrison Entertainment to The Stage Debut Awards’ esteemed stable of sponsors with their support for the Best West End Debut Performer and Best Performer in a Musical respectively. 

The eight eligible categories championing performers, directors, designers, writers, composers and lyricists are Best Performer in a Play; Best Performer in a Musical; Best Director; Best Writer; Best Designer; Best Composer, Lyricist or Book Writer and Best West End Creative Debut. The winner of the Best West End Debut Performer is the only category to be determined by a public vote. Last year, theatre audiences picked former Strictly Come Dancing’s breakout star Rose Ayling-Ellis as the winner for her standout debut performance in As You Like It at @sohoplace. The star has recently announced landing a major upcoming BBC television role. 

Anyone who has made their professional debut between July 18, 2023 and July 17, 2024 will be eligible.Submissions can be made HERE and entries will close on the June 30. The shortlist of nominees will be announced in August.

Photo by David Monteith-Hodge.

Ted Stimpson, Group CEO of ATG Entertainment said: “We are delighted to be supporting British theatre’s emerging talent through The Stage Debut Awards for the third year. At ATG Entertainment, we profoundly appreciate that we must nurture the next generation of talent that will bring exciting and groundbreaking ideas and voices to our audiences. We look forward to being part of an exceptional night celebrating the awesome talent at these awards in September.”

The Stage Debut Awards launched in 2017 and has proven to be a career defining launchpad with recipients of these prestigious awards enjoying continued success across stage and screen. Last year’s winners included Rob Madge for My Son’s a Queer, (But What Can You Do?) at Garrick Theatre and Ambassadors Theatre, Isobel Thom for their leading role in I, Joan at Shakespeare’s Globe, Michael R Jackson for composing A Strange Loop at the Barbican Theatre and Tingying Dong for her sound design on The Crucible, Gielgud and National Theatre. A further roll call of notable award winners from previous years include Shan Ako (Hamilton), Spitlip (Operation Mincemeat), Tyrell Williams (Red Pitch), Sam Tutty (Dear Evan Hansen), Miriam-Teak Lee (& Juliet), Bush Theatre artistic director Lynette Linton (Sweat) and composers Femi Temowo (Death of a Salesman) and Dan Gillespie Sells (Everybody’s Talking About Jamie). 

For details on eligibility and the judging process see The Stage Debut Awards website: HERE

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REVIEW: Red Pitch – @sohoplace

🎭 Red Pitch
📍@sohoplace
🎟️ PR invite
⭐⭐⭐⭐⭐

Tyrell Williams’ powerful play returns to Bush Theatre, and explores friendship, change and the impact of gentrification.

The story

We meet Bilal, Omz and Joey (Kedar Williams Stirling, Francis Lovehall and Emeka Sesay) – 3 Black teenagers and aspiring footballers who hang out on Reedbury estate in South London. The trio frequently play football on ‘Red Pitch’, practicing their skills for when they make it professionally. They banter, bicker, talk about girls and recollect their memories on the estate. Throughout the play, the boys prepare for the demolition of the estate and their impending relocation from ‘ends’. 

As the play unfolds, we discover Bilal, Omz and Joey’s aspirations, their family life, and the pressure and expectations held upon them. The regeneration of their estate has a profound impact and the show cleverly explores the disadvantages and potential benefits of this. This powerful story is about friendship, community, our dreams and change.

Photo by Helen Murray

My thoughts

As soon as we enter the space, we are immersed into Bilal, Omz and Joey’s world. The actors arrive on stage, performing kick-ups, and chatting with the crowd – some audience members even joined them on stage!

Having watched the show at the Bush Theatre, it was amazing to see the elevation of the production in terms of the creative design. We feel like we are directly on the estate, with distant sounds of destruction, rattling from the scaffolding, and protests from the residents – all while the boys talk and play football. Khalil Madovi’s sound design is such a subtle yet significant way to showcase the impending changes.  Amelia Jane Hankin’s football-inspired set design transports us to Red Pitch, with the fenced area and goal markings on the floor. This is supported by incredible lighting from Ali Hunter. During the dream-like sequences, the theatre is lit up like a stadium, where the characters envision scoring goals as professional footballers. It’s a literal snapshot of their aspirations, with the flashing lights, cameras, and encores from the crowd – it felt electric!

Photo by Helen Murray

While we may assume football is the focus, ‘Red Pitch’ covers various topics such as friendship, ambitions, and gentrification. Williams has created an authentic piece of theatre, highlighting a relevant topic in our society, that is rarely seen on stage. Inspired by Williams’ own experiences growing up, the story takes a personal approach as we look at the regeneration through the lens of the characters. Bilal, Omz and Joey have been friends for years and the chemistry between the cast makes this even more believable. All three are fantastic in their roles; they bounce off one another, especially during the comical moments (which were plenty!) and a brilliant dance sequence – it’s a joy to watch! Their portrayal as teenagers was spot on too, and I enjoyed the raw emotion they brought to the characters.

With movement choreographed by Gabrielle Nimo, the cast maintains high energy and an impressive display of stamina and football skills. Under Daniel Bailey’s direction, I enjoyed how the show struck the perfect balance between comedy and sincere moments. It was also interesting to hear the character’s varying views about the regeneration of Reedbury Estate. Omz is hopeful the change will be good for his elderly grandad’s access needs, while Joey appears frustrated that the local Morley’s has been replaced with a coffee shop. The show serves a reminder of the social and economic impact of London’s changing landscape.

Photo by Helen Murray

The storytelling is unique, engaging and a great representation of what it means to have a sanctuary and a shared space. The tapping in and out of the pitch was a genius move, highlighting the bond and what Red Pitch means to Omz, Bilal and Joey. 

The one-act play takes us on an emotional journey as we discover the boy’s family life and the pressures they face. The chemistry between the cast was so palpable that it felt tough watching the characters argue and fight. Kev McCurdy directs one of the most intense and realistic fight scenes I’ve ever seen, as the boys scrap on the pitch. In the quieter, emotional moments, particularly in the final scenes, we see just how much the boys mean to one another. It’s a beautiful, and authentic display of friendship.

You can tell a lot of heart has gone into making this production and I appreciate having stories like this in theatre! With a talented cast and creative team, Red Pitch is funny, thought-provoking, empathetic and refreshing story for the West End. I highly recommend going to see this show!

Red Pitch plays at @sohoplace until 4 May 2024!