REVIEW: Shakespeare in the Squares

Rating: 4 out of 5.

Leafy and full of charm, the squares of London are hosting the perfect night out for Shakespeare lovers.

Shakespeare in the Squares returns after a two year hiatus with a series of enchanting open air performances of The Tempest.

Directed by Sioned Jones, the classic Shakespearian saga is regarded as one of the playwright’s last works, written c.1611.

The play explores a multitude of themes including tragedy, comedy, magic, revenge, power and forgiveness. To a large extent, it is often regarded as a tragi-comedy.

The action focuses on a sorcerer, Prospero, and his daughter, Miranda, who have lived on a remote island for several years following a family dispute. The only other inhabitants are a slave, Caliban, and an impish spirit, Ariel, who acts as a servant. The aforementioned dispute involved Prospero’s brother, Antonio, usurping an influential title that Prospero believes is rightfully his. When Antonio’s ship sails near the island, Prospero uses his magical powers to cause the titular tempest to shipwreck it.

Now all marooned on the island, Antonio and an array of other passengers are separated and subsequently tested as Prospero seeks to regain his Dukedom.

What ensues is a juicy mixture of craftiness, blossoming love, plotting, self-realisation and ultimately redemption.

Shakespeare in the Squares is now a popular fixture of the summer outdoor theatre calendar. This innovative production tours to 18 London squares from June 15th to July 8th.

The performances are tailored to each individual square, and the aim is to create a unique community celebration around the play in question.

Most city dwellers will agree there is something beguiling about London squares. Regardless of what season it is, they emit a certain charm you wish you could bottle. It is little wonder Hugh Grant and Julia Roberts’ relationship flourished in a Notting Hill one in the 1999 movie of the same name.

Summer is when they really sparkle; which makes them the perfect backdrop for a picturesque evening of Shakespeare.

Despite the varying array of light and dark subject matters The Tempest is known for, this version adopts a humorous and more genial approach overall. This is an intentional move, bearing in mind we are still re-emerging from the pandemic and bearing the metaphorical battle scars of multiple lockdowns.

The director Sioned Jones explains: “…after so much darkness, we need something lighter. It is also time to celebrate our collective humanity and revel in the opportunity of being back in the world together.”   

The cast of actors blend well as a company, and it is evident that a lot of love and creativity has been poured into the production.

Each actor adds individual merit to the show, but special mention must go to William Shackleton who plays the dual roles of Antonio and Stephano. Shackleton switched from the antagonistic Antonio to the sloshed Stephano with artistic ease, and his portrayal of the drunken latter character was comically spot on.

Several actors showcase their individual musical abilities including the violin, clarinet and guitar. The use of song and dance enhance the general enjoyment, and there is just the right amount of music use overall.

The Tempest was meant to be Shakespeare in the Squares’ chosen play in summer 2020, but was cancelled for obvious reasons. When 2021 came around, it soon became evident it would not be performed that year either. The enforced two year break makes the company’s return all the more special. After all, it does not seem long ago that all things theatrical shut down in a matter of days. Sitting in a busy audience and watching a show in a public, open space suddenly became a notion theatregoers could only reminisce about and hope would eventually return.

So treat yourself to a ticket, take along a chilled bottle of rosé and enjoy a sparkling evening of sunshine and Shakespeare.

REVIEW: A Doll’s House, Part 2

Rating: 4 out of 5.

Fantastic actors, intellectually stimulating, with some explosive moments and abrupt ending. A great piece of theatre.

A Doll’s House Part 1, is a timely tale that was written by Norwegian playwright Henrik Ibsen in 1879. It was a trailblazer for its time, tackling issues faced by the character Nora – a middle class wife and mother, who rejects being the homemaker to husband (Torvald) leaving both her marriage and her children to find herself. A Doll’s House Part 2 now looks to build on this legacy examining the universal issue of a woman’s identity within a male-dominated society.

The writer (Lucas Hnath) makes a clear decision from the outset to engage the audience using humour in contrast to the clinical setting. This is pedalled through the character of Anne Marie (June Watson) who portrays a non-threatening woman who is blunt, yet so disarming that for the first act we are in hysterics. Not to call this a comedy piece – it certainly isn’t but the character, Anne-Marie, is honest in a way which most may find uncomfortable… and June Watson’s performance is electrifyingly magnificent, elevating the piece. In other news, the pacing is fast, the dialogue peppered with many references to the original A Doll’s House making it easy for those unfamiliar, to quickly get onboard for the drama ahead!

With minimalised staging, A Doll’s House, Part 2, is set underneath harsh yellow lighting panels that coat the stage throughout the play creating a sense of blinding intensity. The decision to keep character costumes in period dress, though have them speak using modern language, was perhaps a way of honouring the integrity of the original play, whilst allowing this new version to be more accessible to younger audiences.

Comic relief is needed to sustain the serious arguments driving the play which question whether marriage is necessary in the modern day. A Doll’s House, Part 2, also poses the question as to whether society will ever permit woman to abandon their children (in the same way men are able to with less judgement currently) – allowing society to find compassion for the mothers and their reasons on an equal footing to men. Facilitating these complex ideas, are 3 strong actresses, fighting differing feminist viewpoints with all their mite, whilst challenging our own belief systems. Difficult conversations about woman being reduced to puppet-dolls by husbands once married, were unapologetically driven throughout the play by Nora’s (Noma Dumezweni) power position; as she charged forwards as an independent woman in spite of societal stigma, stereotype and shame, refusing to play ball with society’s expectations. This was quite a revelation, causing audible sounds of gasps, tuts, mutterings and even laughing up and down the audience, moved by the subject matter and tremendous performance by Noma Dumezweni. A young perspective on the debate is introduced by Emmy (Patricia Allison) the daughter of Nora, which was refreshing allowing us to sympathise for the children left behind. Emmy certainly doesn’t play the victim having absorbed the survival qualities of both her birth mother and the mother who raised her, Anne Marie.

In A Doll’s House, Part 2, we see that Torvald (Brian F.O’Byrne), the husband figure, is portrayed as a fragile underdog, he is almost swallowed up by the fierce women in the piece. This is a complete contrast from the original play in which Torvald is certainly an alpha male. Did the writer (Lucas Hnath) make this drastic change to facilitate the feminism narrative, or perhaps to give a voice to men who feel somewhat left behind in this post Me Too world? Maybe, though, I can’t help but wonder about how explosive this could have been, if the spirit of the original Trovald had remained. How would these fierce women have navigated the events that unfolded up against a dominant male?

REVIEW: Jitney at the Old Vic

Rating: 2 out of 5.

A show with a mixture of brilliant and mediocre performances that you continue thinking about afterwards, but not always in a positive light.

Jitney is a an Old Vic, Headlong & Leeds Playhouse co-production playing until the 9th July following a run at the Leeds playhouse in November 2021. Directed by Tinuke Craig (The Color Purple) and following an acclaimed run at Leeds Playhouse, August Wilson‘s (Ma Rainey’s Black Bottom) ground-breaking modern classic explores the fragile bond between eight men as they live, love and work in a racially segregated, post-Vietnam America

This show for me, was a very mixed performance. There were some very strong moments that were entertaining, laugh inducing, and genuinely tense, and other moments that seemed to drag on for too long and didn’t really add much to the show.

Some of the highlights include the performances of Leanne Henlon as Rena and Soloman Israel as Youngblood. Leanne Henlon in particular brought incredible energy, humour, and emotion to the too few scenes that she was in, and her performance was matched by Soloman Israel in an excellent scene in the second act which I only wish had been a larger part of the show as a whole. Sule Rimi as Turnbo delivered an incredible comedic performance early in the show, and then expertly twisted it during a very tense scene which had me very much on the edge of my seat.

Without wishing to negatively mention specific actors, there were some very ropey accents on display. Some of the accents were inconsistent from scene to scene, and sometimes inconsistent within the same sentence. This was unnecessarily distracting, and I felt that some of the actors were hamstrung by focusing on trying to do the accents correctly, which then took away from their performances. This led to some of the performances seeming either dull and uninterested or over the top and cartoonish.

This play, very much in the style of Chekhov, was a slice of life. There was one set throughout with characters coming and going and interacting with each other. There is a threadbare ongoing narrative throughout the show, but the real focus is on the relationships between the characters in this very naturalistic world. This made the choice of showing the passage of time by having the actors move in stylised “fast forward” confusing and did not seem to be very in keeping with the rest of the show. This only occurred a few times during the show, but this made its oddness even more apparent. In other moments in the show, the passage of time is shown merely through the changing lighting on the stage as the sun sets or rises, and this felt much more effective and truer to the world we were inhabiting.

A particular positive mention, however, does have to go to Elliott Griggs who did the lighting for this production. The lighting design and execution was impeccable and beautifully done. It helped to wonderfully set the scene and make the show seem more believable while also being very visually appealing.

In conclusion, this production does have some brilliant moments when the script, actors, set, and lighting all work together to create some brilliant theatre. Unfortunately, these moments are not consistent throughout the show and are ultimately let down by other performances.

Highlight: Melly Still and Max Barton present the world premiere of The Gretchen Question

Fuel, in collaboration with Shipwright, is delighted to present the world premiere of a new play by
Melly Still and Max Barton – The Gretchen Question. The play will be performed in the grounds of the remarkable hidden architectural gem the Master Shipwrights House in Deptford in South East London and forms part of London Borough of Culture. It plays from 22 September – 2 October.


Gretchen bears witness to the discoveries of world exploration at the Royal Society in the late 18th
century. Maisie is an influencer with a questionable new brand partnership. Lulit is in turmoil, struggling to remember what happened to her last night. Through these interwoven stories, The Gretchen Question dissects how we have arrived at the current climate emergency. Taking inspiration from the past, this new production invites us to inquire what the future holds for us.

Staged outdoors in the historic grounds of the Master Shipwright’s House on the banks of the Thames in Deptford, this site-specific production features original composition by Second Body and design by E. M. Parry. The Master Shipwright’s House and Office is one of the few remaining parts of Deptford’s former royal dockyard. Founded by Henry VIII in 1513 the King’s Yard became one of the most important shipbuilding yards in the world before finally closing in 1869. It was bought and restored by its current owners in 1998. Since then it has been a home and creative space for artists, performers and audiences from around the world.

HIGHLIGHT: Cabaret to hold fundraising performance for Ukraine Humanitarian Appeal

The performance of the multi-Olivier Award winning CABARET at the Kit Kat Club on Thursday 14 July will be held in aid of the Disasters Emergency Committee Ukraine Humanitarian Appeal.  The authors, John Kander and the Estates of Fred Ebb and Joe Masteroff, the creative team, the producers and the entire company of Cabaret will be donating 100% of ticket sales for this performance to the Disasters Emergency Committee’s Ukraine Humanitarian Appeal via Work For Good, along with all funds raised during collections at every performance of Cabaret. Tickets are available at kitkat.club

The producers of Cabaret said “Cabaret’s story sadly feels as timely and emotionally resonant as it ever did, written two decades after the end of World War Two. We empathise every day with the strength and struggles of the people of Ukraine at this time, and everyone at the Kit Kat Club is honoured to raise funds for the Disasters Emergency Committee’s Ukraine Humanitarian Appeal – through our gala performance, and the collections occurring nightly during the run.”

CABARET at the Kit Kat Club stars Fra Fee as ‘Emcee’, Amy Lennox as ‘Sally Bowles’, Omar Baroud as ‘Cliff Bradshaw’, Vivien Parry as ‘Fraulein Schneider’, Richard Katz as ‘Herr Shultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’. The cast is completed by Josh Andrews, Gabriela Benedetti, Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Adam Taylor, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.

The Prologue Company is Rachel Benson, Laura Braid, Asmara Cammock, Julian Capolei, Celine Fortenbacher, Reuben Greeph, Samantha Ho, Andrew Linnie, Carys McQueen, Hicaro Nicolai, Kate Robson-Stuart and Sally Swanson

This unique production of CABARET opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience. Last month, the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history, as well as three prestigious Critics Circle Awards.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision and direction is by Jennifer Whyte with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.

REVIEW: Scottish Ballet’s Crucible at Sadler’s Wells

Rating: 4.5 out of 5.

A gripping and chilling retelling of Miller’s witch-trial parable.

Father, I confess: this was my first ballet. It can sometimes feel like ballet has to be a lifelong commitment, that if you’re not plié-ing by the age of 4 then you’ve slightly missed the boat. But if every ballet is as captivating as The Crucible then I might consider a career change.

This is a revival of Scottish Ballet’s award-winning 2019 production, based on Arthur Miller’s 1953 play. We land in Salem, Massachusetts and witness a series of witch-trials take hold of the Puritan village amid a wave of mass hysteria. Any concerns that Miller’s narrative might not translate into such a stylised artform can be put to bed – every movement feels connected and motivated as these elite dancers beckon us into their world.

This world is one of restriction. In public, the citizens of Salem feel physically bound but in private moments we see explosions of sexuality and expression. It’s fascinating to watch and paints a vivid picture of a society where gossip and mob mentality suppress its residents’ animalistic desires – for a show about 17th Century Puritans, it’s very sexy.

The ensemble is riveting to watch. They handle complex rhythms and movements with ease, most powerfully in an early church scene where their unison prayers show us the ritualistic, tribal world they inhabit. These are artists at the peak of their craft and it would do a disservice to their astounding ensemble work if I highlighted individuals.

I’m going to do it anyway, Nicholas Shoesmith is an excellent John Proctor: self-interested and controlling yet intensely charming. He shines most in duets with Elizabeth Proctor (Sophie Martin), especially an argument where movement, music and emotion blend so clearly that it truly feels like you can hear what they’re saying. We see their relationship at its most turbulent and its most tender, and in both cases it’s electrifying.

The production design is both visually and dramatically engaging. This is a show of shadows and silhouettes, characters drift through David Finn’s expert lighting design that sometimes conceals their secrets and sometimes reveals them. The main set-piece is four stone slabs suspended above the dancers. They encircle the villagers and become a window, a roof, a cross and a projector screen for a (fantastic) puppet show, before crashing down with the full weight of God’s judgement. We are in full period dress, Emma Kingsbury’s costume design leading with sages, mauves and baby blues – the colours are aptly dulled while the villagers subdue any individuality that may expose them to the mob.

The whole piece is accompanied by a mixture of live orchestra and recorded media, composed by Peter Salem (ha). This soundtrack completely immerses us in the world, always lurking behind the dancers and ready to propel their emotions out from Sadler’s intimidating stage. The combination of classical music and spacey, glitchy synths is alluring, unsettling and, at times, frightening – I don’t know if ‘Horror Ballet’ is a genre but this would slide into it nicely.

The storytelling does slip slightly in the second half as the narrative gets more knotty. Abigail’s framing of Elizabeth Proctor is not conveyed clearly enough, and in the courtroom the direction sometimes feels more messy than energised – we are left not knowing quite where to look to grab hold of the story. Despite this, you would be hard-pressed not to reach the end without an emotional attachment for the Salemites, such is the depth of these characters.

Finally, it would be impossible to credit this production without acknowledging its choreographer, the world-renowned Helen Pickett. In a BTS interview, Contance Devernay (who gives a commendable turn as a flirtatious and vulnerable Abigail) praised Pickett’s choreography, saying ‘the emotions create the movement, more than the other way around’. It’s true. These dancers embody fear, guilt, shame, lust, rage, despair and hysteria in ways that are not just gorgeous but authentic as well.

This show is a timely reminder not only of the dangers that come with a culture of accusations and sensationalism, but also of the power of ballet as a storytelling artform.

REVIEW: A False Servant

Rating: 4 out of 5.

A gloriously funny romp; witty, quick paced with sexual tension galore. Lizzy Watts is a sensation.

Firstly can I say what a gorgeous space Orange Tree Theatre is, the in the round space in lovely Richmond is the perfect setting for this translated revival.

The set design is unobtrusively simple, the floor patterned with an intricate maze (perhaps symbolising the complicated plot) and an incredible ceiling piece. There’s also in the corner a striking sculpture which unfortunately isn’t used/acknowledged and seems almost irrelevant to the piece, I’d be interested to understand its inspiration as I was distracted by its unexplored presence. What this simple design allows is the actors to use the whole space uninhibited, which they do.

Crimps’ translation of the comedia dell arte script is skilfully done, bringing a modernity and clarity to a ‘Twelfth Nightesque’ story which could easily become convoluted. The handling of infusing popular language without it feeling obtuse is refreshing.

The story itself leans heavily on gender play and deception with all the fun and frolics which can be derided from this. The Chevalier played by the mesmerising Lizzy Watts is a young lady who, disguised as a man, has befriended the cad, Leilio (Julian Moore-Cook), in order to scupper his plans to marry her.

Watts is a powerhouse, from the subtlety of her physicality as she shifts between gender norms to the biting passion of the love scenes it is almost impossible to take your eyes off her. The remaining cast are strong throughout each managing the wordy text and complicated dynamics.

Where the cast sometimes struggle are in the many, many, many asides to the audience, often the throwaways are buried in the text and the impact of letting the audience in on the secret is lost. The opening scene could also benefit from the listening, spontaneity and connection shown throughout the rest of the show, in comparison the start reads as slightly over egged exposition.

One of the stand out scenes is a carefully choreographed manipulation by Trivelin (Will Brown) – the movement by Christin Fulcher is slick and perfectly compliments and feeds into the tension and comedy of the piece.

Paul Miller’s direction allows the characters and writing to thrive though intense connection and build. I do wish there’d been even more creative use of the space – being braver in intimate moments to not use the diagonal blocking which becomes a little repetitive. There is a brief shock to this staging when Trivelin (Watts) joins the audience to hide, which was refreshing and left me wanting more.

Overall the production is slick, gorgeously acted, laugh out loud funny and this reviewer can think of a lot worse ways to spend an evening.

REVIEW: The Dance of Death

Rating: 2.5 out of 5.

A well acted yet confusing piece that failed to deliver

The Dance of Death (by August Strindberg and adapted by Rebecca Lenkiewicz) is a miserable tale of an unhappy, frosty marriage between two bitter partners on an even bleaker island. The play kicks off with the introduction of a third party to their dynamic exacerbating the difficulty of their marriage as each partner tries to prove that they are the victim and the other is the evil one. This is especially true for Alice (Lindsay Duncan) as we see her stories change frequently to gain sympathy and paint her husband as evil in every situation. Throughout the performance we witness countless lies and acts of manipulation, all designed to undermine and guilt the audience into siding with one of the pair.

Overall, the play was lacklustre and fell flat. The plot did not enrapture me, there were no definitive events nor interactions that shaped this piece and I found myself losing focus frequently. Struggling to find a connection to any of the characters or their actions I found it hard to follow their intrigues and machinations without finding the whole thing a bit over the top. In particular I disliked their use of vampires and biting as a metaphor for manipulation in this play – it didn’t feel like a natural fit and felt a bit throwaway – garnering laughs when perhaps it wasn’t meant to. I would recommend this play to an older audience, with the added requirement of marital experiences to really resonate with the theme. When Strindberg wrote The Dance of Death he had already experienced marriage twice and it is undeniable some of his bitterness (and acerbic humour) found itself in the material.

That being said, there were some definite positives to this play. Some of the acting, especially the witty two handed exchanges, were brilliant.

I am specifically thinking of a scene between Alice and Katrin (Emily Bruni) that captured the intensity of their relationship and Alice’s manipulation. One instance in particular shows Lindsay Duncan, playing Alice, stroking Katrin’s face in an almost loving way that somehow morphs in front of the audience’s eyes to become controlling.


Again between Alice and Edgar (Hilton McRae) there were some very witty scenes – the strength of the dialogue appearing in duos – the scenes where there were three participants became convoluted and difficult to follow. Furthermore, the use of sound effects to create an ambience and fever dream-like state during Edgar’s rages were clever.

To conclude there were some glimpses of wit and insight in this play but the dismal attitude won out. For those in the mood for a metaphoric, miserable play about failed marriage then go ahead…

The Dance of Death is playing at The Oxford Playhouse until the 11th June.

REVIEW: Machine de Cirque at the Peacock Theatre

Rating: 4 out of 5.

If you are looking to see something different and want to be entertained and impressed solidly for 90 minutes, this is absolutely the show for you.

Machine de Cirque are an acclaimed Canadian circus company performing their latest show at the Peacock Theatre. After seeing this show, they deserve all of the praise that they have. The acrobatics on display were jaw dropping and had me expel a few unintended gasps as some of the more impressive set pieces reached their climax. The way the circus artists move through the apparatus on stage, performing tricks at such height, is genuinely astounding and pushes the limits of what I thought circus performers could do without the help of CGI.

The acrobatics on offer is obviously a flashy highlight, but equally if not more impressive was the music being performed live on stage by Frederic Lebrasseur. His use of unconventional instruments would be impressive in the most normal of circumstances, but doing some of his work while sat 15 feet in the air with circus performers flying around him is even more impressive. Another mention needs to go to sound designer René Talbot who managed to blend the live music being performed on stage so seamlessly with other sound effects, at moments I found it impossible to decipher what noise was being created on stage and what wasn’t.

It is an absolute cliché, but this is definitely fun for all the family. There were a number of children in attendance at the performance I attended, and they equally as amazed and amused as I was. Due to the lack of actual dialogue, rather just a few noises and “okays” from the performers, this is a very accessible show that allows young and old to enjoy the spectacle before you.

One slight issue I had with this performance however, was the fact that the story seems to entirely disappear about halfway through. In the beginning we are brought into this post-apocalyptic world with this group of men searching desperately for more signs of life out there with no success. This drives some of them to the verge of nervous breakdowns, with their performances not being for fun, but rather nervous compulsions that they must do to stay calm. This goes entirely out the window in the second half of the show and in its place, we get still very impressive acrobatics and slapstick comedy, but any storyline or character development completely disappears.

A highlight of the show was when the danger of injury inherent in acrobatic stunts was replaced with the danger of accidentally flashing the audience. For reasons not entirely clear, the performers strip down to supposedly nothing, using only towels to cover their modesty. It sounds silly when written down, and it very much is, but it is delightfully silly with the risk of nudity (in front a very child heavy audience) rising constantly with new tricks being performed. This was incredibly well rehearsed with some brilliant moments of faux jeopardy where you think everything is about to go wrong, but they save it at the very last moment.

In conclusion, this was a very impressive performance and unlike anything I have ever seen before. Machine de Cirque is performing 11th June, so make sure you get booked in quickly.