Month: November 2024

REVIEW: Cleopatra’s Antony

Published on by Temi AkandeLeave a comment

Rating: 4 out of 5.

A modern retelling that masterfully remade this classic tale

Cleopatra’s Antony, directed by the talented Mo Korede, reimagined Shakespeare’s Antony and Cleopatra with a powerful, contemporary twist. This production went beyond simply retelling the classic story; it explored the layers of Cleopatra through three actors, each embodying a different facet of the Queen’s character.

The opening scene was so well choreographed, perfectly setting up the mood of the play right away. The set design itself deserves special mention, with a mesmerising design of patterns that still allowed the focus to be kept on the actors. The combination of smoke and orange-red lighting captured the intensity of both Cleopatra and Antony’s relationship, pairing beautifully with the shifting tones of the characters’ emotions, adding yet another layer to the overall experience.

One of the most inventive choices in this production was the decision to use durags as crowns. Worn by the coolest depictions of Antony and Caesar I’ve ever seen, these durags became a playful yet symbolic representation of power and authority. The decision to split Cleopatra into three roles, portrayed by three talented young actresses, was truly the standout for me. Each actress brought a unique flavour to Cleopatra, using different accents and subtle variations in personality to portray the complexity of a queen torn between love and power. Their voices, harmonising in beautiful and slightly haunting unison was wonderful to listen to.

The musical choices were another standout feature, particularly during the fight scenes, where the soundtrack made me want to dance but also to fight along with them. In quieter moments, the use of soft humming and singing filled the space with a continuous flow, bridging scenes seamlessly. This lack of abrupt silence between scenes kept me immersed in the world of the play, even during transitions.

Despite the complexities of Shakespeare’s language, the young cast delivered clear and compelling performances that made the story accessible, even for those unfamiliar with the original text. Their energy, confidence, and dedication were evident, and Mo Korede’s direction ensured that the story’s essence shone through in each scene. This was unlike any interpretation I’ve seen before, and it was both visually and musically pleasing to experience. 

REVIEW: ASMF & ANASTASIA KOBEKINA

Published on by Antonia ConstantinLeave a comment

Rating: 4.5 out of 5.

“A timeless journey through music, where past and present meet in exquisite harmony.”

The venue of St Martin-in-the-Fields possesses in my opinion an inherently immersive quality, with its architectural elegance and acoustics inviting a rare sense of reverence and focus. Yet, on Friday night, the Academy of St Martin in the Fields (ASMF) infused this atmosphere with an additional layer—a narrative that transformed the experience into a  journey through musical history.

ASMF’s program was crafted to reveal a balanced and delicate dialogue between past and present, each piece forming part of a larger story. They opened with Stravinsky’s Concerto in E-flat ‘Dumbarton Oaks’, a 20th-century homage to the Baroque that immediately set the tone, echoing Bach while unmistakably modern. From there, the audience was transported back to Haydn’s Cello Concerto in C major, a work that connects the elegance of the Classical era with its own rediscovery in the 1960s, intertwining historical eras through both its origin and revival. The night continued with Baroque pieces by Biber and Gallo, and, in the hands of ASMF, these works came alive not just as individual compositions but as elements within a larger musical conversation spanning the centuries.

Opening with Stravinsky’s Concerto in E-flat ‘Dumbarton Oaks’, ASMF brought a crisp and vibrant interpretation to life. This piece, filled with rhythmic vitality and intricate textures, was handled with precision and finesse. The ASMF’s interpretation was dynamic and rich, capturing the playful, but at the same time complex character of Stravinsky’s composition which highlighted the ensemble’s refined artistry.

Anastasia Kobekina took the stage with a star like confidence and theatricality that captured everyone’s attention instantly. Her interpretation of Haydn’s Cello Concerto in C major brought the audience closer to the evening’s narrative of intertwining musical eras, her playing blending historical insight with rich personal expression. Balancing elegance with energy, she displayed the mix of technical ability and emotional depth that define her reputation. Her approach to the concerto’s slower passages was particularly moving, as she rendered Haydn’s lyricism beautifully. Yet, as she navigated the concerto’s livelier sections, her voice occasionally blended too smoothly with the orchestra, as if her sound was at times enveloped by the ASMF’s resonant texture.  For me, the interplay between soloist and ensemble occasionally felt ambiguous; I found myself wishing her voice were more distinct within the orchestral texture. At times, it became challenging to differentiate her lines clearly from the surrounding sound, which, while creating a unified blend, occasionally obscured the soloist’s individual presence. 

By the concert’s conclusion, it was clear to me that the evening had offered something exceptional—a journey through time and style that felt both intimate and grand. The Academy of St Martin in the Fields delivered each work with superb precision and warmth, while Anastasia Kobekina brought a vivid, personal touch. Together they created an experience that left the audience with a lasting sense of connection to the music’s enduring beauty and resonance.

REVIEW: Harry Potter and the Deathly Hallows Part 2 In Concert

Published on by Miles MorganLeave a comment

Rating: 4 out of 5.

“Hot on the heels of Halloween, a magical treat of a movie on a big screen with a spellbindingly talented orchestra accompanying it”

It may have been 13 years since Harry Potter and the Deathly Hallows: Part 2 hit cinemas but no refresher course was needed at the Royal Albert Hall last Friday. 

We all know the storyline – Harry and his friends are back, battling villains and protecting Hogwarts for the final time from Voldemort himself. After seven books and eight feature length films, it all comes down to this. 

The thrilling final instalment of the series was projected onto a high-definition screen that put the audience in the middle of the action, whilst Alexandre Desplat’s music was brought to life by the Royal Philharmonic Concert Orchestra and the English Chamber Choir. 

Conductor Justin Freer introduced proceedings at the start of the concert, as he did this time last year when the Deathly Hallows: Part 1 was screened at the same venue. I also reviewed that instalment. Just like last year Freer did a perfectly good job of the intro, and knows how to speak to a crowd with the right level of confidence to make people look forward to the evening ahead. But to reiterate what I wrote in my review that time, the concert would really benefit from a separate ‘special guest’ introduction given by someone who was directly involved in the movie. No disrespect to Freer; he’s very adept at carrying out an intro to a concert such as this. But to really enhance it and give it a proper ‘event’ feel, imagine someone like Tom Felton or the Phelps twins or Helena Bonham Carter saying a few words beforehand. Now that truly would be special.

As usual the orchestra and choir performed with precision and finesse. They added depth and emotion to what is already an exciting score. Scenes such as the one where Harry, Ron and Hermione escape Gringotts bank on the back of a dragon and fly over the London skyline were amplified in quality by the presence of a live orchestra.      

An enjoyable element of watching a Film in Concert is seeing which parts of the film garner a big public reaction. The famous line “Not my daughter, you bitch!” spoken by Mrs Weasley in this film is an iconic one. When I saw this film in my local cinema in 2011 the audience went wild at this line. Everybody was waiting for it and there was a loud cheer when Mrs Weasley finally said it, followed by a round of applause a moment later when she finished off Bellatrix Lestrange for good. It was a special cinematic moment to be part of, especially considering how restrained Brits are known for being in the cinema. We don’t even rustle our M&M packets during a quiet lull in a movie, let alone cheer at a pivotal moment. I therefore hoped the “Not my daughter…” line would receive the same reaction this time around, but alas it did not. It did conjure up a small cheer, but I guess this time nobody was hearing it for the first time. So the cheer did not have the spontaneity and excitement as the one in my local cinema all those years ago. But what was truly special this time around was the audience reaction to Dame Maggie Smith, in light of her recent passing. Her cheeky “I’ve always wanted to use that spell” line was met with heartfelt applause, and when her name came up in the end credits the audience gave her a standing ovation. It is these moments which make Films in Concert unique.

Films in Concert is a hugely popular genre which continues to grow as each year goes by. It is by no means a new concept and has been around for several years. But it is the kind of live experience many film fans hear about; realise is up their street and want to book tickets for. But many end up ‘putting it on their list’ and it becomes 50/50 whether they ever actually get organised and book tickets. Some never get round to it and therefore miss out. Others like myself do eventually get round to it and wish they had done it sooner. I first heard of the concept in the early noughties when I saw the film ‘Pirates of the Caribbean’ at the cinema with friends and commented afterwards how enjoyable the score by Hans Zimmer was. One friend replied that you could actually go and see popular movies with thrilling scores performed by actual live orchestras. Despite knowing it was right up my street and something I wanted to explore, it was nearly 20 years before I actually got around to seeing a Film in Concert for myself in 2022. I have since seen three Films in Concert (once the bug bites, the fever sets in) and in this short time I have seen the appeal for the genre grow considerably. More and more venues are getting in on the action, so it is important to choose wisely and go for the best if you are to really enjoy the experience. And if you are wondering what constitutes “the best”, the Royal Albert Hall and the Royal Philharmonic Concert Orchestra most definitely fit into this category.

In Conversation with: Ben Kernow

Published on by ayoungishperspective1Leave a comment

The Massive Tragedy of Madame Bovary – With fast-paced storytelling, misbehaving props and over thirty characters to play, four actors cause havoc as they attempt to recreate the classic yet scandalous French novel Madame Bovary (1856), a book considered so controversial on its release that the author Gustave Flaubert went to court on charges of obscenity. With an eclectic soundtrack and slapstick choreography, Ha Hum Ah Productions and the Minack Theatre shake up the story of Emma Bovary highlighting the anarchy, humour and tragedy from the original in this fresh new adaptation. We sit down with Ben,  one of the producers and cast members of The Massive Tragedy of Madame Bovary at Southwark Playhouse to hear more.

Can you tell us a bit about the show?

The Massive Tragedy of Madame Bovary is an anarchic and comedic adaptation of a novel that is traditionally very serious. When it was originally published, the author was even prosecuted for obscenity. It’s safe to say it was highly controversial! What John Nicholson has done so wonderfully is take that original novel, which is beautifully layered and rich, and turn it on its head, creating a highly inventive, playful, and hilarious show. At the same time, it stays true to the core themes and messages of the novel. It’s a fantastic blend of the comedic and tragic. At its core is Emma Bovary and her struggle with living in a heavily patriarchal world, where she feels trapped and unable to pursue the freedoms and desires she craves.

The show sounds incredibly fast-paced, are there any challenges for the cast keeping up with it all?

Yes… Many! It’s somewhat like surfing—once you’re on the wave, you just have to ride it. If you think too hard about it, you can fall off pretty quickly. I suppose the only difference is that this wave lasts for around two hours. It’s incredibly fast and frantic, and while that energy is exhilarating for all of us, it can also be a bit tiring. So snacks are a key player! For me personally, there’s a magic sex routine that usually leaves me a bit breathless, in every sense of the word. It’s rare to get to tell such an epic story in such a distilled and heightened way, so we’re always kept on our toes.

You’re at Southwark Playhouse Borough during the festive season, why is the show suited to this time of year?

Theatre at this time of year is naturally a bit more comedic, I think. When most people think of festive theatre, they imagine shows that are fun, playful, and inventive—and The Massive Tragedy of Madame Bovary ticks all those boxes. But it also offers something fresh, which many festive shows don’t. It’s a new story that audiences likely haven’t seen on stage before. Often, we’re bombarded with the same old tales. Don’t get me wrong, I enjoy A Christmas Carol, but how many times have we seen it by now? I think it’s exciting to offer an epic, surprisingly lesser-known story. Audiences will still get that festive, fun vibe, but instead of the usual tricks, we’re offering something unique and unexpected. Plus, if you’re a bit of a Scrooge and tired of holiday-themed theatre, this show really hits the mark!

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

First and foremost, we want audiences to leave with that achy feeling you get from laughing a little too hard. On a deeper level, Madame Bovary is a story that stands the test of time, much like many other literary classics. We believe that audiences will really connect with her story. Yes, it’s incredibly funny, but it’s also full of pathos and humanity. If people leave with a newfound interest in picking up the novel and exploring it more, then that’s a wonderful outcome.

What’s your favourite line from the show?

That’s a tough one… but one that comes to mind immediately is one of my own lines: “Who knew magic was so sexy!”

What’s next for Ha Hum Ah? 

We’re currently developing a new play for 2025 with the Minack Theatre. After some research and development early next year, it will go into production in the autumn, followed by another national tour.

The Massive Tragedy of Madame Bovary will run at Southwark Playhouse Borough 5th December – 11th January. For more information and tickets go to: https://southwarkplayhouse.co.uk/productions/the-massive-tragedy-of-madame-bovary/ 

REVIEW: The Annual Charles Simonyi Lecture

Published on by audreyay23Leave a comment

Rating: 4 out of 5.

Anil Seth takes us on a journey to understand what it means to be alive… scientifically

In the well-regarded Charles Simonyi Lecture of 2024, Anil Seth, Professor of Cognitive and Computational Neuroscience in the University of Sussex, guides a theater packed full of enthusiasts to recognise what consciousness is in humans and its implications in various fields, namely the emergence of artificial intelligence (AI). 

To start, Anil explored the concept of the brain as a prediction machine, emphasising that our perception is actually used as inference for the brain to perceive our surroundings. He challenged the audience to think of themselves as a brain in a meat bag with no light – we do not actually know for sure that we see is what is real. This is the basis of optical illusions, which he deftly displayed to prove that indeed, humans are highly suggestible and are not always right.

Anil then touches upon the scientific definition of consciousness – it enhances the ability of the brain to predict situations by modeling the environment and the self. He speaks in detail about two separate dimensions of consciousness, explaining how research of such can lead to in-depth understanding of psychiatric disorders and even our very selves. 

After providing a comprehensive review of what consciousness is, Anil then briefly addresses consciousness in other things. He exhibits a strong belief that consciousness is more related to life than intelligence. Whilst many theories surround the concept of whether AI can lead to real consciousness, it is highly unlikely to happen. He further presents the controversies for building sentient AI, such as the possibility of artificial suffering, and the human reactions to such suffering – if AI does become conscious, will we start caring for them the same level we do with humans, or will we treat them as mere tools?  

To end the lecture, he highlighted the fact that the understanding of what consciousness is extremely important as it flows into different disciplines, ranging from wellbeing to law and ethics, and to medicine and technology. This therefore serves as a valuable concept, enabling us to truly make the right decisions for ourselves and the society we live in.

I will be honest and admit philosophy has never been a strong suit of mine, and so I struggled slightly with fully grasping the concepts shown. However, I highly appreciated the different situational and visual examples as they provided a simple, yet impressionable understanding throughout the lecture. There were bits and pieces that stood out to me, including the part where he stated that emotions are reactions to physiological changes to external stimuli. Personally, it added a layer of complexity to what consciousness really is.

Overall, it was a great 60 minutes spent, and I will be spending my next few days consciously reading Anil’s newly published book, Being You: A New Science of Consciousness.

REVIEW: The Food Bank Show

Published on by jamesrobertson42Leave a comment

Rating: 4 out of 5.

Carving spaces to discuss the ugly truths of Britain.

Over 3 million people use food banks across the country today. How have we got here?

This is the question that occupies the mind of performer and theatre-maker Sam Rees in the new piece, “The Food Bank Show”. Presented by award-winning company Carmen Collective, who recently staged “Lessons on Revolution” to wide acclaim at the Edinburgh Fringe Festival, this show took the Camden People’s Theatre stage by storm for a few nights only as part of The State We’re In 2024 Festival.

As the audience enter the space they are offered slices of free pizza and made to guess how many pieces of macaroni are in a glass jar. Immediately sucking us into the space that Rees is attempting to create, we are well prepared to be led into the nitty-gritty of state-wide food poverty, with ironically a full belly but still attentive minds. By positioning an audience’s awareness, Rees hopes to cut through the history, the policies and the numbers to carve out the human shapes that we so easily dismiss when faced with an issue as uncomfortable and deplorable as this.

This is documentary theatre on its feet. Rees has conducted interviews with leading politicians on the subject and the people who use food banks, bringing these to life with recorded Zoom audio and actor recreations. The dialogue he is creating is current and right up to date, even commenting on the fact that the snap election earlier in the year diverted the course of the show itself. An aim of Rees’ is to break down the barriers between the confines in which theatre takes place and the real world outside: this is achieved in droves.

Accompanying Rees on stage is Mo Pittaway, a live illustrator. Crafting hand-drawn images of people and places which are then projected onto the back of the stage, their inclusion guides the piece, elevating “The Food Bank Show” beyond mere lecture theatre.

The show’s goal is to raise awareness upon the political decisions that have led to the explosion of food bank usage across the country since austerity, but importantly this is not its main aim. Theatre has the power to create spaces in which we can talk, which is what is sadly, and dangerously, missing from our society today. “The Food Bank Show” achieves what it sets out to do: not only educate, but create spaces for radical dialogue to take place. 

REVIEW: Little Piece of You: An Atypical Musical in Concert

Published on by Lucy HolzLeave a comment

Rating: 3 out of 5.

A poignant but criminally under rehearsed new musical  

Developed in America and currently having its European debut, Little Piece of You: An Atypical Musical in Concert has been in development since 2020. Conceived by and starring Kjersti Long as pop star Sydney Hill, this show explores the genetic component of mental health struggles by following one particular family tree and the suffering of its past generations. 

The score in its current iteration is co-written by Long and her father Jeremy, with book by Melissa Leilani Larson. It follows the struggle of teenager Britt (Dujonna Gift), dealing with her busy thoughts and an inability to fit in at school. Her mother Shannon (Mica Paris), suffers from depression and suicidal thoughts while her father Ethan (David Bedella), does his best to remain supportive and upbeat for his family. This central storyline is backgrounded by Britt’s obsession with pop singer Sydney Hill, who writes relatable songs about her own mental health struggles. 

The concept of the musical is a relevant one, as society becomes more in-tune with mental health and the repercussions of leaving conditions unaddressed or untreated. However, the execution of the story is lacking. With less than 2 weeks of rehearsal time, this concert performance feels more like an initial stumble through. Cues are missed, lines are dropped, there are countless sound and lighting issues. The only performer consistently hitting her marks is Long, with the others frequently leaving lengthy pauses as they seem to struggle to remember what to say or where to be. 

The backup dancers seem similarly unpractised, with half-hearted performances that read more like marking through the movements than opening night of a West End production. It’s difficult to review a show that seems so underprepared for the stage, as undoubtedly the opening night did not showcase the musicals full potential. Unfortunately, direction by Lauren Hopkinson is also sluggish, leaving a musical lacking pace or energy in-between upbeat concert interludes by Long.

There are some stand out performers of the night, including Bedella as a charming and patient father who disappointingly doesn’t get a song of his own. Long also perfectly captures the cringe pop star performance style of the 2000’s and sings her own songs with passion and energy.

Costumes by Elin Steele are eclectic and fun, additionally helping to convey the time jumps in act 2, assisted by slick changes performed by ensemble members. Long wears a particularly striking leather ensemble, providing further context around the kind of pop star Sydney is. 

This show has great potential, with good songs and an interesting premise. With some story rerouting and a few extra weeks of rehearsal Little Piece of You could become a total crowd pleaser, it’s just not there yet. 

REVIEW: The Sculptor

Published on by Iona GoodallLeave a comment

Rating: 2 out of 5.

An over-stuffed plot fails to let great themes shine through

Nestled in the Banshee Labyrinth, described as Scotland’s most haunted pub, The Sculptor makes up one of the performances at Edinburgh’s Horror Festival, a 4 day mini-Edinburgh Fringe, entirely focused on the grisly and macabre. Seeing the play on Halloween, with many of the pub’s clientele and staff decked out in their spookiest costumes, creates a perfect atmosphere for a darkly spooky show – but it’s an atmosphere that The Sculptor doesn’t quite live up to.

The play centres on the creation of an anatomical wax model for study in Edinburgh’s medical school, being sculpted by an ambitious and hard-working doctor’s daughter (Miss Abernathy, played by Eleanor Tate), and based on the form of the new wife of the medical school’s rich patron (Lady Swinton, played by director Grace Baker). After a mutual mistrust, the two spend much time intimately together, with Miss Abernathy growing increasingly fixated on the model and her own work, and Lady Swinton revealing more of her inner life, and also to discover why the doctor himself isn’t making this model.

It’s difficult to write a summary of the plot of this show because there are just so many different stories and themes woven into such a short show (55 minutes), and yet so little actual emotional connection between the characters. A fair amount of the time is taken up by Miss Abernathy’s dreams of the model and Lady Swinton which play out as monologues in her mind, and even when the two do speak their conversation is often cut short by Abernathy’s Fleabag-esque asides to the audience, meaning the two struggle to form any real bond, and the audience is constantly perplexed by their relationship. This is further complicated by Lady Swinton’s sudden shifts into the personality of the anatomical model Abernathy dreams of, aggressive and darkly persuasive. Ironically, this character who we hear feels trapped in her life, unable to break out of the mould and be her true self, is denied the opportunity to even spend an hour’s performance in her own skin.

The cast members do what they can with a script that is more focused on style than substance – Grace Baker is compelling as Lady Swinton, desperate for connection and truth and yet rebuffed constantly by the brusque Miss Abernathy. She almost has a Nicole Scherzinger Norma Desmond moment in the show’s climax, in an inexplicably modern dress and covered in blood that is never fully explained. Eleanor Tate’s Abernathy is disappointingly monotonous for much of the piece, never quite as crazed with fixation as one would expect after days of sleep deprivation and hallucination. However, she creates good moments of comedy in the awkward first meetings of the women, highlighting their disparity in social status cheekily.

These themes of the show are what make it shine, and are what could make the climax so powerful. Neither of these women have power over their destiny though they’re having completely different struggles, and when it reflects reality it is powerful. To build a camaraderie between two women, only to have one fatally betrayed by the other in service of a model made to appease and please the men around them, is such a modern and relevant story, one that I believe the play wants to tell. But with all the other noise, it struggles to make itself heard.

Abernathy often repeats that seven layers make up the anatomical model – heart, lungs, liver, kidneys, intestines, stomach, womb. Yet The Sculptor would do well to strip away a few of those layers, and instead focus on what makes this story – two women, faced with the patriarchal expectations placed upon them, dealing with it in their own ways. Do you craft someone else’s image, or protect your own? And what happens when the two cannot coexist?

REVIEW: The Pirates of Penzance

Published on by Jason ShowdieLeave a comment

Rating: 3 out of 5.

A wonderfully fun evening out to enjoy some G&S brilliance

While my knowledge of opera is incredibly limited, and I’ve hardly encountered any Gilbert and Sullivan beyond I Am the Very Model of a Modern Major-General, I knew enough to know that The Pirates of Penzance is a stone-cold classic. What I wasn’t expecting is for it to be quite as funny as it is, with a plot that wouldn’t be out of place in a modern farce. 

Sasha Regan’s production certainly goes for the laughs, leaning into the pantomime and having lots of fun with an all-male cast who spring from mostly-macho pirates to mostly-delicate maidens with ease–and twinkles in their eyes as they do. Exaggerations of physicality and accents are aplenty as they play in the ridiculousness of the plot, and it’s almost surprising that there weren’t any almost-laughs from the cast themselves. One thing that cannot be faulted is the commitment of every member of the team to making this a physical, funny, high-energy show.

There’s some lovely technical ability on offer, too. For me, the stand-out performances belong to Luke Garner-Greene in his professional debut, who sings with gorgeous vocal dexterity and gives Mabel a beautiful fragility, and David McKechnie, who fills the room with his presence and finds comedy in every moment his Major-General is on stage. Mention must also be made of Musical Director Ioannis Giannopoulos who single-handedly accompanies the entire show on piano with enviable ability.

It’s clear this production knows what it wants to do and, to its credit, it mostly achieves it. What’s also clear is that these actors are not opera performers, and unfortunately this fact does find itself getting in the way. There are lots of moments where the lyrics cannot be heard amidst the melody and I would struggle to believe they are reaching the people at the back. Indeed, the same can likely be said for many of the songs and most of the scenes, with the exception of McKechnie’s Major-General, Cameron McAllister’s Frederic–who, while slightly wooden, has a shining voice, and Lewis Kennedy’s dynamic and entertaining Sergeant of Police. 

I can’t help wondering, too, if there are times the pursuit of a laugh hinders the success of the storytelling. So while the show undoubtedly entertains, there’s still space left for growth in this production. If you’re looking for a fun evening out, you can’t go far wrong with some classic Gilbert and Sullivan in the entrancing Victoriana of Wilton’s Music Hall. If you’re interested in The Pirates of Penzance for its satire on Victorian societal mores and how it pokes at the establishment, Regan’s offering may be slightly adrift.

REVIEW: Edy Hurst’s Wonderfull Discoverie of Witches in the Countie of Himself

Published on by Lucy CLeave a comment

Rating: 4 out of 5.

 A Delightfully Witchy Adventure. 

In Wonderfull Discoverie of Witches in the Countie of Himself, Edy Hurst draws on his newly uncovered ancestral ties to the Lancashire witch trials, mixing comedy, history, and a fascination with the Vengaboys into a one-of-a-kind journey of self-discovery. Inspired by his mum’s family research, Edy’s crafted a show that blends the old and new in a way that’s both quirky and endearing, with enough charm—and hats—to keep the audience engaged throughout.

Hurst’s presence is lively and charismatic, carrying the show with humor and heart. The production feels polished, showcasing the time he’s clearly invested in refining each piece of the narrative. This isn’t just a haphazard series of jokes; it’s a well-constructed performance with a surprising amount of depth, and Hurst’s commitment to his craft really shines.

One of the highlights is his hilarious faux tarot reading, a perfect example of his sharp timing and connection with the audience. His delivery, filled with northern warmth and boundless energy, makes even the more subtle jokes land well, though he does occasionally lean a bit on his natural charm to carry moments that could use a stronger punchline. The Vengaboys theme is as strange as it is delightful, especially when he dives into a musical segment that feels genuinely enthusiastic.

With a flair for physical comedy that calls to mind classic slapstick, Hurst’s performance brings an infectious sense of fun. This show isn’t just about laughs; it’s a heartfelt narrative that offers an uplifting escape.