Year: 2024

REVIEW: The Spectacular

Published on by L. StanfordLeave a comment

Rating: 3.5 out of 5.

A deep dive into the Irish history of English colonial Occupation. This little spectacle is both entertaining and educational; comedic and spooky.

Nestled away from the harsh winter air, one finds themselves in a small, but vibrant venue filled with an eager anticipating audience, Irish accents, and mulled wine: everything required for a “Spectacular” evening. A new work for the Camden People’s Theatre, the show follows two “Not-IRA” members in the present day as they try to test new modes of Irish Republican activism on an English audience. Written and directed by Séan Butler, “The Spectacular” interrogates Irish Republicanism and what it means to be a Republican in the post- Good Friday Agreement world. 

“The Spectacular” brands itself as “an experiment in the performance of (Irish) nationalism”. In the spirit of experimentation, this two-hander does not shy away from mixed modes of performance. The production is ripe with EDM transition music, PowerPoints, video, flashing lights, elaborate (and sometimes messy) props, and of course audience participation. What starts out as a self-aware light satire takes on a darker atmosphere as the play’s subject matter delves deeper into the violence experienced, and sometimes perpetrated, by Irish peoples in their colonial relationship with England over the last 800 years. 

While the premise of “The Spectacular” is excellent, and it has all the makings of a “spectacular” success, the show has some loose ends that could serve to be polished. In attempting to provide its audience with enough Irish history and background knowledge to adequately engage in its moral paradigms, “The Spectacular” sometimes has too much going on at once. For example, in the ladder portion of the show following a provocative scene, contextual history is displayed behind our two Republicans while they are having an argument. In trying to read the projection and follow the scene, I was unable to adequately engage with either. Though the historical context for that moment was interesting, I could have better experienced the stakes of that moment without the entire context. 

Similarly, the acting and direction at times leaves more to be desired. These two characters’ relationship is integral to the audience’s experience of the extractive relationship between the English and Irish and moreover Irish Republicans and the Northern Irish. When the actors’ perspectives on each other and their circumstances are overly generalized (which at times they were), we lose this connection to the play’s greater themes. Additionally, “The Spectacular” has fantastic jokes. However, the actors did not always commit to them in the moment, which hindered how funny they were for the audience. That said the show has strong bones and is certainly worth a watch. I hope Butler continues to develop this “experiment” beyond its Camden debut!

(Warning: “The Spectacular” does deal with themes of extreme violence that may be disturbing to some theatre goers.)  

Credit to James Potter.

REVIEW: Going for Gold

Published on by Ben BreenLeave a comment

Rating: 4 out of 5.

An underdog sports drama with heart and grit

Based on the life of Frankie Lucas, a Black British boxer in the 1970s, Going for Gold follows “The Southpaw Slugger” from first stepping foot in a boxing gym in the 1960s to his death in 2023. Throughout, Lucas (played by Jazz Lintott) fights as much against himself, and boxing’s internal politics, as his opponents. His is a relatively simple rags-to-riches story, but where Going for Gold stands out is in the humanity of its writing – it’s unflinching in its portrayal of Lucas’ failings, whilst also capturing a natural passion and charm.

Initially passed over for the British Olympic team as a result of tactical selections, when Lucas is again overlooked for the Commonwealth Games he fights instead for his native St. Vincent. And he wins, giving the British team a bloody nose in the process and preventing them from topping the medal table. Turning professional, Lucas meets similar challenges, being ducked in title fights and feeling forced to sacrifice his family in the pursuit of success.

Going for Gold unfolds in two distinct halves, with the first focused on Lucas’ meteoric rise to fame. Events are exciting and fast-paced, propelled forward by present-day reflections from then-partner Gene (Llewella Gideon), and the compelling chemistry Lucas has with both his amateur and professional trainers (Nigel Boyle and Cyril Blake).

This is complimented by a well-curated soundtrack which provides a strong sense of time and place. Set design is understated, yet evocative, and similarly shifts over the play’s 140 minutes to clearly locate each scene. Clips from Lucas’ most famous fights punctuate key narrative moments, imbuing events with a visceral reality. This is just one example of Going for Gold co-opting boxing’s natural intensity – Lintott throws every punch, and commits to every workout, with convincing energy.

By contrast, the second act initially whizzes through Lucas’ final fights and, missing Gene’s reflections, drags a little. But the Going for Gold takes off the kid gloves: having battled cancer, it’s 2022 and Lucas is being cared for by his son Michael (Daniel Francis-Swaby), another compelling relationship. In between arguments, and more than a few spliffs, Lucas has time to reflect on a life full of sacrifice, on his legacy, and on parenthood. It’s a fitting end to Lucas’ story, asking meaningful questions about priorities, family, and what really matters in life.

There are some areas for development: it would have been interesting to see more clips from Lucas’ fights, and his fractious relationship with Gene would benefit from more exploration. The opening of the second half lacks direction, with nothing driving it forward. But fundamentally, this is the story of Frankie Lucas, someone both easy to root for and profoundly human. It’s a pleasure to spend a couple of hours getting to know him.

Ultimately, Going for Gold satisfies the appeal of a classic sports narrative, whilst delving into the complexities of such a life. Evergreen themes of legacy and sacrifice are given new life through wonderful cast chemistry and a warm, clever script. The resulting show is well-crafted, satisfying, and highly entertaining.

Going for Gold plays at the Park Theatre until 30th November, with Thursday and Saturday matinees. Tickets can be purchased here.

In Conversation with Denica George

Published on by Tabitha JamesLeave a comment

What has your experience been like working on Much Ado About Nothing Remixed? How has this production challenged or excited you as an actor?

My experience has been perfect because I’ve been able to learn different techniques as an actor and build a family at intermission. It has taught me to be resilient and empathetic, especially because we’re working with a large cast and some people can be having a bad day and project their feelings. I have managed to not allow it to affect me and rise above and be able to be a role model even though I’m one of the youngest in the group. 

Intermission uses Shakespeare as a way to explore modern-day challenges. How
does Much Ado About Nothing Remixed reflect the pressures young people face
today, particularly with social media and societal expectations?

⁠I think the play highlights the themes of hysteria and how everyone believes everything on the internet, and looks at how men and women have certain expectations of falling in love, and how women are expected to follow instructions from someone who has a higher status.

How have you personally connected with the character you’re playing? Do you
see aspects of yourself or your life in this story?

At first I found it quite difficult to connect to Francis as this character is highly religious (a pastor). I struggled to connect to this character as I’m not really religious, though I was able to understand Francis’s objective. But after Darren hosted a character workshop I was able to understand how to create my character alongside making a reconnection with God. 

This production features two alternating casts. How has that been as a cast
member? Does it bring a sense of competition or camaraderie?

⁠I wouldn’t say that there’s competition because at the end of the day we are still part of the same production, and I also find it quite helpful to see a different interpretation of the play. 

Intermission is well-known for creating a safe and creative space for young
people. How has that impacted your confidence and growth as an artist?

In general, I’m a quite reserved person and shy and I started off shy, but as soon as we started rehearsing I felt more comfortable. 

As someone currently working with Intermission, what’s the biggest takeaway for you, both in terms of artistic development and personal growth?

I’ve definitely become more extroverted compared to when I started and in terms of my skill as an actor, I have been able to think more about my characters’ circumstances and objectives. 

Finally, what do you hope audiences will feel or reflect on after watching Much
Ado About Nothing Remixed?

⁠I hope the audience find this play funny as it’s a comedy and I hope that they stay heavily engaged with the story. 

FEATURE: A brand new production from Scottish Ballet: Mary, Queen of Scots

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Scottish Ballet is thrilled to announce the world premiere of Mary, Queen of Scots, debuting at the Edinburgh International Festival in August 2025, with a subsequent tour across Scotland. This original production offers a fresh perspective on the historic relationship between Mary, Queen of Scots, and Queen Elizabeth I, told through Elizabeth’s eyes as she reflects on her complex bond with Mary in her final hours.

Directed by Scottish Ballet’s Choreographer in Residence, Sophie Laplane, Mary, Queen of Scots marks Laplane’s first full-length narrative ballet. Designed in collaboration with director James Bonas (The Crucible), the ballet pairs historical themes with a strikingly modern set by award-winning designer Soutra Gilmour, known for her acclaimed work on Merrily We Roll Along and & Juliet. The intergenerational cast includes various dancers playing the role of Elizabeth I, with guest artist Charlotta Öfverholm portraying Elizabeth in her later years. Mikael Karlsson and Michael P. Atkinson, the composers behind Scottish Ballet’s 2022 Coppélia, return to create a rich, emotive score for this new work.

“This story is a cornerstone of Scottish heritage and one we haven’t explored since the 1970s,” says Scottish Ballet Artistic Director and CEO, Christopher Hampson. “Through Sophie’s fresh approach, we’re seeing the Mary/Elizabeth relationship in a new light—balancing the weight of history with an inventive energy that brings new dimensions to these characters.”

The production is part of a significant year for Scottish Ballet, which includes a spring tour of A Streetcar Named Desire and Dextera in New Zealand, a premiere of its first full-length dance feature film in autumn, and a London production of Twice-Born.

Scottish Ballet is committed to reducing its carbon footprint and embracing sustainable practices in the creation of Mary, Queen of Scots. Support from the Bently Foundation allows the company to track and reduce emissions for this production, contributing to a more sustainable future for stage and screen. This production also represents the culmination of Scottish Ballet’s Five in Five Campaign, launched in 2019 to commission and stage five new full-length ballets over five years in celebration of its 50th anniversary.

Tour Dates:

  • Edinburgh International Festival: August 2025
  • Glasgow, Theatre Royal: September 17–20, 2025
  • Eden Court Highlands, Inverness: September 26–27, 2025
  • Aberdeen, His Majesty’s Theatre: October 2–4, 2025

Mary, Queen of Scots is supported by patrons of the Five in Five Campaign, a testament to Scottish Ballet’s commitment to creating a lasting legacy for Scotland and expanding the reach of ballet to new audiences. Scottish Ballet, founded in 1969, continues to innovate in dance, presenting a diverse repertoire that combines classical technique with modern storytelling.

For more information, visit scottishballet.co.uk.

In Conversation with: Daniella Adjemon

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We sat down for a chat with Daniella Adjemon. Daniella (She/her) is a Founder of Connecting Minds, actor, employment advisor and social values consultant. Her work focuses on giving vulnerable young people equity through employment, AI and digital marketing. The arts changed Daniella’s life, from watching IYTs Juliet and Romeo through a homeless charity to joining intermission, becoming part of the family and being mentored to success.

Can you tell us about your journey with Intermission Youth Theatre and how your time here shaped you both as a person and as an artist?

My journey with intermission has honestly been life changing. I first discovered intermission through a homeless charity called SPEAR. I was unemployed, homeless and low in confidence. After watching Julliet and Romeo: The Remix, and hearing the talk back, hearing that IYT had trained them to be actors and some of them were just like me; I knew I wanted to join. I came from being anxious, with depleting mental health to being a confident agent of change in my community! When I finally got housing, Nana and Darren even helped me move in! The holistic care and family concept meant the world for me as a care leaver as I didn’t believe I could ever have a network, yet alone people that genuinely care for me. The fact that once you complete the program you still stay connected as a graduate has helped me further my self improvement into the ‘adult’ world. Through the encouragement of the facilitators and conversations with Darren I have been able to gain confidence in using my lived experience to empower others and got supported to start my own social enterprise (soon to be a registered Community Interest Charity) called Connecting Minds, which teaches AI, digital marketing and employability to those experiencing social inclusion through the care or youth justice system.  From bid writing to guest speaking in one of my sessions, I have been supported in all aspects. I even have full time employment and vastly improved mental health. Intermission really helped shape me into a woman and prepared me for the real world. 

Much Ado About Nothing Remixed explores themes like social media pressure and societal ignorance. Did any of these themes resonate with your own experiences growing up, especially in the context of your time at IYT?

Social media pressure is definitely something that affected me heavily especially after covid. I got bullied for being homeless and having an eating disorder online. It is important to have good people around you to remind you that you are loved regardless of the adversity. Society is increasingly ignorant to the adversities that young people face and having plays like this, that are thought provoking and provide a different more pensive perspective and awareness to these issues, is so essential. 

Intermission often uses Shakespeare as a vehicle to explore contemporary issues. What was it like engaging with Shakespeare’s work at IYT, and how did it help you view your own challenges from a different perspective?

Having an English literature degree, I was one of those who loved English but hated Shakespeare. Intermission completely changed my opinion on that and that was through really breaking down Shakespeare and relating it to modern day experiences. Using kinesthetic learning rather than talking at us really helped me to retain the information and the games helped me gain an in-depth understanding. This in turn helped me challenge my perspective of Shakespeare being unrelatable and has me enjoying reading his plays in my spare time. 

How did Intermission Youth help you transition into a career or further education? What skills or lessons did you take with you after you left?

I came from a place of hatred and bitterness towards the world because of how life had treated me. I went to go see one of our facilitators in her one woman play. Laticia, and she had a story similar to mine and when I asked her ‘ How do you stay so positive and full of love and life despite how life has treated you?’ and she said “You can’t change how people have treated you but you can change how you treat the world” That made me go home and cry. Through this IYT journey I have learnt patience; I have learnt resilience and sanity. I have learnt how to compartmentalize my emotions and the people in my life. I have learnt to believe in myself. Believe I do have big energy, I can be a leader, and I have so much potential. I have learnt how to stay professional in a workplace and not let my emotions dominate my actions or words. I have learnt how to re-love myself and re-love life. I have learnt how to maintain balance but also how to help and uplift others. I have learnt to not always be angry but most importantly how to turn judgement into curiosity and implement trauma informed practice because we all have a story.

In your opinion, how crucial is it for organizations like IYT to exist, especially in a time when arts funding and opportunities for young people are becoming more scarce?

It is so important for organizations like IYT to exist! I had no one believe in me and was so luck to find an organization like IYT where people are genuinely passionate. These little things like having someone believe in your potential are the things that stick with you all the way into your adult life, and it’s been proven this is why people as old as 30+ who started intermission at 16 are still to this day engaging with the service. Intermission is changing lives, and I am genuinely living proof of that. Whether we transition in to acting or into the corporate sector, I feel fully supported and know I can ask Nana, Darren or any other person I have met along the way for advice. There should be more funding for this sector because it really is a creative and innovative way to engage hard to reach young people. I have never seen a play until I went to see IYT and since then I engage in theatre trips with intermission which has hugely broadened my horizon. 

What does it feel like seeing the new cohort of young actors now performing in Much Ado About Nothing Remixed? Any advice you’d give them as someone who’s been in their shoes?

It makes me so happy to see a new cohort of young people, especially because of their age ranges. I know by the end of the program they will flourish into beautiful versions of themselves. My advice would be taking the plunge, everyone in the room has a story so do not be afraid or nervous about yourself. Take the opportunities – people’s lives have changed tremendously! The answer will always be no, until you ask, don’t live in the what ifs. 

Finally, what’s next for you? How has Intermission helped you in shaping your future?

I work as a career specialist for young people who have been through the care system. I own a social enterprise called Connecting Minds which is funded by Foundation Futures for London. This year we got £5,000 funding and next year we will be awarded £15,000 to run the project again and collaborate with Northeastern University. We hope to partner with Google. I do extra work and still go for auditions, I am currently working on getting new headshots and applying for Agents. My dream is to star in a horror film and set up a more inclusive school curriculum with Connecting Minds being a top referral with leaving care teams and PRU. Intermission helped advise me on how to run Connecting Minds, how to best budget and how to write the financial bid. As well as believing in me which has honestly carried me so much.

REVIEW: The Axiom of Choice

Published on by jessicafrancis08Leave a comment

Rating: 3.5 out of 5.

“The Axiom of Choice was an entirely
enjoyable evening of theatre and something a little bit different.”

“Did you assert your free will in your decision to come to our play?” The question that follows audience members throughout the play and even greets them as the opening sentence of the programme.

Written by Marcus du Sautoy, Simonyi Professor for the Public Understanding of Science and Professor of Mathematics at the University of Oxford, The Axiom of Choice is at first glance an unusual production, following the story of Professor of Mathematics at the University of Strasbourg, Andre Weil. However the surprising take away was that despite the topic, the audience felt lightened and a number of laughs were had throughout.

Waiting for the play to begin, the audience were greeted with a steady ticking noise paired with pressure inducing music. This goes on to form almost an additional character in the production with sound playing a key role in the staging. The stage is a blank canvas with only an octagon in the centre and a selection of other mathematical shapes scattered around.

When the actors appear, they are all dressed similarly and with very natural hair and make-up , this is for a reason as each of the four actors play the role of Nicolas Bourbaki, the fictional character conceived by Andre Weil and a group of fellow Mathematicians. You follow the four Bourbaki’s as they explain how everything comes from zero and through this we learn, do we have a choice or are we all just following our path or ‘Dharma’, such as the one Weil faced when war came knocking on France’s borders.

Shipra Jain, Clive Mendus, Joseph Prowen and TJ Sulaiman, are four actors that come together and put on an impressive performance, I’d struggle myself to remember lines relating to the Riemann Hypothesis but apart from a few opening night jumbles, they pulled it off with ease. The stand out performance for me had to be Joseph Prowen, who took on the additional role of Andre Weil, bringing out a vastly different characterization to his portrayal of his Bourbaki.

The highlight for me was the combination of lighting and sound. With a minimal set, lighting and sound had to work extra hard to help move you from Rouen prison, to India, to a cafe in France. With the music from the start of the play featuring every time the Bourbaki’s were talking, allowed for more ambient sounds to set the other scenes, for example the use of warm orange lighting and the sounds of crickets, help bring audience members to the streets of India, or bright lights and the sounds of a bustling surround, we were transported to a busy cafe in France. This was especially prevalent further in the production when Weil finds himself in prison and it’s silent except for the sounds of his vocal cellmate.

My only critique was that sometimes the movement, which was interspersed throughout, went on for a touch too long and I started to lose track of what was actually being portrayed, particularly a piece after Weil was in India.

Apart from that, as a complete dunce when it comes to anything Mathematical, it was an entirely enjoyable evening of theatre and something a little bit different. The buzz of the audience as they left the Oxford Playhouse seemed to agree.

In Conversation with: Robbie Westacott and Gillian McCall

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We Sat down with Robbie Westacott and Gillian McCall ahead of the fourth OSO Studio Writers Studio to learn more about their latest project.

What’s the secret to packing a powerful story about ‘duality’ into just 10 minutes? Any tricks you discovered?

RW: Firstly, with just 10 minutes, you have to ensure every second of the play counts. You have to present something highly engaging to the audience in the very first seconds of the play, then keep them engaged by moving the story forward and carrying that momentum all the way through. Secondly, I think a character-driven story is crucial for a play like this. To produce a powerful story that the audience will become emotionally invested in, you have to present them with a relatable, complex character they want to follow.

GM: Condensing a story into just ten minutes was a challenge, but useful in that it forced me to write concisely and focus on what the key elements of the story actually were. I found that I spent an awful lot more time cutting things out than actually writing

What surprised you most when you started turning your ideas into a 10-minute play? Any “Oh wow, this works!” moments?

What surprised me most, personally, was how much you can achieve with just dialogue alone. This is the first play I’ve written, as I usually write short stories and novels, so I was worried that writing a script consisting mostly of dialogue would be really difficult.

RW: Thankfully, I’ve been amazed by how much I’ve been able to do with just dialogue, subtext, and the things characters don’t say. It’s taught me a lot and definitely helped me improve as a fiction writer.

GM: I knew the characters that I wanted to write pretty early on in the process, but I found it difficult to find the right situation to put them in for such a short story. I spent a lot of time noting down ideas and actually drafted a substantial part on my phone while travelling by car when I had a flash of inspiration (it all needed editing, of course). However, I never really knew what worked until I heard it out loud. Having a lovely team of willing readers in our weekly sessions was invaluable in the process.

What’s something new or unexpected you learned from the OSO Writers Studio? Ready to take it into your next project?

RW: For me, personally, something unexpected that I’ve learned is how to direct my play and bring the story to life on-stage myself. I’ve been fortunate enough to be allowed to direct my own play, which has been an incredible experience.

Directing is something I’ve always wanted to do, and I’ve had a very clear vision for my story from the very beginning. So, this was a unique opportunity to “learn by doing,” as I’ve had several more experienced directors around me for support as and when I’ve needed it.

GM: The biggest take-away for me was the advantage of hearing work out loud during the writing process, and getting feedback from others along the way. There are things that can seem to work on the page, but out loud they can sound clumsy or cumbersome and being able to recognise these parts before becoming too attached is a real benefit. It’s too easy to want to squirrel work away until it’s perfect, but this actually just slows progress!

How did working with the OSO community—and knowing you had local support—change your approach to writing this piece?

RW: It’s been so valuable working with all different kinds of artists – directors, actors, playwrights, and producers, at the OSO. In my experience, one of the best ways to improve as a writer is by sharing ideas and collaborating with other like-minded artists, and this programme has been perfect for that.

GM: I think writing can be quite a lonely endeavour, so it’s been beneficial to be going through the process with other writers – all with different levels of experience – who have similar challenges or questions about their own work. I also enjoyed seeing how everyone’s scripts developed and I am excited to see them brought to life in the showcase. We are immensely lucky to have professional actors and directors willing to work with us on these projects, as I know there are a huge number of barriers for new writers to get work made, so having a safe place to try something new is a real privilege.

REVIEW: Autism Mama

Published on by duchenemilyLeave a comment

Rating: 4.5 out of 5.

An instantly likeable and warm comic, Lacey keeps the audience on her side throughout this hilariously honest no-holds- barred look into her autistic son’s journey through puberty.

‘I’m a G-Ma’, Josephine Lacey tells the cosy audience of The Soho Theatre Upstairs, smilingly. Dressed in a red sequined top and performing stand-up comedy, she certainly isn’t what comes to mind when you think of the word ‘granny’.

Celebrating the birth of her recent grandchild and complaining about her older son being a ‘c*nt’, Lacey immediately sets the tone with her honest and frank speech. A little bit rude and a little bit cheeky but with a strong maternal vibe and a comforting atmosphere, this was a comedy show where the entire audience felt safe and entertained.

With a strong set up, Lacey announced brashly that this will be the story of how she taught her autistic son to wank, shining a light on a topic that is so foolishly entrenched in taboo, and the often-neglected topic of sensory difficulties puberty can cause for those with autism. 

Lacey’s amount of love for her son beams out of her throughout this hour, even in moments where she describes cringing behind a shopping trolley after her son tells a woman in the supermarket ‘I like your breasts’, she celebrates the musicality in his voice and appreciation of the woman’s lack of offense, urging the importance of tolerance and understanding. 

Armed with an arsenal of hilarious props such as social stories to describe the process of wanking, ridiculously exaggerated bodily fluids and a delightfully large balloon penis, Lacey welcomes the audience into her and her son’s world and how they navigated his puberty, in an atmosphere free of judgement and pumped with laughter. 

Engaging with the audience in a playful and kind fashion,  Lacey builds a feeling of  camaraderie amongst us and upon leaving audience members were heard discussing just how much they wanted to be her friend. 

Crafting a space where everything’s okay and everyone’s welcome, Lacey’s comedic hour shows the power comedy has to bring everyone together and leave laughing, doing away with taboos.

Screenshot

REVIEW: Lipstick doesn’t make you pretty

Published on by Max AllenLeave a comment

Rating: 3 out of 5.

A good start towards a personal and intimate look into childhood pain and recovery with a splash of humour and levity.

Lipstick doesn’t make you pretty is a personal story about family, self-image, bullying and the effect of childhood on adulthood. Creator and performer Christine Fang viscerally relives moments from her life in the intimate setting of the Baron’s Court Theatre. The show was honest and forthright, giving audiences a comprehensive look into Christine’s life and challenges. 

The show’s strengths lie in Christine’s unique personality and bravery. She held nothing back on stage, engaging with the text and committing fully to the wide range of emotions her character experienced. Her humour was playful and energetic, reaching out to the far corners of the space. The show runs at about an hour making it an accessible piece for anyone to go and see. 

Despite its emotional fluency, the show lacked a cohesive plot or structure. The program states “a woman participates in a new mental health treatment and is confronted with memories keeping her stuck in the past.” While there were allusions to this “treatment” throughout the piece, they were few and far between, and did not ground the play as a central theme. Instead, the treatment references felt as though they were added after the fact as a premise to showcase snippets from Christine’s life. 

All one person shows contend with the tug of war between providing an audience with information and patently telling them the information. Unfortunately, Lipstick doesn’t make you pretty became a victim of “spoon feed theatre.” Without a clear plot device to fall back on, much of the play ends up telling the audience what to think and what was happening rather than showing us. 

The format alternated between impersonations of people from Christine’s past and interview style explanations for the trauma these people caused. The interviews suffered from exposition but were clearly connected to an emotional place. There was a brief and intriguing suggestion that the memories were part of a science fiction style “simulation,” but the idea was never fully explored. Nevertheless, the impersonations were funny and transformative and far and away the most engaging part of the piece. 

Another strength of the piece was its deft and interesting use of different languages. Christine switched from English to French to German to Mandarin seamlessly. Despite only speaking two of those languages, I was able to follow what she was saying perfectly. This was also another area where Christine seemed most comfortable within her performance. 

Tech and set were necessarily very minimal, given the physical constraints of the theatre. There were lighting changes which were done smoothly and helped give the show some authenticity. However, there were too many different colours and schemes which seemed 

disconnected from what was happening on stage. The show would have benefited from more sound and music, in order to add texture, since just one person’s voice can become quite repetitive, even monotonous, without something to break it up. 

Christine is very clearly a talented actor. She performed memories and impressions with gusto and humour. The writing, however, restricted her performance, making it impossible for me as an audience member to fully engage, due to a lack of cohesive plot or through line. Christine finished the show with a statement that it was “a work in progress” and the “first step in a long journey,” and encouraged the audience to reach out with comments and criticisms. With this in mind, I think the show has potential to evolve into a great piece, but it requires some story devices to help it on its way. 

I am looking forward to seeing where it goes from here.

Credit to Alice Behind The Camera

REVIEW: Unspun Sessions

Published on by Alice WoodhouseLeave a comment

Rating: 5 out of 5.

Discover some of the best London underground and unsigned artists at the Unspun Sessions event in an intimate music cocktail setting in Farringdon,Piano Smithfield London.

Welcome to Unspun Sessions, an evening of live music from some of the most talented unsigned-artists in London. Set in a sophisticated underground music cocktail bar, Piano Smithfield, this event is presented by the gorgeous soul that is Lorraine Solomons from Success Express Music. Lorraine is a music promoter on the London live scene and is about to celebrate 15 years in this industry. Lorraine has had great success with her events and it’s not hard to see why. Her kind heart and passion for these artists to succeed is both pure and endearing. As Lorraine welcomes in the hottest up and coming artists to the stage once a month, she is providing a stunning and supportive space for the voices of some phenomenal acts who perhaps yet haven’t had the chance to been seen or heard by the masses, Lorraine gives these artists a platform to shine. It’s clear to see just how much she hopes everyone of them succeed in this incredibly competitive music industry. 

On Friday night, 8th November I walked into the Piano Smithfield bar, in Farringdon, for the very first time. This is a gorgeous venue and one I will continue to return to. If you are looking for live music and great cocktails then look no further, I highly recommend this underground bar. The waiters/waitresses will make their way to you to take your order where you’ll be sat at a cabaret style table in an intimate setting. They paraded through with pizzas, wine, beers and cocktails and somehow managed not to distract you from the musicians performing on stage. 

The evening consisted of 5 artists performing mostly original songs, each sharing a 25 minute live set with the audience. The first solo artist took to the stage, sat at the grand piano and wowed us all with her pop-classical-soul cross over vocals. Jessica-Beth is a name you want to remember, this woman knows how to open a show. Her song writing was remarkable, she provided the audience with an array of personal stories within her songs, I believe everyone in the audience could relate to at least one of her original pieces. The one song that stood out to me was a stunning and heart felt piece she recently wrote, inspired by her Grandad, titled Three Words. Jessica-Beth mentioned how she tends to throw all of her pain into her music and that’s how she continues to remain an upbeat and happy person. She had a real warmth about her that made the audience feel comfortable and her vocal ability was quite extraordinary. Jessica-Beth will be back at the Piano Smithfield in January for her Debut single release party. This is an event you don’t want to miss. 

Next up we had Abs, the soulful pop queen of the night. Abs performed an original set with her band. Abs fuses various genres of music such as funk, pop, R&B and Neo Soul all of which created a cool and unforgettable sound. Her confident and sassy energy joint with the collective sound of her smooth-vocal-stylings and her bands talents made me personally want to get up and dance the night away. This girl means business and is certainly one to watch, I have a strong feeling she will rise rapidly in this industry. 

Introducing our 3rd act of the night Fabia Anderson, Fabia performed her original set on both keys and vocals and was accompanied by a stunning cellist, Meg Ella, who also shared a gentle backing vocal with us. Fabia has a very unique vocal sound, a voice that will stop you in your tracks. After hearing her music both on track and live in person it is clear to see her level of talent both as a song writer and a singer, Fabia is a true artist that brings something so pure to the table with her honest lyrics and seamless vocals. Her music genre is cinematic pop and I strongly believe her music needs to be, and will shortly be, featured in Hollywood movies. 

As we reach the final two artists of the night, we are entertained by the one and only male act of this particular event. This is yet another positive from Lorraine and her Unspun Sessions, as most music events have a heavy male line up, this was refreshing to witness a remarkable 4/5 female acts. Alex Gibson knew he would have to bring all he had to the table as he was surrounded by some of the most impeccable female artists in London right now. It’s safe to say Alex Gibson was on his A game and all the way from Australia. He delivered a pop-acoustic-soul set with fluid vocal tones and he had charming charismatic presence. Alex was a joy to watch. 

Ok ladies and gentleman it’s time to take a deep breath as you are simply not ready for this next act and final artist of the night. I would like to introduce to you E.M. Kane and her incredible band. E.M Kane is simply out of this world, I have never seen an artist quite like her, her vocal ability was equivalent to Lady Gaga on steroids. I truly believe that myself and the audience on Friday 8th November 2024, in Piano Smithfield bar London witnessed something truly magical. This artist completely blew me away, from her song writing to her confidence and comedic chat as she engaged with the audience in-between songs, all delivered with a strong and endearing Glaswegian accent, but most of all I was in awe of her energy and passion throughout her performance. The way she delivered every single word was extraordinary and her band were impeccable, each of them clearly living their best lives during this performance. They were collectively something very special and I’d go as far as saying they’re the band I would want to book for my own wedding. E.M Kane is a true force of nature and nothing and no one is going to stop this girl from breaking through in this incredibly tough industry. Her powerhouse vocals were extraordinary and I feel privileged to have gotten to witness her performance at this stage of her career. 

I would like to personally wish every single artist the best of luck on their musical journey. Remember, you are a part of one of the toughest industries in the universe but know that your voice matters, the world needs to hear you, your music and your message. Keep chasing those dreams and be sure not to miss these current moments that will hopefully begin to propel your career. Even If they don’t, remember you entrained an audience this weekend, you gave people an escape from anything they might be going through right now and you received an opportunity to do what you love. I believe that is worth taking a pause, and a moment to be proud of yourself. 

Lastly, If you are looking to discover some of the best London Underground and unsigned artists Unspun sessions is the place to be, I for one will be back time and time again.