With Shakespeare reimagined and Ellington in full swing, the West End should be Play On!’s next stop!
If Shakespeare and Duke Ellington had ever crossed paths in Harlem, I’d like to think they’d have shared a drink, traded a few jokes, and left knowing they’d both changed the world in their own way. Play On! brings that fantasy to life, turning it into a high-energy, jazz-soaked spectacle. Conceived by Sheldon Epps from Cheryl West’s book and directed by Michael Buffong, this reimagining of Twelfth Night spins mistaken identities, ambition, and romance into a whirlwind of music so electrifying it almost takes centre stage. The title is, of course, a nod to Shakespeare’s famous opening line—“If music be the food of love, play on.” But here, music isn’t just the food of love; it’s the main event, the atmosphere, the driving force behind every moment. And what a force it is.
The bones of Shakespeare’s original are all here—disguise, ambition, love triangles—but instead of Illyria, we find ourselves in 1940s Harlem, where jazz rules and women must fight twice as hard to get their voices heard. Vy (played with a wonderful mix of fire and vulnerability by Tsemaye Bob-Egbe) wants to be a songwriter, but since the industry won’t take a woman seriously, she disguises herself as a man to get her music in front of club owner Rev (the effortlessly cool Cameron Bernard Jones) and bandleader Duke (a charismatic Earl Gregory).
Then there’s Lady Liv (Koko Alexandra, a powerhouse if ever there was one), the club’s star singer, who is sick of men making decisions for her and is ready to take control of her own career. Throw in mistaken identities, crossed signals, and a whole lot of swing, and you’ve got the recipe for comedy.
The vocals in this show are nothing short of insane, but Rocks in My Bed was on another level. Lifford Shillingford and Llewellyn Jamal didn’t just sing it—they lived it, turning the song into a hilarious performance of two drunken, heartbroken men.
One of the biggest strengths of Play On! is the perfect chemistry between its characters. Vy and Duke’s relationship is that classic slow-burn—she’s head over heels, he’s clueless, and it’s endlessly entertaining to watch it unfold. Sweets and Miss Mary bring a different kind of love story to the stage, one built on years of companionship, warmth, and an effortless, unspoken bond. Their relationship is about the way they move together, in perfect sync, sharing a humour that feels lived-in and familiar. Tanya Edwards’s performance is mesmerizing.
And now, my personal favourite duo: Rev and Jester. There’s no romance here, but their dynamic is pure gold. Sweets takes it upon himself to turn the stiff and serious Rev into a swaggering ladies’ man. It reminded me a little of the dynamic between Will and Carlton in The Fresh Prince of Bel-Air—Rev trying (and failing) to be effortlessly cool, while Jester has the audience in stitches with his non-stop commentary.
Beneath all the fun, Play On! carries powerful themes—women fighting to be heard in a man’s world, ambition clashing with expectation, and the struggle for creative freedom. Vy disguises herself just to get a chance, while Lady Liv fights to control her own career—stories set in 1940s Harlem but just as relevant today. But with music this electrifying, there’s always the risk that these important themes get overshadowed. Twelfth Night is a text-driven comedy, but here, Ellington’s score takes centre stage, sometimes at the expense of the storytelling.
This production deserves a future beyond the Lyric. If there’s any justice in the world, Play On! will find itself on a West End stage soon, bringing Shakespeare and Duke Ellington’s meeting-of-minds to even bigger audiences.