Month: April 2025

REVIEW: Dead Mom Play

Published on by Mark LloydLeave a comment

Rating: 5 out of 5.

An excellent play about grief and loss that will have you laughing and leave you thinking.

Dead Mom Play is a dark comedy written and directed by Ben Blais. It stars Griffyn Bellah as Charlie, a neurotic teen struggling to grapple with his grief, Hannah Harquart as Charlie’s mother who is slowly dying, and Joseph Bellis as death. Not the most usual premise for a comedy, even a self-described dark comedy, and yet there is a great mixture of comedic and more heartfelt moments,

This is a show that grabs you by the neck and forces you to pay attention, but in a good non-sadistic sort of way. It is paced at a mile a minute and Bellah in particular has to rattle through a large amount of dialogue at a rapid pace. It has a frenetic energy that is smartly punctuated by slower and quieter moments which give greater impact to both. The script has an almost poetic quality to it and ebbs and flows beautifully. At one point the famous “to be or not to be” speech from Hamlet is recited, and this actually felt in-keeping with everything that came before and after. I am not claiming that this script should be compared to Shakespeare, as it is full of modern references and is perhaps more closely comparable to Aaron Sorkin’s quickfire dialogue, but it does certainly share a lyrical quality that appears in Shakespeare’s work as well. 

The references to pop culture, both present and past, come thick and fast, and while not all of them were familiar to me, this did not impact my enjoyment of the show. Some of the references are quite clever and obscure with some presumably having been updated since the show was previously put on last year, as they were very topical. The show is at points pretentious, but the show also discusses this fact and gives a knowing wink to the high importance that some artists put on their work, some of which is very much not deserving of any importance.

All of the performances were strong, but the show really rests on the performance of Griffyn Bellah who has the vast majority of the dialogue and drives forward the energy of the show. Luckily Bellah gave an exceptional performance. The melding and mixing of accents was very well done and he shows the full range of emotions of both a scared and avoidant teenager as well as the “real world” character struggling to look back and come to terms with his grief. 

A show about a dying mother and her teenage son has the potential to be overly macabre and overwrought with emotions, but this show mixes the comedy with the tragedy brilliantly. It had me laughing and also on the brink of tears. At 60 minutes this show flies by and I absolutely recommend it to anyone.

Dead Mom Play played at the Union Theatre from the 14th – 17th April 2025. 

REVIEW: Calamity Jane

Published on by Megan FourieLeave a comment

Rating: 5 out of 5.

A joyous classic that is a must-see for any true musical fans.

Calamity Jane is a musical based on a real woman who was among other things a nurse, stagecoach driver, and gunslinger. She earned her name because she is credited with getting herself and those around her tangled up in many problems. However, she somehow always ends up working things out, never quite getting the credit she deserves for her clumsy genius. Calamity is constantly being overlooked or dismissed until her makeover from Chicago lady Katie Brown allows her femininity to shine through to the outside. Songs such as Deadwood Stage, and Just Blew in From the Windy City were made famous by Doris Day in the 1953 film version. As a fan of the iconic movie musical for years, I was not going into the production blind – I had high expectations of Carrie Hope Fletcher who I have always wanted to see on stage.

The red and gold of the Festival Theatre surroundings perfectly matched the colour scheme used to promote the production. The audience is welcomed by a lone banjo, spotlighted as a reminder that the musicians are front and centre in this production. It was the only musical I have experienced that encouraged audience participation and the well-loved songs were regularly echoed by audience members during the performance. It was a show full of stomping and clapping, leaping onto chairs sort of choreography that was guaranteed to brighten your spirits. The ending felt like an extra unexpected treat as the actors broke out into a hoedown complete with steps akin to line dancing.
 
The costumes are instantly recognisable with no odd surprises thrown in. After all, Calamity’s look is brought up a lot in contrast to the other women around her. Far from trying to be fashionable, she nevertheless stands out when she is not being mistaken for a man. The costumes and set were mostly unchanging, but that didn’t stop the innovative use of props that provided the perfect backdrop to each scene. There was a lot achieved by lighting cues, sound effects, and umbrellas.
 
The production skilfully integrated actor-musicians which seemed perfectly fitting for the stage. Everyone managed to give detailed performances, almost being onstage the whole time and whilst carrying an instrument! The only time when the instrument felt a bit forced or out of place was during the boyband stool rendition of Higher Than A Hawk. The songs are overall short and cheerful, but Carrie Hope Fletcher grasped her moment to shine during Secret Love and got me to shed a tear at her beautiful and powerful voice. She completely deserves to walk in Doris Day’s brown boots. Vinny Coyle shared great chemistry with Fletcher as Calamity’s perfect match, Bill Hickock. I could go on about everyone, but Samuel Holmes deserves a special mention for every little gesture that made Francis Fryer impossible to look away from.
 
Calamity Jane contains the moral of making the best of situations. Maintaining inclusivity to the underdogs and giving everyone a second chance- a sentiment that holds value today. 

FEATURE: We Aren’t Kids Anymore invites media to rehearsals ahead of opening

Published on by elspethmaychapmanLeave a comment

Earlier this week, Dance Attic Studios buzzed with anticipation as the cast and creatives of ‘We Aren’t Kids Anymore’ gathered for an exclusive media call ahead of the musical’s world premiere at the Savoy Theatre on April 28. This contemporary musical by Drew Gasparini explores the complexities of adulthood, chasing dreams, and the ever-evolving journey of self-discovery.

The cast offered a glimpse into their rehearsals before sharing what they hope audiences will take away from ‘We Aren’t Kids Anymore’.

Melanie La Barrie reflected, “I would like people to come and see this and realise that they can make different choices in life.”

Cassius Hackforth spoke passionately about the show’s uniqueness: “This show is very different to any show before… it’s very personal, it speaks to so many different people in so many different ways.”

Olivier-nominated star Aimie Atkinson, known for her roles in ‘Six’ and ‘Pretty Woman’, is excited to explore new territory. “It’s been interesting to delve into more intricate emotions… really getting into the nitty gritty of trying to navigate the world.”

Making her West End debut, Dylan Mulvaney added, “I’m really excited to show my vulnerability through this music… I can’t wait to flex those vulnerable muscles and explore that side.”

The cast were united in their message: kindness. “None of us know what we’re doing (in life)” Dylan added, “and the least we can do is show a bit of kindness, it really can go a long way.”

Directed by Jake Smith, with musical supervision by Lauren Hopkinson, the production promises a dynamic, heartfelt journey. As Smith says, “the musical has always been about the collective power to share and inspire individuals to be all they can be by following their dreams.”

‘We Aren’t Kids Anymore’ opens at the Savoy Theatre on April 28. Tickets are on sale now. 

REVIEW: Noisenight – Mariam Batsashvili

Published on by gracewallisLeave a comment

Rating: 4 out of 5.

Award-winning Georgian pianist Mariam Batsashvili brings a spiritual evening of Liszt to a canal-side venue in the heart of Hackney.

Hackney is the kind of place that can make one feel very uncool very quickly. Throw a stone, and you’ll find a teeming handful of muraled, hip, hole-in-the-wall arts venues on your way to retrieve it. So it was jarring to witness an audience show up so emphatically to one of those venues – the canal-side No 90 bar – for a Wednesday night of classical piano. 

This very likely had to do with the fact that this wasn’t any ordinary musician. Mariam Batsashvili is a young Georgian pianist whose mastery of Liszt has brought her critical acclaim the world over. After winning the 10th Franz Liszt Piano Competition in 2014, she then went on to become a Rising Star of the European Concert Hall Organisation and a BBC Young Generation Artist. And in her own unique way, she has become somewhat of an internet phenomenon, sharing piano tips to a sizable social media following.

All this, however, still didn’t fully explain why this young Hackney crowd was so happy to hear this young pianist run through a program of pieces including Liszt’s Hungarian Rhapsody No. 13, Après une lecture du Dante: Fantasia quasi Sonata, and Hungarian Rhapsody No. 2. That is until she took the mic after the first piece of the evening and offered perhaps the most endearing opener to a classical music concert I’ve ever heard: she told us we were going to be a part of her PhD research on Liszt, and would any of us like to stay afterward to give her feedback?

I was watching an artist making classical music something not only more accessible to younger audiences but also fresh and fun. Maybe even Hackney-level hip.

She explained that her dissertation aims to prove that Liszt was a spiritual composer – something she apparently gets a lot of flack for within the classical community. On a normal Wednesday evening, the esoteric quarrels of classical music academia would happily sail right over my head. But when she started to play her next song – Bénédiction de Dieu dans la Solitude – even I was ready to go to battle for her against the fuddy-duddy army of Liszt gatekeepers. 

The crowd also could have been excited to be there because – as I later discovered – most of them had crowdfunded it. The evening was a part of Through the Noise’s programme of Noisenights – crowdfunded gigs that bring world-renowned classical musicians from prestigious wood-paneled concert halls to local, independent, and intimate venues. From established soloists and ensembles to up-and-coming classical artists, Noisenights were created to serve a new era of global, more accessible classical music. The purchase of every ticket goes toward the event – only once it’s been fully funded are a few remaining tickets sold to the public. As the arts face ever-multiplying threats to their well-being, it was thrilling to know that almost everyone standing in darkness before the Yamaha grand piano was there that evening because they’d quite literally made it possible themselves.

After her first piece, someone in the audience unraveled a giant Georgian flag. Batsashvili stopped what she was saying to thank them for coming and for representing her home country. The crowd in this intimate Hackney venue erupted in applause. It was clear at that moment that Through the Noise’s refreshing mission was and will continue to be a booming success. Batsashvili not only represents a younger generation of classical musicians but also invites a fresh modern audience to, in its own way and in its own space, enjoy it.

REVIEW: Heisenberg

Published on by jamesrobertson42Leave a comment

Rating: 3.5 out of 5.

Queer retelling of a Simon Stephens two-hander.

What can you expect when you take an unexpected route late in life?

The Arcola Theatre’s new production of Simon Stephens’ play “Heisenberg”, which first debuted in 2015, takes a new spin on the two-hander by queering the original narrative. Taking place in the Arcola’s studio space, this intimate revival brings to life a bit of the magic of the original with much-needed fresh representation.

Upon taking your seats you are greeted by the presence of two solitary chairs – possible stand ins for the characters we are about to meet. Whilst sitting on a bench in a train station in London, Alex, played by Jenny Galloway, is jolted out of her reverie when Georgie, played by Faline England, kisses her on the back of the neck without permission. This unlikely interaction kickstarts the descent into an unexpected relationship that sees this unlikely couple growing closer and closer, all the while well-kept secrets are held close to home.

Galloway and England expertly take on these very distinct characters. England plays Georgie as an insufferable American woman in her 50s, loveable but at times grating on the ears – this is very much the point. Galloway’s portrayal of the 75-year-old butcher Alex is built in layers of subtextual nuance – a brilliantly evocative performance. The two together lead the audience through the subtleties of their lives, opening up small compartments in which we can nestle for a time before being ejected back into the harsh reality they live in.

This is a perfect example Stephens’ writing style in action. An uncanny character portrait of two souls who find each other despite the oddest of circumstances, he manages to weave their seperate storylines together in a deft fashion.

Although I believe more could have been done to bring the theatricality of the play to life. The pacing suffered at times as the action was not switched up often enough to maintain attention. As well, the sound design by Hugh Sheehan was oddly placed – used to create atmosphere for locations such as restaurants or train stations, the soundscapes provided instead grated on the ears as they seemed to rise and fall in volume for no reason, distracting from the text. While the lighting design by Rajiv Pattani was a bit too sparse for certain moments, and ill-fitting to the layout of the Arcola’s studio space.

All in all, “Heisenberg” is an enduring work by one of our great playwrights, brought to life by gender-bending that subtly reworks the powerful message of the play. 

IN CONVERSATION WITH: David Rhodes

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with David Rhodes whose show SOIR NOIR: A nightclub confidential has its European debut at the Crazy Coqs on Weds 16th April. Last minute tickets here.

  1. Soir Noir draws inspiration from the intimate gatherings of New York social elite in the mid-20th century. How did you research and reconstruct the atmosphere of these private soirées for a modern audience?

Fortunately YouTube has records of some of the great artists from the Golden Era of Nightclubs like Rosemary Cluny, Tony Bennett, Sammy Davis Junior and the like. Older television shows hosted by Judy Garland and Ed Sullivan were also wonderful references. My goal was to embody the elegance and heightened nature of these artists and emulate them stylistically while maintaining my own innate authenticity.

  1. The show features works by iconic artists like Cole Porter, Nat King Cole, and Noel Coward. What criteria guided your selection of these particular songs, and how did you approach reinterpreting them?

Again technology is a wonder. I googled ‘nightclub songs from the 40’s, 50’s and 60’s’. Many of the songs were familiar classics. Others were fresh and surprising discoveries. I’m a storyteller so I looked for songs with a narrative and that I found to be meaningful even today. It wasn’t difficult at all to find countless selections that were not only melodically and lyrically suberb but also had a message and point of view that still resonates decades later.

  1. What surprised you most in the rehearsal or development process? Did the show reveal something new to you as it came to life?

When the producers asked me to develop this show I wasn’t sure I was the right person for the task. I thought perhaps there were other artists more suitable for the assignment. I’m not Michael Buble and my shows tend to be more contemporary, often autobiographical with an LGBTQ+ slant. Stepping into the shoe of the masters of The American Songbook seemed daunting to say the least. I found out quickly not only did the shoes fit but the vocal stylings of the era sat beautifully in my voice and I felt like a full on legit crooner even on the first day!

  1. The show is described as part cabaret, part dreamscape. How do you use space, light, and sound to immerse the audience in that dual reality?

Crazy Coqs already has the perfect ambience for an art deco nightclub. Their technical staff is top notch and the show couldn’t be presented in a more ideal venue for its European debut.

  1. What do you hope people take away from the performance?

That’s a three letter answer! JOY! The world is so complicated nowadays. I’d love to provide an hour’s oasis of beautiful music and romance to give people a break from their personal stresses and global concerns. If I can bring the audience back to a simpler time when people met on moonlit nights and cocktail parties rather than chat rooms and dating sites, then I’ve done my job.

REVIEW: Girls Who War

Published on by fbalchinLeave a comment

Rating: 4.5 out of 5.

A bugle call of biting British wit

What would you do if you received a government letter telling you to enlist? Would you valiantly answer the call for King and country? Or would you descend into petty squabbles and cruel clapbacks to save your skin?

When three young women in a flat share receive a letter informing them to nominate a poor soul to fight in an unnamed war, personalities clash with bitterness, desperation and sass. Construction admin worker George (played mercilessly feisty by Sophie Wolsencroft) is the first to be offered up to go by penniless artist Felicity (played convincingly droll by Eleanor Jones) and finance worker Mads (played quietly perspicacious by Lana Lei). Farcical enmity ensues. 

Through satire, 4th wall breaking and thoughtful soul searching, we follow the trio as they subsequently take it in turns to justify why they should avoid going to war, and what they bring to society. A short scene involving two hilarious Northern older ladies outside the conscription office adds another element of the kinds of people involved in the conflict and a different perspective for our younger protagonists to ponder. As the friends realise, perhaps in a shared sense of nihilism, that war is inevitable as much as their utility bills, they eventually decide who must go. 

An interesting device I wanted to see further developed is the use of a spectral singer dressed in WW2 military uniform (played beautifully by Halli Pattison) as she interjects narration throughout proceedings with modern lyrics to famous Vera Lynn songs. Her character feels both within and without; I’d like to see her explored more, perhaps alongside other types of military narrator figures. 

 Working Girls Theatre has produced here some of the freshest, most relatable writing in ages. There is so much potential in Jaymee-Leigh Thackray’s script; it was bursting with excellent comic timing, intelligent ruminations between friends who become temporary rivals, and a sense of absurd realism.

 The show’s true strength, though, lies in its relevance. In a current geopolitical climate where anything seems unsettlingly possible, Girls Who War asks questions we may genuinely have to ask ourselves in the not too distant future. It speaks to a world where households must consider what would they sacrifice and who would even be willing to do it. I can honestly imagine the pithy bickering on sofas across the country, debating the merits of someone’s humanities degree versus someone else’s medic degree. Someone says they were an essential worker during lockdown versus someone who says they’re a singer who can entertain troops on TikTok- can you even WFH the war effort?

 Girls Who War is an original and timely tragicomedy about the very real questions modern citizens, particularly women, would ask of ourselves about how we view our country and the patriotism we would invoke (or not) if the time ever came to personally defend our freedoms.  There is a discussion to be had about utilising gender parity in enlistment quotas- should it be only men in a modern, feminist society? 

It is a witty and irreverent manifestation of a modern friendship group easily replicated across the nation. I fully believed in each character and I actually wanted them all to sign up in the end in a role that made the most sense to them whether combat, medic, logistics, journalist or any number of roles currently being undertaken by women all over the world including Ukraine, Palestine and beyond. 

This show, a microcosm full of heart and humour, successfully uses satire to make astute observations about people’s roles in modern warfare and the completely mundane and absurd ways it would invade our personal lives before it would invade our soil. 

REVIEW: Puppy

Published on by chelseajinaLeave a comment

Rating: 3.5 out of 5.

“In a literal wild romp of a play, Puppy manages to make dogging and pornography both wholesome and heart-wrenching“

Every Tuesday evening a small group gathers to go dogging. An eclectic and diverse club, they seem to offer not only community from an erotic standpoint, but from a social standpoint too. Richard and Susan (Ian Hallard and Tia Dunn), a posh couple who have been married for many years, provide an almost parental care, while enjoying this explicit activity that, according to them, saved their marriage. Dave and Sandra (Ed Larkin and Maria Austin) offer fun, youthful optimism, whilst Ed secretly works on an enormous series of erotic novels. Maya (Amy Revelle) stands as the group’s quasi-manic-pixie-dream-girl without the sexist overtones, a famous pornstar and volunteer librarian. 

The show is kicked off when Jaz (Ashling O’Shea) attends one of the weekly dogging sessions. With thinly veiled ulterior motives, Jaz seems to be a little unsure of her place there. When it comes to light that Jaz was only attending the session to talk to Maya, who she has seen at the library, the two kick off a tender relationship. Their lives become increasingly intertwined; Jaz becomes a more enthusiastic participant in the group, the two start a porn company together and eventually move into a shared home. As their relationship and business becomes more serious, cracks begin to show in their union. When the government introduces a legislation that bans certain sexual acts from pornography, their company is jeopardized and lands in great turmoil. A heartfelt journey commences, one of humorous innuendo as well as tender romance. 

Naomi Westerman, Puppy’s creator, created a truly delightful production. Puppy is a joyous piece that lives up to the ideology of feminist pornography. The production is thought-provoking and wonderfully inclusive, seamlessly including these principles so that they feel at home in this play, rather than a performative activity — the play truly embodies these conceptions, rather than shallowly portraying them. The stage, bedecked in oversized pillows, abstract shapes and cozy lighting, is transformational and feels incredibly comfortable as an audience member. 

This iteration of the play is an abridged version, and falls victim to some slight structural confusion, an easy trap to fall in. Nevertheless, Puppy is a genuine joy to watch. Catch it this month at Kings Head Theatre, tickets are available here.

REVIEW: Murder, She Didn’t Write

Published on by sophiemclarend5f8cfacc0Leave a comment

Rating: 4 out of 5.

‘An entertaining improvised murder mystery. Not one miss!’

This hilarious whodunnit is an Agatha Christie-inspired masterpiece, that is completely improvised based off of the audience’s ideas, making it your very own classic murder mystery play.

As everyone took their seats, the detective of the show ‘Agatha Crusty’ sat down in the corner of the stage, isolated from the rest of the set, interacting with the audience and writing notes, accompanied by jazz music to give it the 1920’s feel.  When the show began, she briefly introduced herself and the play, and then the lights came up on the audience. One lucky member of the audience was chosen to be ‘Jerkins’, her assistant. The plot of the show was then decided by audience members shouting out ideas for the location and murder evidence and then Jerkins picked out of their suggestions, ours taking place at a taxidermy convention, and a wet instruction manual for deep lunging found at the crime scene. What made the show hilarious was that any other suggestions that were shouted out which didn’t make the cut, the actors tried to somehow incorporate throughout. 

We were then introduced to the cast, each of the five with their own signature colour – a bit like Cluedo! They improvised scenes based on the audience’s decisions, which was very cleverly helped by the detective in the corner of the stage as she prompted them with ideas or told them what would happen next to move the show on. They were also helped by the lighting team, who would bring the lights down to end the scene if the actors were struggling or it was going on too long. Detective Agatha Crusty then made her way to ’Jerkins’ in the audience who picked from 5 character cards who would be the victim of the murder, and then who would commit the crime. 

One of the stand out things was the lack of props and set. It was brilliant watching the cast use their imagination, using rolling pins as rhinoceros horns, and miming the missing items, but it didn’t take away from the piece at all. The show was accompanied by Sara Garad, an improv pianist, who played during the show, following everything that was happening on stage and adding character and emotion to the piece.

The only thing to note was that there were a few lighting issues throughout the show; the lights coming up on the audience when they weren’t meant to. But honestly the audience were enjoying themselves so much that it wasn’t really noticeable and didn’t affect the performance. 

The show was a true testament to how skilled these actors were. Being able to stay in character whilst thinking of everything on the spot, and then having the ability to remember every little thing that the other actors had said so that the story flowed. It was honestly incredible to watch. Of course there were a few laughs that were held in  from the cast, but it’s expected from an improvised comedy. It’s definitely one to watch, even better if you watch it more than once. Not one show will be the same but every single time you will be laughing your head off and leaving the theatre impressed!

Murder, She Didn’t Write tours across the UK this summer, tickets are available here.

REVIEW: Seven Last Words

Published on by ayoungishperspective11 Comment

Rating: 4 out of 5.

 A stirring evening of music

The Scottish Chamber Orchestra Strings and Chorus captivated a packed Greyfriars Kirk on Saturday evening with a powerful Special Event performance of James MacMillan’s Seven Last Words. The hour-long programme was rich in atmosphere and musical nuance, offering an evening that rewarded the attentive and discerning listener.

Opening with William Byrd’s Ne irascaris, Domine, the ensemble delivered a moving rendition of this lament. The piece’s interplay of sorrow and defiance—rooted in the composer’s experience of religious persecution—resonated clearly in the intimate yet reverberant space. It was a sublime start that drew the audience in with grace and quiet intensity.

The Scottish premiere of Be Still by Daniel Kidane followed, bringing a striking contrast. The work’s eerie, hushed quality seemed almost too fragile for so many ears at once, yet it landed perfectly in the Kirk’s lofty acoustic. Cinematic and mysterious, its unsettling tone offered a provocative counterpoint to the surrounding choral works, haunting in the best way.

The final, titular piece, James MacMillan’s Seven Last Words, was the evening’s emotional and artistic peak. Haunting and passionate by turns, the piece traversed a wide expressive terrain—from stark plainchant to moments verging on cacophony. The performance summoned the drama and anguish of the Passion with boldness and conviction, demanding the audience’s full emotional engagement. At times liturgical and otherworldly, the work evoked the awe and dread of divine judgement.

However, the performance was not without its challenges. The acoustic majesty of Greyfriars, while enhancing much of the evening, sometimes swallowed the text—particularly in the spoken-word sections—leaving parts of the narrative obscured. This occasionally distanced the audience from the theological depth at the heart of the piece, veering toward a dramatic intensity that felt more horror score than sacred reflection. Additionally, space was limited for audience members and resulted in a confined viewing experience leading to an uncomfortable viewing experience.

Still, this was a performance of remarkable ambition and decent execution. The Scottish Chamber Orchestra Strings and Chorus brought a programme of depth and daring that will stay with most listeners long after the final notes have faded. The programme was truly memorable if heavy handed.

You can find more of the Scottish Chamber Orchestra’s season here: https://www.sco.org.uk/whats-on