“Bold, hilarious, and politically poignant — this is a show that entertains as much as it provokes.”
Two people walk onto the stage – familiar faces from the poster. They look at the audience and smile, an almost clownish opening to a show drawing inspiration from Shakespeare’s Henry V. On stage are Nina Bowers and Philip Arditti, two versatile and charismatic actors well established on the English stage. This time, they bring their own creation to London – a triumphant shout-out to the migrant experience in the UK theatre industry.
The script is superbly crafted. Many migrant artists will recognise conversations echoing their own experiences, yet it takes real craft to transform such exchanges into a piece of theatre brimming with life, humour and poignancy. Alongside its comedic sparks are moments of striking power: when the characters stop turning away from their heritage – so often diminished or othered by the industry – and instead claim it proudly, they infuse Shakespearean language with new brilliance and urgency. These moments feel liberating, a reminder to migrant artists that great art cannot be reduced to fetishised or appropriated narratives.
The structure follows a traditional arc – prologue, three acts and epilogue – which offers a sturdy framework for the audience even as the performers break the fourth wall to confront us with their views. At times the climax feels slightly over-dramatised, raising the question of whether such a classical structure is essential, but it does not diminish the overall impact.
As the play deepens into heavier themes, the two performers lace the story with wit and satire. The laughter they provoke is not only genuine but also strategic – a weapon used to expose the contradictions and absurdities of the British theatre industry. That combination of sharpness and levity is perhaps the show’s smartest choice.
The only drawback is the sparseness of the staging. Curtains appear without clear purpose, and the minimal props leave the stage bare for much of the performance. Yet Alex Fernandes’s lighting design adds clarity and dimension, ensuring the world of the play remains vivid even in its simplicity.
In a time like this, English Kings Killing Foreigners carries particular relevance. It is theatre that speaks directly to our moment – and it should not be missed.