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REVIEW: Genesis

Published on September 5, 2025September 5, 2025 by alexnorm14Leave a comment

Captivating contemporary cirque.

Genesis is beautiful. Artistry and athleticism blend as the Copenhagen Collective create complex shapes and perform jaw-dropping stunts. Sixteen artists bring poetry to life with simple, expressive movement and a palpable love for their craft.

Genesis makes circus human. So often cirque is celebrated as an almost otherworldly experience but this performance has gone a different direction. It’s themes of unity and connection are universal experiences elevated by breathtaking acrobatics. It is not driven by narrative but rather by feeling, but the vagueness of the storyline is of no significance when performed with such passion.

Set against Leif Jordansson’s mesmerizing compositions and brilliantly lit by Stefan Goldbaum Tarabini, it is visual poetry. Jordansson’s compositions are a work of art in their own right. Flitting between intensity and levity, they surround the audience and the artists. Tarabini’s lighting design is faultless. It’s play with silhouette and color completed the immersive experience of Genesis.

Choreographers Patrick King and Johan King Silverhult are gifted. The acrobats and stunts in this work are exceptional feats of athleticism; towering structures, human swings, and traveling hand balances are just a few of the collective’s accomplishments. The spotters and supports for stunts were seamlessly built into the choreography.

What makes King and Silverhult’s work unique is the choreography beyond the stunts. Simple movements and intricate formations tell stories that capture hearts and minds. Every moment of Genesis could have been photographed; it was a series of artfully designed photographs strung together like a stop motion picture.

The cast was exceptional. As athletes their skill is undeniable but their memorability came from their expressiveness. Every step was intentional and loaded with emotion. The audience was invited into their story, as connected to the artists as the artists were to each other. The duets recurring throughout the show were unflinchingly raw and emotive. To do stunts of the Copenhagen Collective’s caliber, there must be absolute trust; Genesis had it in spades. Each performer had their own character that distinguished them, some more than others. Their individuality and playful intermingling made the performance all the more enticing.

There is a charming messiness to Genesis. The performers come across as relaxed and the movements are almost clumsily, endearingly strung together. Perfection would have detracted from its charm. That being said, there were stunts that didn’t seem to go off quite right and a pointed toe would have been appreciated on occasion.

Genesis combines the magic of Cirque du Soleil with the humanity of Gary Clarke Company. Grab a ticket while you can and let the Copenhagen Collective inspire you.

REVIEW: Tristan Und Isolde

Published on August 17, 2025August 17, 2025 by alexnorm14Leave a comment

Timeless, powerful, thrilling.

Tristan Und Isolde is a epic for the ages. With themes of love, life, and death there is nothing out there quite like this. A uniquely stirring opera, this rendition of the classic tale is set to Michael Thrift’s simplified arrangement, featuring a piano quintet and little else. This unusual and haunting opera is worth a watch.

The intermingling of love, sex, and death is seen across many epic and classic tales. Tristan Und Isolde is a tale told through time that follows love to the tragedy of death. This rendition leans into the sexuality of the story in a way that previously presentations have not. Death is another central theme; three suicide attempts across three Acts.

The set left a lot to be desired. For a production of this caliber, Caitlin Abbot’s wall of foil was a disappointment. Her other designs were alright but the backdrop severely damaged the overall impact. In spite of this, Davy Cunningham managed to create a moving atmosphere with his splendid lighting.

Two violins, a cello, viola, piano manage to almost perfectly capture the intensity and beauty of Wagner’s full orchestra work. At times the music seemed lesser than the story called for; it was gentle when it should have been harsh, detracting ever-so-slightly from the story’s impact. Thrift’s arrangement leaned into the abnormality of the Tristan Und Isolde. Limiting the accompaniment allowed the audience to embrace the essence of the music.

It is an intimate performance that enables the audience to see the subtlest expressions from the singers. The chemistry between Tristan and Isolde is palpable. The nearness of the performers invited the audience in, allowing them to experience an intimacy and understanding of emotion not possible in a larger setting. Watching Brangane panic as they swapped the love potion for death was particularly captivating. The drawback of this intimidate space was that the volume became somewhat overwhelming. The singers were exceptional, but they seemed not to account for the size of the space in their performance; their voices were sometimes too loud, to the point of distortion.

The talented cast charmed but did not quite achieve perfection. Brian Smith Walters amazed as Tristan; his depth of tone and power is an opera house’s delight. Becca Marriott brought a husky charm to the role of Isolde. She played with power when needed but held back when a softer approach suited, giving an intelligent and engaging performance. Marke, portrayed by Simon Wilding had a few stumbles and shakes that lessened an otherwise good performance. Lauren Easton, Brangane, sang too loudly for the space. Oliver Gibbs as Kurwenal was a real treat, perfectly adapting to the space and crafting a memorable character.

Grimeborn’s Tristan Und Isolde is not perfect but it is still an impactful piece. Their biggest struggle was in their use of the space. In spite of its faults, it is still a performance worth seeing and a story worth remembering.

REVIEW: Tales of A Jane Austen Spinster

Published on August 11, 2025 by alexnorm14Leave a comment

Painfully relatable and tirelessly entertaining!

Unlucky in love? Tired of endless swiping? Tales of a Jane Austen Spinster might just be for you. It is a hilarious and unfortunately realistic adventure in modern romance, or rather, lack thereof. Liliana claws her way off the pages of an incomplete Austen novel in hopes of making her author finish her story; finding Austen to be long-since dead, she ventures into the modern world and quickly discovers both how much and how little the world has progressed.

Written and performed by Alexandra Jorgensen, this one-woman show is a woman’s delight. The writing is undeniably witty. Mixing laugh out loud comedy with not so subtle jabs at modern society, it’s enjoyable from start to finish. It’s a very conversational piece; Liliana speaks directly to the audience throughout, inviting us into the world as she understands it.

Jorgensen is a wonderful actress. Her high, affected voice and expressive face blend beautifully with the class and charm of a Jane Austen heroine. She oozed warmth and relatablility, putting voice to all the insecurities that pound away in the minds of women. Jorgensen did have several unfortunate line stumbles that disrupted the flow of her performance.

The details that help make a performance were well designed. The set was simple but immediately recognizable as the remnants of days past; the little hidden touches of modernity helped ease the viewers into the modern age. Jorgensen’s costume was beautiful. Delicate and classically tailored, paired with an elegant updo the image was only disrupted by her too-shiny, satin pink ballet shoes.

Setting the story in the Jane Austen House Museum was quite brilliant; it immediately created an environment that blended “faction and fiction”, as Jorgensen puts it. One of the few stumbling blocks Tales of a Jane Austen Spinster hit was the sequence during which Liliana explored the world outside her museum. It was not as smooth or clear as the scenes in the house and it dragged. The voiceovers trickled throughout were all flat and uncomfortably robotic; their AI style sound detracted from the story.

Tales of a Jane Austen Spinster is criticism at its most enjoyable. It is a love letter to the woman that questions where she belongs and wonders if her standards are too high. Relatable, hilarious, and honest, Tales of a Jane Austen Spinster is not one to miss.

REVIEW: Just Fall Over

Published on August 6, 2025August 5, 2025 by alexnorm141 Comment

The perfect show for those that love a little spice with their tragedy.

Just Fall Over is a captivating tragicomedy. A dysfunctional family gathers to turn off the life support for Sarah, daughter, sister, niece, and best friend, after 10 years in a coma. Brought to life by a gifted cast, Just Fall Over is one to watch at this year’s Camden Fringe.

The script is wonderful. Gracie Bradley and Belle Hobbs have created a truly original and impactful story. The dialogue flows nicely and the characters feel truly alive. Their ability to smoothly blend a rather tragic storyline with comedy is incredible. To devastate the audience with the tragedy of life one moment and to have them doubled over laughing the next is an incredible skill. Having writers direct their own shows can be hit or miss, but it was an absolute success in the case of Bradley and Hobbs. Their vision came to life and the audience lapped it up.

Each of the actors that made up that cast brought something unique to the table. Bronwyn Davies demonstrated a mastery of naturalism as Katie. Her emotional range and level-headed performance contrasted brilliantly to the more over the top characters. Belen Sophia was Davies’ polar opposite as the Nurse; very clearly a gifted comedian, she created a caricature of a character that absolutely worked. Sophia’s performance was hilariously obscene. Lucas Carlyon was interesting as Gregory, Sarah’s privileged younger brother. A little rough around the edges initially, he demonstrated great potential, perfectly straddling the tragicomedy line.

Belle Hobbs was a tad confusing as Felicity, the self-centered mother of Sarah and Gregory. Her acting was over the top, as made sense for her character, but she put on this strange accent that undermined her ability. Nonetheless, it faded by the end and she delivered one of the most memorable monologues of the piece. Gracie Bradley, another talented actress troubled one little issue. As Linda, Sarah’s aunt and Felicity’s sister, she was stiff and so hidden behind her hair that you couldn’t see her face but her character was strong and her delivery effective. Bradley and Hobbs had the best chemistry. Their bickering, conflicted, and tumultuous relationship largely drove the show. Both funny and sad, it was their play off each other that helped to make the show so successful.

Just Fall Over is one of those shows that just won’t fall off. A little rough around the edges with a few line stumbles, some iffy set pieces, and an opening song that went on a bit too long, it’s definitely a show to watch out for.

REVIEW: My Time of Life at Camden Fringe

Published on August 5, 2025August 6, 2025 by alexnorm142 Comments

Bland and unexciting with a few moving moments.

My Time of Life is a disappointment. What could have been a sweet reflection on life and aging was degraded by the almost apathetic reading given at Camden Fringe. There were moments of redemption, but the combined drag of the reading and the confused appearance of the actors made for a performance not worth the price or admission.

From the moment the actors entered the stage, My Time of Life was confused. A story of aging and reminiscence set in a care home did not jive with a cast in formal gowns, suits, and pearls. It created a cognitive dissonance between what was being read and what was being seen that made it near impossible to lose yourself in the story.

New Anthem Theatre has a poorly executed yet pleasant script. It is difficult to determine the actual impact of My Time of Life’s story because of the quality of its reading but it had great moments of feeling and of humor. There is a lot of scope in the text for an impactful performance. The ending was particularly interesting albeit unexpected.

The younger actress was the highlight of the performance. Initially starting off quite dry, she warmed to her role and gave life to the sweet, rambling young woman she portrayed. The leading lady, playing the aged Annie, was ok. It often felt as though she was reading to a group of primary children the way she delivered monologues but this was mixed with a few very powerful moments of emotion. I would like to see what she would do with the role in a full staging. The only male actor and the other older woman, both reading for several characters, were a stark contrast to each other. He was energetic and funny while she was drier than sawdust. I wanted to like her, she carried herself like the type of performer that silences rooms but her monotonous voice and unenthusiastic demeanor made it difficult. He was cheerful and a bit silly which complimented the other characters.

While a staged reading, or ‘Live On Air’ as New Anthem Theatre group calls it, can be wonderful, My Time of Life disappointed. New shows can live or die by the quality of their cast; My Time of Life is not likely to survive, at least not in its current format. New Anthem Theatre plans to turn this to a full stage production in the coming months, one that I would be curious to see. A story with potential, a full staging may just be the second chance it so desperately needs.

REVIEW: Death Comes to Pemberley

Published on July 28, 2025July 28, 2025 by alexnorm14Leave a comment

A pleasant, if forgettable enactment of PD James’ original novel

Death Comes to Pemberley combines classic characters with murder but misses the mark. The story, based on PD James’ novel of the same name, follows the events of Jane Austen’s Pride and Prejudice when life at Pemberley is interrupted by the unprompted arrival of George Wickham and the bloodied corpse of Captain Denny. Duncan Abel and Rachel Wagstaff remained largely true to text in transferring the story to stage but their efforts to straddle the line of comedy and drama resulted in a confused performance that failed to compel on either front.

Abel and Wagstaff’s two-act play is unbalanced. The first act drags, taking too long to make points and focusing more on witty one liners than plot progression. The dialogue is dated and not overly interesting. The second act feels rushed but is much more compelling. Despite having a cohesive plot, Death Comes to Pemberley feels disjointed. The original music, trickled throughout the show is helpful in creating a feeling of continuity. The scores are beautiful and director Joe Harmston’s decision to set it with the recurring image of Georgiana spotlighted at the pianoforte goes a long way in threading events together.

Sean Cavanagh’s adaptive and dynamic set impressively conveyed the story’s various settings. Mike Robertson’s lighting was mostly effective but struggled to set the proper tone during the show’s tender moments. Natalie Titchener’s costume design was intelligent, period appropriate, and perfectly completed the transformations of the actors portraying multiple characters.

Despite boasting many veteran performers, including James Bye of Eastenders, Death Comes to Pemberley falls flat. Jamie-Rose Duke made her stage debut as Elizabeth Darcy; she is a convincing orator but lackluster in her physical performance. She warmed as the show progressed and her performance had greatly improved by the second act. Bye was bland as the beloved Mr Darcy; like a chameleon, the quality of his performance appeared determined by the quality of his scene partner; he was brilliant arguing with Sam Woodhams’ George Wickham but dull when flirting or bickering with Duke’s Elizabeth. Bye and Duke lacked any form of chemistry despite intending to portray the much in love Darcy’s. There was an unpleasant stiffness in Duke and Bye that permeated the show as a whole.

This is a show in which the ensemble cast has completely outdone the primary. Joe Bence was a breath of fresh air. Understudy Bence stepped into the role of Henry Alveston, typically played by David Osmond, and stole the show. Expressive, energetic, and charismatic, Bence was a refreshing break from the show’s overall flatness. He was the embodiment of Henry Alveston and his chemistry with Celia Cruwys-Finnigan, who was lovely as Georgiana Darcy, was delightful. All those who multi-roled (Lisa Faulkner, Sarah Berger, Mogali Masuku, Paul Jerricho, Sam Woodhams) are due many cheers for the quality of their performances and the clarity with which they portray many very different characters. Faulkner and Masuku’s performances were particularly impressive.

Having been a successful book and television series, it is surprising that Death Comes to Pemberley has faltered on stage. The dry writing and stiff acting has disadvantaged a story with endless potential. Disappointingly, Death Comes to Pemberley is just okay.

REVIEW: Outside Voice

Published on July 5, 2025July 4, 2025 by alexnorm14Leave a comment

Outside Voice is the finest of contemporary theatre.

Outside Voice challenges our understanding of disinformation. Matt Morrison’s original work sees soon-to-be government health committee chair Helen struggle to mesh her world of hardline academia with her husband’s boundary pushing podcast. Questioning truth and convention, this captivating play shows the damage wrought by misinformation and academic competition.

The chemistry amongst the cast was phenomenal. Viss Elliot Safavi is brilliant. As Helen, she was able to create a complex character and convey the story without seeming to perform it; it was like watching life through a window. Her costar, Phil Cheadle, equally brilliant but in the opposite fashion. Playing Helen’s husband, the disgraced scholar turned podcaster, Guy he was overly performative, engaging with the audience like a presenter at a convention. Safavi and Cheadle’s differing styles were perfectly suited to their characters and they played wonderfully off each other in the progression of their relationship. Dan Starkey’s fiery performance as Guy and Helen’s incendiary former colleague, Mike was striking. Elle O’Donnell’s elegantly understated portrayal of cancer-stricken Eve was refreshing. Expressive and engaging, there was a lightness about her that lacked elsewhere in the show.

Set designer Nicky Bunch is a genius. The seemingly simple wall of boxes created every prop and set change required. It was flawlessly designed and used with such a striking intelligence that it is perhaps the most memorable piece of the show. Louise Anderson’s lighting design was very effective; combined with Ed Lewis’s sound design, scene changes and shifts from private moments to podcasting came naturally and clearly.

Outside Voice is really a fascinating work of theatre. It challenges what we know and examined the malleability of truth professionally and personally. The story is complex but not in a sensational fashion; it’s a study of relationships amidst ideological conflict. It progresses logically with no outrageous or unnecessary plot twists. The script itself is lovely, it flows organically and conversationally. The ending is the perfect summation of human imperfection. Matt Morrison is clearly a gifted writer.

How do you define truth? Of course the word can be defined but our perceptions and choices are constantly tainting what we, individually, understand as the truth. Could you love someone whose understanding of truth and reality opposes yours? That is the central question of Matt Morrison’s Outside Voice.

Tackling the complexities of the age of fake news and misinformation, Outside Voice offers a fresh perspective on love and truth. Poignant, compelling, and unquestionably relevant, Outside Voice is the finest of contemporary theatre.

REVIEW: Godz

Published on June 15, 2025June 15, 2025 by alexnorm14Leave a comment

“Hilarious and more than a little crazy.”

Dive head first into GODZ. Blending mythology with comedy and acrobatics, three and a half gods in the form of half-naked acrobats delight in this oddly amusing show. Breaking the mold, it’s a far cry from typical West End theatre which makes it all the more memorable.

GODZ is exactly what one would expect to see at a Fringe festival, which is fascinating because the Peacock Theatre is far from Fringe. There is a very loose plot revolving around Hercules’s venture from Demi-God to God, but it’s more a guiding suggestion than an actual storyline. Despite the lackluster plot, it’s a highly entertaining evening of tricks and silliness.

Each acrobat brought something different into the mix. Liam Dummer was a wonder of flexibility, sensuality, and strength. As Cupid, his airy grace was charming and his final aerial straps number as Zeus was the most impressive acrobatic piece of the entire show. Thomas Gorman is clearly an accomplished breakdancer; he shined as Hades, performing a fiery aerial swing piece that boasted a headstand on the moving swing. Jordan Twartz’s Diabolo juggling and striking expressions were eye-catching. He and Dummer also wowed in their naughty nun aerial number. Callan Harris’s Hercules led what little plot GODZ has. His himbo-esq portrayal of the ancient demigod and playful flirtation with the audience makes him the perfect man to guide the night. As an acrobat, he’s a one-man balancing act, whether it be chairs or ladders, all that he does seems to defy the laws of physics.

It is not the cleanest of acrobatic acts, but what it lacks in polish, it makes up for in comedic value. Some of the tricks are shakier than they should be, notably Dummer and Twartz’s partner

balances, but they are nonetheless impressive. The cast is expressive and their playfulness with each other as well as the

audience is thoroughly engaging. Whether they are defying gravity or cracking whips there’s always some hint of hilarity. The nudist number, where silver trays are all that separate the

audience from a full Richard Gere experience, is wonderfully obscene. Nothing, however, compares to Hercules’s visit to Christian Hell. Really, what could beat high-flying, horny nuns?

It’s far from a perfect show, but with some polish and perhaps a little more plot it would be brilliant. GODZ is a wild ride that’s well worth the price of admission.

It’s a mess but it sure is entertaining.

REVIEW: Detention at the Place

Published on June 8, 2025June 7, 2025 by alexnorm14Leave a comment

message to all those voices screaming into the abyss, unanswered but not forgotten.

Detention is an homage to the Queer community. Taking it back to the ’80s, Detentiongives voice to those that suffered under AIDs, Section 28, and an outdated societal mindset. Against the backdrop of the Thatcher government and 1984-85 Miner’s strike, one narrator, five dancers, and five members of the London Queer community present their stories of life and love.

“It is all a process of translation” (Clarke, 04/06/2025); that is how Gary Clarke crafts his heart-rending works of theatre. It is translating history into words, words into emotion, emotion into movement, and movement into what it means to be human. The phrases are so natural that it is easy to forget that you are watching a choreographed work. The staging is faultless, the props are brilliantly used, and the mix of music and spoken word is nothing short of genius.

The Narrator, Lewey Hellewell, is amongst the most gifted orators I’ve ever had the pleasure of witnessing. His voice is unique and there is something Orwellian in the way that he presents himself and the stories being told. He is both eerie and amusing, and the way he lives the words in his voice and body is haunting. The dancers, Alexandra Bierlaire, Gavin Coward, Alex Gosmore, Mayowa Ogunnaike, and Imogen Wright, are marvelous. The vulnerability and athleticism of each performer is captivating. The naturalism which Clarke strives for translated perfectly into their movement; it does have the unfortunate effect of pushing the dancers out of sync. While Clarke openly aims for a messiness in his work the complete lack of synchronicity, even at times when they are clearly meant to be moving as one, is frustrating. The power of the message and individual artists almost entirely eclipses this flaw.

The community cast members are the piece that push Detention into greatness. Their experiences as Queer individuals makes this performance personal. It is clear from the opening sequence that every individual on that stage is invested. It is a deeply personal show and the love and trust amongst the cast is evident. Clarke set out to fill a gap in dance theatre with the experiences and stories of blue collar lives and has undoubtedly succeeded.

The most powerful scenes of the performance begin with a phone call. Each artist calls the LGBT switchboard in crisis, an operator (played by a community cast member) answers but never speaks again. Through Hellewell’s haunting narration and the dancer’s movement a one-sided cry for help comes to life.

These are the stories of real people. A man who’s tested positive for AIDs, a woman whose family is being torn apart, a child beaten and tossed out simply because of who they love. “That is our story,” Mike Jackson of the community cast explained “When I pick that phone up, that’s exactly what I was doing 40 years ago.”.

Homosexuality is still a crime in 64 countries. This isn’t just the stories of yesterday, it is the story of now.

REVIEW: A Night Of Theatrics!

Published on June 4, 2025June 3, 2025 by alexnorm14Leave a comment

An evening at the Cabaret has never looked so good.

Prepare to be swept off your feet by the magic of The Phoenix Arts Club’s A Night of Theatrics! Featuring sultry burlesque numbers, incredible feats of strength, hypnotizing aerial work, and so much more, there really is something for everyone: if you’re over 18 of course.

The Phoenix Arts Club is the perfect underground cabaret venue. It’s speakeasy feel and beautiful decor compliments the artists it hosts. Be sure to arrive early because it offers an array of incredible cocktails and snacks. Need a little midshow refreshment? Scan the QR code and order straight to your table. A Night of Theatrics! is worth a toast or two.

The only portion of the evening that was anything less than fabulous was the “slow, reflective” section. While Vanity’s voice is beautiful, the drop in energy was startling and dragged. The piano was a nice addition but if sat stage left, you lost sight of the marvelous Miss Von Glow and the already slow music becomes of even less interest.

So different yet all so captivating. Resident Drag Queen, Vanity Von Glow guides the audience through the evening. She has an impressive vocal range and there’s a rasp that makes it memorable, paired with her biting wit, she’s the perfect host for this fantastic evening.

Burlesque and fire performer, Thommy Girl, is a sex bomb. Her first piece blends the charm of Astaire with the raunch of Magic Mike. Her movements are powerful and mark her as a highly accomplished dancer. Her skill is once again evident when she returns at the end to light up the stage, quite literally. The ease with which she handles the flames is incredible.

Burlesque performer, Eliza Delite is a class act. Looking like shes just stepped out of Some Like It Hot, she is reminiscent of a classic vaudeville performer. While many of the costumes donned in A Night of Theatrics! were amazing, Eliza Delite’s were by far the best; they oozed elegance and completed her resemblance to a pinup doll. She invites the audience in with her hypnotizing eyes and brings joy to the otherwise slinky burlesque.

Hot, buff woman and knives? Yes, please! Daniela Derail boggles the mind with her mixed Strongwoman and Daredevil act. From tearing books in half to climbing a ladder of knives, she makes it all look easy. She isn’t for the faint of heart but if you think can handle it, you need to see it.

Andromeda Circus is a visual masterpiece. The lights go down and out walks this fluorescent piece of art. Simple movements create captivating pictures even before the aerial work begins. The strength and fluidity in every movement was nothing short of stunning. Flexible, sexy, and mysterious, they’re simply perfect.

Enjoy an evening of deliciously X-rated entertainment. A Night of Theatrics! will get you hot and bothered in the best of ways. Tickets here