With a BA in Journalism from Universidade NOVA de Lisboa and now in the last year of her BA in Acting (Italia Conti Academy of Theatre Arts), Beatriz is a lover of theatre and film showing interest in acting as well as the work that happens behind the scenes
An intimate and relatable exploration of identity, expression, and resilience, delivered with remarkable artistry and emotional depth that deserves to be seen before it goes too.
“Before I Go” is an evocative one-man show featuring Tobi King Bakare as Ajani, a young Black British man who must learn to communicate with his friends and family after a near-death experience leaves him stuck in Limbo, a place between life and the afterlife. This thought-provoking production, written by Bakare and directed by Philip J. Morris, delves into Ajani’s journey of self-discovery and expression as he strives to reconnect with his mind, body, and soul.
The play’s structure blends verse and prose, adding a poetic layer to Ajani’s character, who initially struggles to voice his thoughts but gradually learns to articulate his feelings through words and art. This narrative approach underscores the play’s powerful commentary on the struggles of young Black and working-class men and the importance of self-expression.
Integral to the production’s impact are the musical contributions of Nathan Griffith and Taurean Antoine-Chagar. Griffith’s drumming embodies Ajani’s heartbeat, intensifying during moments of passion or dance, while Antoine-Chagar’s saxophone produces soulful melodies when Ajani bares his soul to the “Sender” and his loved ones. These musicians enrich the performance not only through their music but also through their non-verbal interactions with Ajani, demonstrating the power of silent communication.
The rhythm of “Before I Go” is compelling, rarely faltering, and skillfully balancing moments of intensity with breaths of humor and levity. This interplay allows the audience to engage deeply with the themes while also providing necessary moments of respite and reflection.
Bakare’s performance is captivating, drawing the audience into Ajani’s world with his energy and charisma. Just as the audience grows comfortable with the narrative, a sudden change in scenery marks a significant shift in the story, prompting viewers to re-evaluate their understanding and expectations.
The production is a masterclass in combining entertainment with profound lessons. While some motifs may feel familiar, such as the trope of a Black man with a loved one in jail, the execution remains fresh and necessary, honoring individual stories within broader social contexts.
The show’s reliance on technical elements and vocal performance creates a powerful, immersive experience. The innovative portrayal of pain and struggle feels authentic and justified, making “Before I Go” a uniquely original and deeply moving production.
Despite its thematic richness, Black Swans struggles to translate its intriguing premise into a cohesive and emotionally resonant theatrical experience.
In Black Swans, Christina Kettering and director Ria Samartzi, bring forth a narrative featuring two female protagonists, a rarity in theatre, tackling the weighty responsibilities of daughters and mothers. The international flavor of the work, translated from German, adds to its significance in reaching diverse audiences.
While these two sisters are dealing with the care of their increasingly sick mother help arrives in the form of “Rosie,” a human-sized robot designed to maximize the mother’s happiness. Equipped with the ability to recognize facial expressions and detect lies, Rosie soon exhibits signs of critical thinking. As Rosie’s capabilities expand, the question arises: how far will this robot go to ensure the mother’s contentment?
However, despite its thematic richness, the execution falls short. The play’s narrative is immediately hindered by the constant retrospection, as actions are consistently framed from a past perspective rather than being experienced in the present moment. Both Camila França and Trine Garrett, portraying the sisters, fall into the trap of telling rather than showing, failing to adhere to the classic principle of “show don’t tell.”
This reliance on exposition detracts from the immersive quality of the performance, preventing the audience from fully engaging with the unfolding story. The play lacks clarity in distinguishing between monologues and scenes, leading to a disjointed narrative. The characters feel stagnant, with minimal transformation or impact on each other. Even interactions with the robot caregiver, Rosy, lack depth, leaving much to be desired in terms of emotional resonance.
Furthermore, the exploration of ethical dilemmas surrounding artificial intelligence remains superficial, failing to delve into the complexities beyond technical applications. The climactic moments lack depth, leaving the audience craving a deeper exploration of the consequences of Rosy’s actions and the characters’ reactions.
I’m hopeful that the cast will inject new life into the text for the remainder of the run, perhaps by employing the Meisner technique to infuse the performances with authenticity and depth. Focusing particularly on the pivotal scenes between the sisters, as those have the opportunity to forge genuine connections on stage, thereby propelling the show’s message to greater heights.
You AYEn’t going to want to miss this pirate-immersive mystery!
Ahoy there! If you’ve ever dreamed of being an extra in a major motion picture, only to find yourself embroiled in a real-life murder mystery, then “Murder on the Golden Hinde!” is the immersive experience for you!
Picture this: You’re on the iconic Golden Hinde, ready for your big break in the movies, when suddenly, a body turns up that wasn’t part of the script. As the set turns into a crime scene Inspector Sparrow played by Tom Capper shows up to solve the case. However, he needs the help of the extras (*supporting artists!) to crack the whodunit.
Imagine “Only Murders in the Building” meets “Knives Out,” but with a maritime twist and a dash of Agatha Christie charm. This murder mystery written and directed by Helena Raeburn will have many scratching their heads one minute and laughing out loud the next.
Let’s talk suspects, shall we? From the obnoxious lead actor you love to hate played by Toby Osmond to the adorable Suzie played by Emily Juler, the stressed-out assistant director Joe played by Kluane Saunders, and Matthew McCarthy who plays the enigmatic Will, you’ll be playing detective as you navigate a sea of lies and betrayal.
Set against the backdrop of a beautifully restored ship, every corner holds a clue, every exchange a potential revelation. At first glance, the group felt a little too big in numbers for an intimate experience but as we divided and conquered into smaller groups, it all began to unroll, and even became fairly easy to meet other audience members along the way. When the going gets tough, you can always exchange your pirate coins for a drink at the bar.
The actors? Oh, they killed it (Pun intended). With fully fleshed-out characters and a knack for improvisation that keeps the mystery fresh with every performance, you’ll be on the edge of your seat (or plank) until the very end.
In short, “Murder on the Golden Hinde!” is sharp, hilarious, and as unpredictable as the high seas. So, grab your detective hat and prepare for a theatrical adventure like no other.
Not just a theatrical production; it’s a compelling and necessary exploration of the black male experience in today’s world
For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy by Ryan Calais Cameron is a poignant and powerful play heavily inspired by Ntozake Shange’s iconic 1975 choreopoem, For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. Cameron’s work, like Shange’s, follows a similar style, presenting a series of connected monologues infused with dance music and movement, all skillfully performed by a talented ensemble of six performers.
After three successful productions, the creators recognized the importance of bringing in new perspectives to embody the characters and capture the nuances and diversity of the young black male experience. This decision adds depth and authenticity to the portrayals, ensuring that the themes resonate with a broad audience.
The play’s narrative journey begins in a kindergarten setting but swiftly transitions through various scenarios, illustrating the complexities of being a black man in today’s society. The script adeptly navigates through different aspects of life, from family dynamics to friendships and romantic relationships, highlighting the stigma and challenges that race can impose in each of these areas.
One of the play’s strengths lies in its exploration of identity and the initial confrontation with what sets individuals apart in a world where comparison is prevalent. Through the characters’ stories, For Black Boys sheds light on the multifaceted experiences of black men, validating their struggles and triumphs.
Even though Act One felt stronger and pacier, the play continues to serve as a vital platform for dialogue and reflection on issues of race, masculinity, and mental health. For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy is not just a theatrical production; it’s a compelling and necessary exploration of the black male experience in today’s world.
A blend of historical reflection infused with nostalgia from the past and an optimism for the future
Offering a glimpse into the inner workings of Live Aid, the historic 1985 benefit concert was witnessed by 1.5 billion viewers. This groundbreaking spectacle united music industry giants, reaching $127 million in contributions, and delivering crucial aid to Ethiopia including emergency food, medical support, and sustainable development initiatives.
In the production Just For One Day, Suzanne, a child of the Eighties portrayed by Hope Kenna and Jackie Clune, embarks on a nostalgic journey with Jemma, a Gen Z individual portrayed by Naomi Katiyo.
Jemma, intrigued by the concert’s contemporary significance, serves as a guide, leading the audience through Bob Geldof’s Band Aid and Live Aid projects: from the BBC coverage of the Ethiopian famine to the iconic ‘Do They Know It’s Christmas?’ by Band Aid, and through the dual concerts held in London and Philadelphia.
“Just For One Day,” The Old Vic’s inaugural 2024 production, delivers precisely what’s needed: a blend of historical reflection infused with optimism for the future. Andrzej Goulding’s cinematography surpasses expectations, flawlessly capturing the essence of the era and the ambiance of a globally televised music extravaganza.
The play gives voice to everyday characters, offering a sense of charity towards the underrepresented. Technicians like Jim, portrayed by Ashley Campbell, and backstage personnel like Marsha, portrayed by Danielle Steers, are granted stage presence, showcasing their remarkable singing abilities. Margaret Thatcher played by Julia Atherton surprises audiences with her endearing singing and impeccable comedic timing, almost winning over the crowd.
The Band Aid Charitable Trust has given its permission for the musical to go ahead and will receive 10% of the ticket sales and even the real Bob Geldof, the musician who harnessed the power of rock and pop to save lives, has commented on the musical giving his approval by saying “It better not be shit”.
Despite some clichéd moments in the script, the dedication to the music compensates, evoking a full-fledged ’80s nostalgia. The musical serves as a beacon of hope, resonating long after the final curtain falls. It reminds us that we all have the potential to be heroes.
Jade Anouka, a captivating storyteller, effortlessly navigates personal and dark moments on stage in her debut play, HEART.
The narrative of Heart delves into themes of love, mental health, heartbreak and fresh starts. Jade Anouka manages the grab the audience’s attention from the start and keep it close to her as she unfolds her story of self-discovery.
The piece was accompanied by the rhythmic beatboxing of Grace Savage’s. With her loop station she was able to create the soundtrack of the character which provided a nice pace and dynamics to the story, particularly when she meets a woman at a party. However, the protagonist grapples with societal expectations and questions surrounding her sexual identity.
Performed in the cozy setting of Brixton House, Anouka’s stage presence is hypnotic. Her ability to seamlessly transition between spoken word, rhyme, rap, and song keeps the audience engaged for the entire 60 minutes. There are moments when she ditches the microphone, connecting more intimately with the room, but it’s the technical work being done live that takes this monologue to a powerful but intimate experience.
Jade Anouka’s desire to share this story is evident throughout and her comfort on stage and command over the play are evident, creating a genuine connection with the audience through the highs and lows of her narrative.
The production is currently running at Brixton House until February 3rd, inviting audiences to take the time to experience this powerful connection and maybe get encouraged to do some self-searching in their own HEART.
An absolute riot, blending nostalgia with uproarious humour, courtesy of Linus Karp
Linus Karp not only channels the essence of the beloved Diana but also injects his hilarity into the mix, much to the audience’s delight. Featuring a zany lineup that includes a voodoo-esque Camilla doll, a cardboard King Charles, and even audience members participating in an on-stage sex scene, this show is a guaranteed hit.
True to its title, the production delves into a whimsically fabricated narrative of Diana’s personal life, embellishing her marriage to Prince Charles and the intrusion of the “demonic” Camilla, all set against the backdrop of having the Queen as a mother-in-law. Aside from Karp’s portrayal of Diana and the ragdoll representation of Camilla, other characters are either audience members or one-dimensional entities.
Audience involvement is integral to the show’s dynamic, with selected viewers handed cards and prompted to take on specific roles, shaping the narrative in unforeseen ways. The storyline ingeniously alters the tragic events of history, offering a comically revamped outcome where Diana’s car turns back from the tunnel in Paris.
However, it’s Karp’s performance as Diana that steals the spotlight, winning the audience over by delivering an unhinged, yet fascinatingly brilliant approach to comedy ensuring laughter throughout. The production humorously explores various conspiracy theories, including the outrageous notion of the Queen orchestrating Diana’s demise. Through a lens of dark comedy, the play fearlessly navigates sensitive territory, potentially raising eyebrows among those sensitive to such humour. However, it’s safe to assume that those who might take offence are likely not the intended audience for a parody centred around Princess Diana.
This reinterpretation of Diana’s story serves as a refreshing departure from the gloomy reality, offering a much brighter and more entertaining narrative, leaving the audience in stitches throughout the entire show.
The Trials of Galileo delivers an informative and enlightening evening that successfully blends education with entertainment.
The hour-long monologue, skilfully portrayed by Tim Hardy, unfolds the story of Galileo Galilei as he faces trial by the Catholic Church for heresy.
The play delves into one of Galileo’s crucial scientific studies, revealing the tumultuous consequences of his recognition that the Earth revolves around the sun in 17th-century Italy dominated by an unwavering devotion to faith.
Nic Young’s work both as the writer and director, shines through, particularly in his expertise in historical drama and documentaries. With historical pieces, it’s important to maintain a balance between exposition and character. The play is a testament to Nic Young’s deep understanding of the subject matter, leaving the audience with a profound knowledge of Galileo’s struggles. However, sometimes it becomes heavy with exposition requiring some intense concentration from the audience.
The set is simplistic and the script is well-crafted and witty being able to present significant scientific revolutions in an accessible way no matter the previous knowledge of the subject members of the audience might have.
Tim Hardy’s exceptional performance is instrumental in carrying the weight of the word-heavy narrative, making the historical lecture aspects captivating for all.
The personal perspective shared by Galileo adds a poignant layer to the production, offering a glimpse into his inner world, which he was forbidden from expressing in his lifetime. It’s in the moments where the audience gets to know Galileo’s cheekiness, quick wit, view on the hypocrisy of his world, and other little quirks that this production shines and it draws us into his world.
We are left yearning for more of these personal reflections that prove to be gripping and emotionally resonant and less of the overly focused exposition.
The Trials of Galileo is a compelling exploration of history and science, with moments of brilliance that shine brightest when the personal narrative takes centre stage.
Netflix’s biopic of the gay civil rights activist Bayard Rustin, brings an overlooked key figure out from the shadows
Netflix’s biopic of the charismatic gay civil rights activist Bayard Rustin (1912-87), one of the key figures behind the 1963 March on Washington who was severely overlooked is brought out from the shadows.
Director George C. Wolfe brings a fresh perspective to the narrative, while Colman Domingo’s versatile performance adds a thrilling dynamic to the film. The film maintains a snappy pace, mirroring the urgency of Rustin’s life. Interspersed with monochromatic flashbacks, the movie delves into Rustin’s personality and the roots of his determination.
Rustin’s journey for equality, largely conducted behind the scenes, is illuminated by Domingo’s charismatic portrayal. Despite Rustin’s significant contributions, he remains a historical figure often neglected in textbooks. The support of executive producers Barack and Michelle Obama played a crucial role in bringing Rustin’s story to the forefront.
In this fact-based film, there is limited room for creative interpretation. The audience eagerly anticipates pivotal moments in the history of the U.S., such as Martin Luther King Jr.’s iconic “I Have a Dream” speech. However, the film faces challenges in staging these climactic scenes.
We only hear the very end of MLK Jr’s speech, a deliberate choice by Director George C. Wolfe to redirect attention away from the iconic speech and towards the unsung heroes, who constitute the central focus of the film.
In the final scene, a semblance of a Hollywood ending unfolds, with the once marginalized figure, Rustin, being offered a seat at the table. However, he deliberately opts for an alternative path, choosing not to secure a place in the history books. This selfless decision underlines the importance of bringing figures like Rustin to light.
During the post-screening question and answer session, Wolfe candidly admits to his obsession with Rustin’s story and role in the March for Freedom, dating back to his work on “Ma Rainy’s Black Bottom”.
Colman Domingo emphasises a pivotal scene in the film, occurring immediately after the prologue, wherein Rustin emerges from the shadows. Domingo asserts, “That’s exactly what we’re trying to do. Pull him out of the shadows of history and put him in marble so that people can go research more and find more about him and others who were a part of this process”.
This house believes that Brexit has been a disaster and now must be reversed
Brian Cox as Logan Roy from Succession appears on screen to deliver the prologue to warn the audience to be respectful and suddenly we’re in: 4 people that defend Brexit as a disaster and 4 people pro-Brexit. An open debate with plenty of room for audience interaction.
The amazing crowd control and improvisation from the ex-speaker of the House of Commons, John Bercow is commendable as he might have the toughest job in the room.
This debate show, devised by Tasmina Ahmed-Sheik,starts with British politician and economist Alex Salmond:
“Brexit was born to fail.” After 7 years Salmond alerts to the 5% decrease in income with the barriers to trade and decrease in productivity.
“The economic damage is and will be felt by those who can afford it the least.”
David Davies MP follows Salmond with a question: Who resigns more frequently the European commissioners or British PMs? This leads to some audience reaction as the question might not be so easy to answer.
Davies focused on comparisons to other countries before and after Brexit to make his argument, “We were losing from Europe. We’re paying more per capita than Germany.”
While refuting Salmond arguments describing forecasts as guesswork, he claims Brexit gave England a competitive advantage, “since Brexit we’ve had more tech investment than Germany.”
The MP finishes his speech claiming that now we’re free to run our own country. We’re free to make our own decisions, right or wrong.
Business owner and activist Gina Miller starts off with what she calls the “real consequences of Brexit”. She focuses her argument on 3 areas: sovereignty, migration, and the NHS. Regarding sovereignty, Miller reminds the audience of the definition which includes having a seat and a voice at the table, and alerts that we’re no longer in the room so our influence has decreased. The cut in migration meant that nurses stopped coming over and there has been a lack of staff in almost every sector. The funding of the NHS simply hasn’t happened. “The money hasn’t gone to the NHS.”
She brings real numbers and facts which “might be inconvenient” as she looks over at the Brexiteers. “The evidence is here. It’s been 7 years and we’re hurting. We should be there at the top of the table.”
Next up the journalist Brexiteer Mike Graham brings jokes and his amazing comedic timing. He dismisses all the facts by saying “For every single fact you can’t bring a statistical draft from a random university that says you’re completely right”.
His argument is indeed not backed up by facts. Instead of addressing the issue he focuses on the opposition. While the amusing crowd work and great personality make him a breath of fresh air between the tension in the room his views add nothing to the discussion. “Just get over it, you’re not worse than before”.
Andrew Marr comes in sleek as ever “Mike Graham promised a fact-free speech and he’s done it.”
The Scottish journalist and broadcaster brings a different perspective as he defends that while Brexit is a disaster we can’t reverse it because you can’t override a referendum without another referendum and the country can’t go through that again.
He adds “We left a market of 300 trillion dollars to a market of 3 trillion dollars and since we’ve signed off, the US has signed 2 deals with the EU.”
He justifies that all the losses would make sense if the UK had a better plan or an agenda for the future, “you better have a really good plan if you’re aborting and closing your eyes on your neighbour.”
Marr reinforces as the crowd cheers that we’ve made a mistake and we can’t go back but we need to learn from this. “Brexit is not talked about and that’s why we’re here. We’ve lost ourselves”.
Baroness Clare Fox starts off her speech stating the disinformation about Brexit addressing that in her campaigns people who were voting remain didn’t want to be racist and wanted to travel. She struggled to get through her discourse as the crowd interference was stronger than ever. She however was the one to provide some facts in favour of Brexit.
The most wholesome and respectable part of the evening was when we got to hear the voice of the youth by high schoolers Cora and Dominic. Cora defended the reversal of Brexit as she stated that her generation will be the most affected as the generations above have voted for her but got to enjoy the EU while resenting it. “I’d rather be borderless in a creative free space than just an island with rising waters.”
Dominic holds himself well as he admits it was neither a complete success nor a complete disaster.
With a comedic break provided by the stand-up comedian Tony Bennett, we’ve moved on to the audience questions that increasingly showed even more of the divide between the audience and the country regarding Brexit.
Regardless of the outcome and opposing views of Brexit, the only thing every member of the audience could agree is that Brexit needs to be talked about. Politics are broken if the major issues in our government become taboos for fear of backlash. It’s been 7 years but Brexit is an ongoing issue and needs to be talked about, debated, criticised, defended, and most of all consistently questioned as any other issue in our democracy.
