Author: Eva Matthaiou

REVIEW: Love to Love

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Rating: 3 out of 5.

a cool concept, a fun duo, and an authentic, sincere and vulnerable piece of work

‘Love to Love’, written by Flo Petrie and directed by Oli Bates, having just finished its run at the Golden Goose Theater, is a deep and vulnerable examination of love and relationships. Throughout the play, Petrie and her actor counterpart Charlie Collinson very accurately portray the high pressures and ridiculous expectations people face in today’s dating scene in order to find ‘the one’, or maybe just someone. Why do we care so much about finding our soulmate? Is a soulmate something we truly need, or something we have been convinced is essential? Are the blockages that stop us from finding true, healthy love external, or do we place them upon ourselves?

The play is set in a dating game, inspired by the rise of dating apps and AI, allegedly tailored to find perfect matches and guarantee to make them fall in love through the infamous 36 questions that supposedly may lead to love. We observe the two nameless characters, played by Petrie and Collinson respectively, as they navigate the rules and questions of the game and try their absolute best to be compatible with each other, in true and entertaining enemies-to- lovers fashion. As we move further into the play, we come to realise that it’s more than a dating show; a button that reprograms the player allowing them to restart the experience, the ability to reenact memories, and the threat of death if the players don’t fall in love by the end of the game also come into play, creating an intense element of mystery that evokes interest and engagement. After countless attempts, progress and setbacks, trials and errors, interrogations and confessions, and many emotional outbursts, the play arrives at the beautiful and very truthful lesson that the very first step to find love with others, is to be in love with oneself, and in order to do that one must tackle all the self-inflicted restraints we
put upon ourselves.

As cool and fascinating as the concept of the dating show slash experient is, it unfortunately falls a little flat in execution; there is such intense investment and build up over the mysterious restart button and the death threat, and the audience expects a plot twist or at least an explanation as to why the guy remembers all the restarted attempts but the girl does not, but all of which remain unanswered when the play is over. I also wasn’t thrilled with the stereotypicality of the characters; they were definitely reflective of true sociocultural phenomena in the dating world, but they did feel like caricatures of stereotypes rather than real people. And finally, as impactful as the restarts were, sometimes humorous and sometimes agonizing, they did create an imbalance of energy which did drag out the play more than needed. Overall as much as I enjoyed certain parts of it, the confusion with which I left the show still lingers.

Nevertheless the play is a beautiful conversation and a nice watch. There are golden moments of well-delivered and entertaining humor, impactful displays of emotion, and the focus shift and build-up to the true point of the play is well-done. It absolutely gives food for thought and space for reflection, and is definitely true and accurate to real experiences and human nature. ‘Love to Love’ is a cool concept, a fun duo, and most of all an authentic, sincere and vulnerable piece of work.

REVIEW: Love to Love

Published on by Eva MatthaiouLeave a comment

Rating: 3 out of 5.

A cool concept, a fun duo, and an authentic, sincere and vulnerable piece of work

‘Love to Love’, written by Flo Petrie and directed by Oli Bates, having just finished its run at the Golden Goose Theater, is a deep and vulnerable examination of love and relationships. Throughout the play, Petrie and her actor counterpart Charlie Collinson very accurately portray the high pressures and ridiculous expectations people face in today’s dating scene in order to find ‘the one’, or maybe just someone. Why do we care so much about finding our soulmate? Is a soulmate something we truly need, or something we have been convinced is essential? Are the blockages that stop us from finding true, healthy love external, or do we place them upon ourselves?

The play is set in a dating game, inspired by the rise of dating apps and AI, allegedly tailored to find perfect matches and guarantee to make them fall in love through the infamous 36 questions that supposedly may lead to love. We observe the two nameless characters, played by Petrie and Collinson respectively, as they navigate the rules and questions of the game and try their absolute best to be compatible with each other, in true and entertaining enemies-to- lovers fashion. As we move further into the play, we come to realise that it’s more than a dating show; a button that reprograms the player allowing them to restart the experience, the ability to reenact memories, and the threat of death if the players don’t fall in love by the end of the game also come into play, creating an intense element of mystery that evokes interest and engagement. After countless attempts, progress and setbacks, trials and errors, interrogations and confessions, and many emotional outbursts, the play arrives at the beautiful and very truthful lesson that the very first step to find love with others, is to be in love with oneself, and in order to do that one must tackle all the self-inflicted restraints we
put upon ourselves.

As cool and fascinating as the concept of the dating show slash experient is, it unfortunately falls a little flat in execution; there is such intense investment and build up over the mysterious restart button and the death threat, and the audience expects a plot twist or at least an explanation as to why the guy remembers all the restarted attempts but the girl does not, but all of which remain unanswered when the play is over. I also wasn’t thrilled with the stereotypicality of the characters; they were definitely reflective of true sociocultural phenomena in the dating world, but they did feel like caricatures of stereotypes rather than real people. And finally, as impactful as the restarts were, sometimes humorous and sometimes agonizing, they did create an imbalance of energy which did drag out the play more than needed. Overall as much as I enjoyed certain parts of it, the confusion with which I left the show still lingers.

Nevertheless the play is a beautiful conversation and a nice watch. There are golden moments of well-delivered and entertaining humor, impactful displays of emotion, and the focus shift and build-up to the true point of the play is well-done. It absolutely gives food for thought and space for reflection, and is definitely true and accurate to real experiences and human nature. ‘Love to Love’ is a cool concept, a fun duo, and most of all an authentic, sincere and vulnerable piece of work.

Image Credit: David Jensen

REVIEW: Director’s Cut

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Rating: 4 out of 5.

“Genuine laughter and perfectly tailored chaos mixed with a lesson on an old Hollywood conspiracy”

Shepard Tone’s ‘Director’s Cut’, which just finished its run at Southwark Playhouse Borough as part of the FORGE Festival, is an hour of genuine laughter and perfectly tailored chaos, mixed with a lesson on an old Hollywood conspiracy. The festival performances were the culmination of a year’s residency at Southwark Playhouse as part of the FORGE artist development scheme. The show takes on the legend of the infamous ‘Alan Smithee’ (a pseudonym used by dissatisfied directors wishing to disown the final product of their film), and creates a fake, but fairly convincing story out of it, giving life to a man who never existed. 

Tim Chapman and Hannah Follows are a wonderful, warm and exciting duo, carrying the show with great focus and spot-on comedic timing, and capturing the audience from the very start. They explain Alan Smithee’s lore through a series of short comedic skits that are absolutely engaging and funny; it is no surprise that the audience couldn’t hold a single giggle in. From movie reviews to audience work to the use of a projector, the show is jam-packed with creativity, humor, and fun facts about film and Hollywood’s great director scheme. And while the show is mainly light-hearted, it doesn’t shy away from darker instances and the negative connotations of the pseudonym’s usage, so its humorous and chaotic nature doesn’t become tiring at all.

No deep Hollywood knowledge or interest is required; everything is explained and followed easily and you find yourself almost fully convinced that Alan Smithee was real, and even rooting for him. Chapman and Follows have found an absolutely amusing and creative way of unfolding quite frankly a random Hollywood fact, one that is genuinely very interesting, and accurately represent the average experience of going down a rabbit hole. The audience immersion throughout the entire show is so naturally and enjoyably done, and the writing and humor is brilliant, guaranteed to make you exit the theater having had a great laugh.

Simple, hilarious, informative and intriguing, Director’s Cut tackles the mystery of Alan Smithee and leaves the audience with a big smile. Well crafted even though it’s still in its experimental stage, it is a promising show and a guaranteed good time. A special treat for film lovers definitely, yet certainly entertaining for anyone and everyone.

Written, directed by, and starring the US-based actor-playwright duo Xloe Rice & Natasha Roland, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is a true gem hidden in the Soho Theatre’s current line-up.

REVIEW: A Letter to Lyndon B Johnson or God; Whoever Reads This First

Published on by Eva MatthaiouLeave a comment

Rating: 4.5 out of 5.

An […] hour of pure talent and dedication; and the Beatles soundtrack is just the cherry on
top.

Written, directed by, and starring the US-based actor-playwright duo Xloe Rice & Natasha Roland, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is a true gem hidden in the Soho Theatre’s current line-up. This 2-woman show is an exciting blend of storytelling, physical comedy, and clowning that draws parallels between American Boy Scouts and soldiers drafted in the Vietnam War. Walking into the room and only seeing a black truck tire lying on the floor, you don’t know what to expect – and then you are immediately captured by and hooked on these two highly energetic boy scouts jumping around on stage and blowing in their harmonicas. Over the course of 60 minutes, the actors jump from dialogues to storytelling to short monologues, sharing teenage boy scout-themed moments and stories that smartly reflect on the atmosphere in 60s America under Lyndon B Johnson’s presidency and soldiers’ war experiences.

The show does subtle but clear and well-written commentary on the idolization of influential figures, paralleling LBJ to God, religious relief and guilt, ‘good guys’ versus ‘bad guys,’ military propaganda, and how all these are consumed through the eyes of the innocent teenage mind. There is a nearly perfectly calculated balance of the ambiguity between Boy Scouts and soldiers and between bits jam-packed with energy or comedy and more grounded moments of seriousness, breath, and emotion. The flow is top-notch, fast-paced, quick
back-and-forth, but easy to follow and comprehend. Some clever dialogue and humor make this show an effortless and enjoyable watch; the energy and focus never drop. And as much as you think the profound moments emotionally prepare you, the ending still manages to hit you like a truck.


The use of props is absolutely genius. Jumping on and off that tire and rolling it around on stage looked so easy and effortless, even though it must demand incredible control. And yes – the harmonica playing is all live and absolutely brilliant. However, the true spirit of the show lies in the peak performances by both Rice and Roland. Their comedic timing and physical comedy are wonderful, and still, they manage to switch it off within seconds when needed and deliver beautiful and impactful emotion as well. There is equal focus on both characters and great dynamics, and the actors’ natural charisma makes them entertaining from the very first moment of the show. Yet the highlight above all is the simply phenomenal synchronization between the two. The choreography and blocking are fantastic and well thought-out within itself, but it’s also obviously so well rehearsed. There wasn’t a single slip, and the chemistry and connection was real and exciting to witness. I enjoyed every part of the show, but that’s what left me most impressed.


All and all, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is an entertaining and dynamic hour of pure talent and dedication, and the Beatles soundtrack is just the cherry on top—a well-made production, an impactful conversation, and a gifted duo that I undoubtedly recommend.

Written by Xloe Rice & Natasha Roland
Directed by Xloe Rice & Natasha Roland
Starring/Cast: Xloe Rice & Natasha Roland

REVIEW: 855-For-Truth

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Rating: 4 out of 5.

Well-written, beautifully produced, and ever relevant, ‘855-FOR-TRUTH’ shows us that the truth lies probably somewhere in between.

Eva Hudson’s ‘855-FOR-TRUTH’, directed by Lydia McKinley playing at the Hope Theatre, follows an aspiring but worried young climate scientist and an obsessive yet charming 18-year-old Christian cult member as they navigate through their different life approaches facing the same problem: the world actually ending in 6 days. We find the two, Isaac (Max Raphael) and Meredith (Molly Hanly), when they accidentally meet in the middle of the woods, and join them in their attempt to understand each other and the cosmic phenomenon approaching; both topics proven equally confusing. In the span of almost 2 hours, the play explores the intricate dynamics of the contrasts and parallels between science and religion, the power of blurring the lines between them instead of picking one or the other, the intense human need to make sense of the world and the utter frustration when we fail to do so.

The very first aspect that captures anyone’s attention and immediately lured me in is the gorgeous set: an audience-surrounded forest of fabric trees hanging from the ceiling and beautiful lights peeking through the semi-transparent trunks. The use of lighting throughout the entire show is all-over great (although a flashlight did blind me at some point), and in combination with sound and music creates a genuinely alluring atmosphere. It absolutely feels like we are in the forest; and yet still, we fully get the sense that Isaac and Meredith are completely alone in there, thanks to the actors’ beautiful commitment, deep engagement and chemistry with each other. The quick witty dialogue is delivered masterfully and hilariously with great rhythm that makes it impossible to lose engagement, highlighting  the contrasts of opinion and lifestyle between the two characters but also how they naturally fell for each other. And right when you are about to think that the fast and funny back and forth has gotten a bit tiring, the tone and pace beautifully switch into slower, deeper dialogue and more grounded scenes. Even moments of silence are incredibly impactful. Both performances are solid and enjoyable, making the audience immediately root for the two characters, and wanting to watch them interact for hours. Raphael (playing Isaac) is immediately lovable and charming, and then deep and touching when he opens up later in the play. Hanly (playing Meredith) is hilarious, delightful, and just simply a joy to watch; she could probably convince just about anyone to join the cult.

My only note would be the slight sense of rushing and iffiness in the second act. Perhaps lost in the quick dialogue, perhaps not elaborated upon enough, but ‘The Project’ that Isaac was trying to make sense of felt not thought through enough. The energy also did seem to drop a bit in certain moments, for a while it felt like we’d lost sight of what was important, and the ending seemed just slightly anticlimactic. There had been such gorgeous build-up throughout the entire show, only for it to be done almost out of the blue, which I believe to be a direct effect of the moments prior to it being dragged more than needed. Still, no less impactful. 

The show ends before you know it, and before you’re ready – that’s the easiest way to explain how engaging and absorbing it is. And yet you leave fulfilled and satisfied, and definitely in thoughts and reflection. There is a lovely balance and beautiful parallels between the two characters and perspectives, that allows us to very clearly see that no matter what side we may lean on, we lean on it due our inevitable human habit of wanting to explain the inexplicable, and understand the world. Regardless of whether we do it out of curiosity, ambition, fear. Even if both characters take their values to the extremes, they very much stem from a place of truth and humanity, and so does their curiosity to explore the opposite side. Well-written, beautifully produced, and ever relevant, ‘855-FOR-TRUTH’ shows us that the truth lies probably somewhere in between, and teaches us that it may not really matter an the end of the day, so we might as well open up our eyes and give all sides a chance.

Runs at the Hope Theatre until 22nd February.