Joshua Varty

REVIEW: Be My Cabaret

Published on February 16, 2026February 15, 2026 by Joshua VartyLeave a comment

“Absurd, clever and ridiculous”

Whether attending alone or on a date, Be MY Cabaret offered something for everyone. The show was, as expected, a variety piece, with many different acts all centred around the same theme: love. As the audience took their seats, they were entertained by a light bit of clowning from one of the performers, whose harmless interaction with audience members served as an effective way to prepare for the evening ahead.

The audience was guided through the series of skits in the safe hands of ‘Razzimatastic’. Her running gags and light ribbing of the audience kept laughter flowing without pushing anyone too far into discomfort. Being the throughline in a show while continually finding fresh ways to engage an audience is a difficult balance to strike. As compères go, she did an excellent job of maintaining the buzz and keeping the audience engaged between acts.

The acts themselves provided a true variety of experiences. Justine’s piece on ‘first crush love’ was hilarious, touching and cringeworthy in the best possible way. Performed entirely through movement to music, it conveyed a remarkable amount. Lorenzo Rossi, the Drang King of the night, was joyously morose and entertainingly awkward. A particular highlight came from Easy Jeff and an oddly raunchy reverse strip, which delivered a brilliantly unexpected curveball.

While there were a few dips in energy throughout the show that led to a slower pace, some allowance is inevitable when running so many acts back to back. Overall, the team delivered an excellent evening for those in attendance, though audience members brought on stage against their will might offer a different perspective. That said, choosing a front row seat at a cabaret always carries a certain level of risk.

Nothing in the show fell truly flat. A few moments felt slightly rushed, ending before they could be fully absorbed, or could have benefited from an extra burst of energy. Ultimately, the performance delivered an enjoyable night, presenting a mix of tested and experimental pieces and leaving a strong sense of anticipation for the troupe’s next variety performance.

Be My Cabaret ran on the 14th and 15th of February at The Old Fire Station, Oxford. The company presents shows throughout the year, so their website is worth watching for details of upcoming performances.

REVIEW: Inspector Morse: House of Ghosts

Published on January 22, 2026January 21, 2026 by Joshua VartyLeave a comment

“A whodunnit done well!”

Alma Cullen’s adaptation of the characters of the Morse universe are given new life and breadth in this expansion to the story and new mystery. For any lovers of a good murder mystery sprinkled with some gallows humour then this is worth the watch.

Obviously, I don’t want to spoil too much of the plot here, where would be the fun in that? The play starts with a production of Hamlet, Justin (played by Spin Glancy) gives a soft and touching rendition to the well-known ‘to be or not to be’ speech. As Ophelia/Rebecca enters I found myself settling into the rhythm of Shakespeare with ease. During this section we are ‘ticked’ with the use of sound, hearing someone talking during the production. As the actors reacted to this, we are quickly reassured this is part of the show.

Then it happens, Rebecca doubles over, laughs, then collapses, dead. We’re thrust back into what we’re all here to see. Next, charging down the isle of the stalls comes the eponymous Morse (Played by Tom Chambers) and at last the mystery begins!

The creative use of the space was a refreshing touch, with actors appearing from the upper circle amongst other unconventional movements. A charming use of a projector to spin the audience’s perspective to view the scene from the back of the stage looking out to the seats was an interesting moment. The staging and scene changes for the piece were a little dizzying, with set changes being done by the actors with at such a pace that you feel the sense of urgency building. Along with this, a mildly Brechtian style of leaving the wings of the stage exposed did not detract from the piece at all for me, though whether the fit or distracted from the more naturalistic performance may not be to everyone’s tastes.

The cast gives a plethora of colour to the show, with some characters leaning heavily into the ‘larger than life’ personalities actors can be linked with ‘actor types’, though at times bordering on caricature. Verity (played by Charlotte Randle) particularly hit home for me as an eerie reminder to my theatre days. The relationship between Lewis (played by Tachia Newall) and Morse had a lovely back and forth, though there were a few times where Lewis felt a little too quick to anger than felt necessary.

There was a lovely touch in expanding more on Morse’s personal life that gave some heartfelt moments through the piece, with a mix of his romantic life and aspirations. This built the pity we feel for such a melancholic detective very well for me. Mixing this with his rather bitter outlook and dry wit felt like a good continuation to the character.

Overall, the piece gave a compelling plot that kept us guessing throughout, during the interval I found myself listening in to other people’s theories and who the murderer was. As with all good crime thrillers, the pieces all fall into place and we leave the theatre with a satisfactory twist to the tale. Whether or not you’re a Morse fan, I’d recommend this show for it’s touching drama and let’s face it, who can say no to a good mystery?

REVIEW: I’ll Be Back

Published on September 28, 2025September 28, 2025 by Joshua VartyLeave a comment

“Comical, surreal and touching.”

If you’re a fan of the terminator franchise, a lover of self-deprecating humour, 90’s references or comedy then you’re in for a treat with this show.

Justine Malone’s one woman show takes us on a somewhat confusing journey that is a mix of sci-fi cheese, excellent visual comedy, some meme-worthy referencing to the 90’s and heartfelt story that shares some similarities to moments in the series ‘Spaced’ (For those old enough to know what I mean). While many may have ended up creating a fanfic with a piece like this, Justine managed to layer the story with cultural insight and hit on something we’re all guilty of, by thinking things were better or easier in the past.

The Old Fire Station has been fully stripped back for this piece, a black box with minimal props, through some very fun disco lighting when required, which it most certainly is for the excellently silly dance number we are given. I do feel this brings me to my only criticism of the show, which is the tech. I feel there was a lack of precision and slickness to the ques throughout the show, which unfortunately did leave the piece feeling a little slow in pace for me. There were delays between action and sound that stalled the show only for a few moments, but consistently so.

Justine’s menagerie of character’s kept me giggling throughout, and her delightfully awkward Windows ’95 powered Terminator made for an excellently awkward protagonist for this story vehicle. The method of telling was challenging at first to get into, though this may also be due to all the exposition and caching up everyone who either; a) Wasn’t around in the 90s or b) Has never seen the Terminator series. Once we’d gotten the setting, background and goal of the show secured in our minds, the mix of theatre of the mind, mime, multiple characters addressing each other as one person and use of projection flowed well together and kept the comedy fresh. I’m loath to say I enjoyed the appearance of Clippy (the old Microsoft Office help assistant that would never leave you alone) but it was a delightfully silly joke throughout.

Overall, this was a very fun piece to watch. With some improvement and sharpening up, it would vastly improve the pace and unite the comedy with the speed of the action it needs. It does well to capture the sense of ‘Golden Age Syndrome’ that seems to be going around currently while also being a love letter to action sci-fi of the 80’s and 90’s.

REVIEW: Sláine: The Horned God

Published on September 21, 2025September 21, 2025 by Joshua VartyLeave a comment

“Immersive, engrossing and enchanting storytelling”

Whether you’re a lover of the comics, a lover of Celtic mythology or just a sucker for storytelling; this is a show to watch!

Jason Buck has a fantastically mischievous nature about him from the moment he walks on stage. With little more than a wave of his hand and the audience was rapt and ready for a story. An excellent use of call and response between teller and audience draws us in quickly and sets up nicely the potential for participation throughout the telling.

There are no changes in lighting, no special effects or distractions in this piece, just the audience and the storyteller, a strangely intimate method of telling a story in the modern age, but very much welcomed. I do wonder if perhaps the audience set-up was a little at odds with the story telling method, I would have very much embraced an ‘in-the-round’ set-up which may have fit to the medium better, leaning more into the stories round the fire style that this draws from.

The retelling of the Celtic myth is all played out in the theatre of the mind, with vivid descriptions verbally painted for us, accent and voice changes to denote each character. I caught myself multiple times leaning in closer during the piece, finding myself deeply engrossed in the story, delighting at the moments of humour and sound effects that Jason himself makes throughout.

With the whole two hours being told by one man, there were moments where Jason seemed to lose his place in the story, but this did not detract from it. Overall, his enthusiasm and momentary nods to the audience on any slip ups or double entendre warmed us further to him as our storyteller. Jason was engaging throughout the piece, his subtle linking of the story to comparisons on how we live in the modern world were a fantastic way of using allegory.

I was amazed as well by how many times I connected tropes of this myth with countless others we hold dear to the British Ilse. Beowulf and King Arthur certainly felt most prevalent in their similarities to Sláine though decidedly less metal, but what do you expect from a Celtic hero?

Ultimately this piece executed exactly what it set out to do; to give us a reimagined retelling of an ancient myth in traditional storytelling methods. I enjoyed every moment from the gruesome creatures to the brave heroes and snivelling rogues. If you’re in the mood for a good story, then this is highly recommended.

REVIEW: Shotgunned

Published on September 11, 2025 by Joshua VartyLeave a comment

“Hard-hitting, bitterly comical and painfully real”

Shotgunned really does come at you with both barrels from the beginning. Directed by Matt Anderson, the show depicts the tragedy and beauty of a relationship through good times and bad. With only two actors and an hour-long performance, the play blasts you with deeply charged emotion and leaves a lasting impression on the mind. Throughout the play we are treated to dynamics of Dylan and Ros, their self-deprecation, use of sarcasm as a means of protecting themselves and goofy interactions offer a grounded and tender look at young love.

Fraser Allen Hogg’s performance of Dylan was delightfully dorky and touchingly natural to witness, coming across at times like a Scottish Michael Cera with his strange meanderings. The tongue in cheek jokes at actors and creative types were so real I was cringing at myself at the jokes while laughing at their relatability. The character of Dylan offers an everyman in the sense that his insecurities, his need for validation and quest for love are deeply intrinsic to everyone.

Lorna Panton’s Ros was tender in the right moments and brash when needed, her constant seeking for her true happiness felt genuine, and those moments of vulnerability struck a deep chord with the audience, you could certainly feel the change in atmosphere during those moments. The play handled tragedy well without being too gratuitous, which with the subject matter, was much appreciated. Ros’s depiction as the cool but secretly dorky girl edges a little into ‘manic pixie dream girl’ but ultimately comes across as someone genuine and in need of stability.

Watching Ros and Dylan’s relationship through non-linear snippets was a nice change of pace in storytelling. With the opening scene being the end of the relationship, we are left to slowly piece together how it all came to an end. Transitions between scenes were slick and always left the audience eager to learn the next part in the story.

My only critique is for a show that focused very highly on the naturalism between the two characters, there was one scene that felt at odds with the rest of the show. While a nice break from the intense and raw emotions being laid before us, it just didn’t quite gel with the rest of the show.

Overall, I left this show with a deep sense of catharsis and a need to tell my loved ones just how important they are to me, so I can say with confidence that it left a lasting impression on me.

REVIEW: I Bought A Flip Phone

Published on September 4, 2025 by Joshua VartyLeave a comment

Deeply visceral, tragically satirical

If you have the chance to see this show, or you’re reading this review before deciding to purchase a ticket. Stop what you’re doing, book the ticket, then continue reading.

You won’t be disappointed.

‘I Bought A Flip Phone’ is an excellently built piece. A one-man show with a single prop, the eponymous flip phone. The set for this show is minimal, but with a piece like this, anything more would be distracting.

Panos, the writer and performer, is pure joy to watch on stage. From the moment he entered, the bubbly personality he exudes almost makes you forget you’re watching a piece of theatre. His addressing to the audience catching you off-guard at first but soon find yourself sucked into the world of the character, Charlie. If you’re lucky, some of the more invested audience members will become a second source of entertainment as they buy into the conversational aspect of the piece and start addressing Charlie as if having a natter with a friend.

The piece is excellently paced, allowing enough foreshadowing of the true reasons behind Charlie’s choice of purchasing a flip phone that make it feel like a genuine confession. Panos is unnaturally natural throughout, offering us a tender but also wonderfully entertaining character to journey through the play with.

I can truly say the show struck a powerful chord with me, and I imagine the entire audience. The way Panos strips back the guise of sensibility we all hold and the masquerade of being happier than we may really be feeling is darkly humorous and powerfully heart-rending. The play certainly gives credit to the phrase “many a true word hath been spoken in jest.” While the show may start as a ‘TED Talk’ on the evils of smartphones. We soon see the truth of what is really going on. With a focus on ‘Golden Age Syndrome’ and the duality of life that we all can relate to. I think we all can feel like Charlie, and listening to this piece brought a full spectrum of emotions that I was certainly not prepared for.

I left this show with a deep sense of catharsis and a little more understanding of myself, seeing much of my own thoughts and feelings bared out by another just goes to show how common these situations really are. Panos has done an excellent job of capturing the human condition and is well deserved of all congratulations to him with this piece.

In conclusion, I highly recommend seeing this show if you get the chance. Though I can’t say I recommend actually buying a flip phone.

REVIEW: Poe

Published on July 31, 2025July 30, 2025 by Joshua VartyLeave a comment

Macabre, malevolent and dripping with horror

Moonhawk Theatre present ‘Poe’ a well-paced piece that flips between the imaginative stories and tragic end of their writer. We are greeted by the eponymous namesake of our play ‘Edgar Allen Poe’ performed by Chris Bedford and in all honesty his naturalism and ease of performance through such a dark, figurative and highly imaginative piece is a joy to watch. Poe and the many protagonists he portrays feel visceral and real in each of their retellings. Some stand-out characters being the protagonists in the enactment of ‘The Tell-Tale Heart’ and ‘The Cask of Amontillado’. His performances felt truly like men trapped in the horrors they had created. Leon Witcomb and Michael Ward enhanced the performances well with Leon’s hapless and foolish Fortunato being a delight to watch stumbling blindly to his fate.

The show is enhanced wonderfully by some fantastic choices in tension building sound, the beating heart had the hairs on my neck standing on end. Some more abrasive use of sound is deployed along with strobe lighting to represent changes of scenes, while this did add to the tension and unease throughout the show it did become a little predictable and I could feel myself already physically tensing in preparation for this noise. In my opinion, as a lover of horror stories, the breaks between the retellings where we are given glimpses into Poe’s psyche were a little on the nose and verging slightly too far into surrealism. I cannot argue that they did keep me in a state of tension, which is the object of horror, but the stories we already adding excellently to this tension.

The choice of venue was very fitting for such a stripped back show. The Burton Taylor Studio is an intimate black box where neither actor nor audience has anywhere to hide… minus the make-shift wings created. But the space meant you felt as trapped as the characters in their stories, bearing witness to the decline of Poe and his twisted protagonists. The use of simple projections onto a white flat added remarkably to the scenes, particularly in ‘The Pit and the Pendulum’. For my own taste the projection of brain scans during the scenes of Poe’s figurative madness just came across as too blunt of a choice.

With only fifty minutes to pack in all they had, it was short but sweet, with so many crescendos to the end of each story. If the piece were longer, you’d leave feeling utterly exhausted. The team did well to keep the piece to the length they had.

The moments that felt beautifully poignant were Poe’s decline in their rendition of ‘The Raven’. Chris’s naturalism in this section worked wonders, seeing Poe’s failing mentality in a way that was both alarming and heart-rending.

Overall, I feel there were some truly stand-out moments to this show, there is a lot to like even if you already know the stories. There is a lack of tension building horror in theatre and seeing how words can build more fear and chilling atmosphere than any scene of gratuitous violence was a true pleasure. Whether you’re Goth or a good lover of theatre, this is worth the watch.

REVIEW: Hejira at Oxford Playhouse

Published on July 1, 2025July 2, 2025 by Joshua VartyLeave a comment

Hauntingly beautiful lyrics and scintillating jazz form

If you want the Californian music experience, then Hejira (named after the album) was the place to be! This is not just because the show happened during a heat wave. Hejira breathe new life into the lyrics of Joni Mitchell with their own musical arrangements that showcase just how well Mitchell’s lyrics marry with a free jazz form. The audience was clear mix of people new to the band and others that know them well, along with their production company ‘The Spin’. Overall, I would say I felt like we were as much invited to come listen to the band with open arms as we were patrons to the night.

The band were spectacular, with some excellent procession and drums that conjured up images of Ginger Baker and John Bonham and some excellent ‘Samba’ beats. The saxophonist brought the cool that only a saxophone can bring, mixing up his instruments throughout to find the perfect sound for each song. We were taken on a journey of jazz styles, marrying well with some of the more ‘Country’ styles of songs like ‘Coyote’. The guitar, bass and keyboard brought an interesting flavour to the sound, with some points enjoying some hard ‘Blues’ rhythms gave reminisces to ‘John Lee Hooker’, guitar solos that aped ‘Gary Moore’ and at other points journeying into a more ‘Prog Rock’ style. A particular favourite moment for me and my die-hard love for bass, was when the bassist employed the use of a loop peddle to build multiple lines on top of each other, slowly melding together a funky and excellent arrangement. All this displayed the range of talent of the musicians. Safe to say the band explored the full spectrum that jazz bleeds into, along with some joyous dips into Latin rhythms all topped with the hauntingly beautiful singing of Hattie Whitehead.

Despite the heat, we all had a wonderful night. If you were in the audience, though you couldn’t be physically you could at least mentally ‘Be Cool’.

This is a band to see, not only for their tribute to the powerful songs of Joni, but to see how they play off each other, build their sound together and brining in some excellent harmonies.

REVIEW: The Three Musketeers

Published on June 28, 2025June 27, 2025 by Joshua VartyLeave a comment

A weaving web of conspiracy, comedy and catchy music

Alex Thomas’s new adaptation for Dumas’ ‘The Three Musketeers’ is in a word: joyful. We’ve had our share in the UK of gritty re-imaginings and block-buster productions. But here we have something with some real soul to it. We’re greeted into the theatre by a tavern scene, the actors playing the hubbub of a 17th-century inn, with patrons and trickles of live music to tantalise the awaiting audience.

The set (which remains throughout) is most certainly an impressive piece! You can see the love and craft that went into it and does well to keep you guessing where the next part of the action will take place or how it will be employed. Along with the costume, it all gave the piece a lovely flare of authenticity to the period.

We are guided through the tale of our eponymous heroes by a storyteller, deploying context and song with excellence throughout. The performers of Magdalen College School (MCS) certainly excel in this department, with some beautiful harmonies and stirring ballads that really pull you into the growing excitement and intrigue. There were some truly beautiful voices to listen to throughout, my only critique of this, was there were some singers that only had a short time to shine. This combined with the live band give these pieces a lovely interlude between scenes, though there were a few times that dialogue was lost to the underscore of the band which may simply have been an issue with mics.

Overall, the team built well into the story, with standout performances from Erin Alexander’s femme fatal ‘Milady de Winter’ and Michael Onobhayedo’s tragic ‘Athos’. But that is not to say the others were lacking. Performances from all were rich with energy and gusto. ‘D’Artagnan’ and the Musketeers gave a wonderful sense of brotherhood and the Cardinal, ‘Comte de Rochefort’ and his men oozed thinly veiled villainy that balanced well between comical and unnerving. The unabashed pratting of King Louis and his ignorance countered well with the growing plots and scheming that surrounds him.

The fights…. Oh, the fights. I could spend an entire review analysing each bind, flourish and cut. Mark Ruddick did well to choreograph so much action in what quickly becomes an extremely tight space when the Cardinal’s men face off with our heroes. The one-on-one fights were a pleasure to watch as the actors could range the space and display some delightful strikes, ripostes and disarms. The group fights were chaotic and brutal in all the good ways, though I could feel them working hard to keep distance in the melee. I also appreciate keeping the fights short and sweet, allowing them to blend with the rest of the elements in the performance and avoid ‘showboating’ the rest of the play.While technically no bucklers were swashed, this was indeed everything the show promised it would be. A excellent combination of song, storytelling, tense fights and a plot that keeps you engaged. It also gives a nice greying to what is often shown as clear heroes and villains. MCS have a right to be proud of this production and left me hoping they would explore more of Dumas’ work, if only so I could watch more rapier work.

REVIEW: Closer

Published on May 24, 2025May 24, 2025 by Joshua VartyLeave a comment

Love, betrayal and a blunt dissection on the male gaze

Labyrinth Production’s rendition of Closer recaptured for me the essence of cultural zeitgeist in the early 2000s. Their choice of a stripped back black box, set in the round was a delightfully bold choice. It gave a sense of these poor souls (the characters, not the actors) being trapped in the cycle of desperation, pity and betrayal. The use of white tape to ‘square’ off the floor and edges of the stage, mixed with the use of strobe effects tail-ended each scene as if it were a polaroid picture capturing each moment of their tragedy.

Alice, played by Catherine Claire Williams-Boyle gives almost fae-like qualities. Meaning, Alice’s exploration of other characters and her provocation to their emotions appears almost unearthly in how quickly she disarms and dissects people. Her arc gave me a strong impression of the ‘Muses’ of Greek myth, used and taken advantage of for personal gain and inspiration but never genuinely asked her needs. Even from the beginning you can sense the impending doom when meeting Dan, played by Vasco Faria. Vasco did justice to the character’s inability to attach himself fully to anyone, displaying the commentary of how the male gaze corrupts the perception of desire and in so doing, infects those that surround him. And the joke about being a failed writer is most certainly not lost of someone currently writing a theatre review…. Ultimately, I felt he played the cycle of masking pain with ugly desire well, but it left the ending a little less heartfelt as any baring of soul was counterpointed by unapologetic lust.

We are introduced to Anna, played by Vita Hamilton a character seeking attachment on her terms. Hiding being the camera we see her trying to control the narrative of her own life, but like all others in the play, falls victim to the imagined romance she could achieve. The detached and clipped performance of Anna gave her a level of assertiveness that did her introduction well. Coupled with moments of uncontrolled passion showed the cracks in her personality but felt too soft. Even in the climax of the first act, where a whirlwind of emotion is being kicked up, Anna felt somewhat muted, lost to the storm rather than partaking in it. Whereas her ‘on again’ ‘off again’ partner Larry, played by Robert Wolfreys felt more like the conductor of their personal misery. Larry was certainly one of the largest challenges to tackle. To the team’s credit, having a ‘20 something’ playing an implied ‘40 something’ is always going to be an uphill struggle. Robert found some beautiful moments of nuance with his character. The real difficulty came from those sections where Larry is to show his ‘world-weariness’ and lecture others on what love is.

Rose Morgan-Males made bold and interesting choices with how she staged this production, if you’re a fan of minimalism, then you can appreciate how not tangling themselves up with endless props and set kept the show slick and well-paced. Having scenes in different locations or time periods performed together at the same moment felt visceral and ramped up the tension well.

In conclusion, while I appreciate wanting to bring this production to a new generation, perhaps the show has lost a little of its shock factor in the 2020s. The use of excessive profanity certainly enhances the ridiculousness of modern society, though diminishes the characters more poignant moments. Some faults lie in the fact that perhaps the show did not fit the actors. I can truly see the work and passion they brought, giving an unbridled sense to these characters attempts to find love and control.