REVIEW: Twelfth Night


Rating: 5 out of 5.

“A vibrant take on Shakespeare’s Twelfth Night, brought to life by the National Youth Theatre REP Company for an unforgettable night of comedy”


The NYT Rep Company have created an incredibly funny show, displaying the comedy of Twelfth Night, with great choreography and use of song throughout.

The set design, consisting of a simple black box stage and multiple pine trees hanging upside down from the ceiling, creates an eerie, almost immersive atmosphere, and the feeling of being outside in a mystical forest. It is visually exciting and inventive, and the set design only gets more exciting throughout the show as tinsel is added by the cast to create a sparkly wonderland. The lighting also contributes to the warm atmosphere, with twinkling fairy lights in the trees indicating scene changes. The costume design is equally gorgeous, with bright colours, exciting ruffs, and headpieces, it is the perfect mix of traditional Shakespearean and contemporary.

The cast work exceptionally well together as an ensemble, with the multi roling performers fantastically beginning the show with an engaging, unique piece of narration and bringing energy and comedy to the entire performance. The on stage band, made up of the cast, perform songs, that are used throughout the show with purpose, and beautifully fill the space with music, including ethereal ballads and upbeat party scenes.

Emily Casey plays Malvolio with such humour the entire audience is laughing. From uptight, serious Malvolio to cross-gartered, yellow stocking wearing Malvolio frolicking around the forest, Casey knows exactly how to find the comedy and embrace the contrasting sides of Malvolio’s character to create very funny scenes.

Alfie Wickham utitilises physical comedy as Andrew to ensure the audience laughs at all his scenes, and displays excellent chemistry with Selorm Adonu playing Toby, together causing chaos and confusion. Adonu is phenomenal as Toby, demonstrating energy, charisma, and comedy from the very first moment he is on stage. He is mesmerising to watch both in his delivery of lines and in his comedic commitment to the character. It is a fantastic portrayal of one of Shakespeare’s most humourous characters.

Cathy Sole as Viola and Daniel Regan as Sebastian bring emotion to the production as both grapple with the thought of having lost their sibling, whilst still maintaining the comedic delivery and direction seen throughout the show. Luc de Freitas playing Antonio also shows some particularly heartfelt interactions with Regan.

Laura Masters portrays the Lady Olivia with dedication and humour. She delivers a captivating performance, once again using physicality and exaggerated comedy to create hilarious moments.

Both David Olaniregun as Orsino and Freya Catherine Purdie as Maria excellently commit to their characters, with the former’s love for Olivia providing comedy and the latter’s scheming causing misunderstanding and chaos.

The fools, Tay and Fed, performed by Megan Keaveny and Dominic Semwanga, are particular standout performances with their beautiful singing and harmonies filling the space. They deliver their dialogue with rhythm and excitement, as if they know something the audience doesn’t, and each time they appear on stage this duo bring a fantastical, mysterious performance.

The NYT Theatre is a brilliant, 110 seat space with a lovely effort made to decorate the foyer and continue to vibe of the show throughout the interval. The front of house team is really helpful and it feels like a real community space that has created an amazing ensemble production.

NYT Rep Company have created an uplifting, comedic production of Twelfth Night with fantastic acting, choreography, costumes, set, and music throughout. A very enjoyable show!

REVIEW: Sophie Duker: But Daddy, I Love Her


Rating: 4 out of 5.

“Sophie Duker creates a chatty, engaging, hilarious evening of comedy and
delivers a very funny, relevant show that has the whole audience laughing!”


Sophie Duker: the self professed ‘delulu’ main character with potential daddy issues. She runs onto the Soho Theatre downstairs stage with incredible energy and enthusiasm, leaping into the audience and circling the room like a Rockstar. She is a joy to watch and has the audience laughing and smiling all the way through this 65 minute comedy show.

This show details Duker’s experiences of going to therapy with her dad, dating as a bisexual woman, being viewed as a ‘cool’ person by white people, having a sugar daddy, and her commitment to being ‘delulu’. The way she narrates a story naturally brings the audience in and you want to know where she is going with it. It’s often not where you expect. Sometimes it is. Both are hilarious.

Duker’s crowd work is particularly excellent as she interacts with both the audience as a whole and individuals on the spot in a hilarious way. Particularly amusing is the moment she enlists a male audience member to take the role of her ‘temporary daddy’ who then offers advice and encouragement throughout the show. She is engaging and asks the audience questions in a way that ensures there is something for everyone to find funny.

Duker gives chaotic energy in the best way! She is so likeable and engaging, chatting to the audience like your older sister’s best mate that loves you and also has wisdom and a funny anecdote to share. She uses humour and her own personal stories to make excellent, very relevant commentaries about gender, race, neurodivergence, and being LGBTQ+, and delivers punch lines in such a funny way.

The Soho Theatre is a great venue if you want a good vibes bar space to get a drink before your show! It is very busy and loud so perhaps not the best if you want somewhere quiet to chill beforehand. There is a really nice cabaret layout in the downstairs space and although sometimes the person in front can block the view slightly, Duker brilliantly moves around the stage with so much energy this isn’t a problem at all. It is a great intimate venue that feels so conversational and
allows for a fantastic hour of comedy. The 9:15pm start time is late (for those that like to be in bed with a book by 10pm) but very worth it!

Duker excellently sings a hilarious parody song mid-show which is so high energy and has the whole room laughing. She is a talented storyteller and comedian, and seems like someone you’d really get on with and have a lovely, hilarious dinner with! She has created a fantastic night of comedy and developed a show that is brilliant to watch on your own, with your friends, your partner, your parents…or your therapist!
An excellent evening of comedy from a brilliantly exciting and engaging comedian at an intimate venue! Sophie Duker is on tour with ‘Sophie Duker: But Daddy I Love Her’ until May 2025.

REVIEW: Fantastically Great Women Who Changed the World 

Rating: 4 out of 5.

An inspiring, uplifting, hilarious show performed by a phenomenal cast of women!

This new musical, based on the book of the same name by Kate Pankhurst, tells the story of Jade who gets lost on a school trip to a museum and finds herself in the ‘Gallery of Greatness’ where she meets some fantastically great women, including Rosa Parks, Mary Anning, Jane Austen, and Mary Seacole!

This story is so important, reminding everyone in the audience, particularly young girls and women, that they can be fantastic at every age, and change the world for the better by being their extraordinary selves, following their own dreams and their own journey. It was particularly lovely to see young women of colour in the audience seeing themselves reflected in the protagonist Jade, and seeing this amazing cast and band, made up of women and non binary performers of all different ethnicities, body types, and backgrounds, tell the stories of these amazing women – some of whom the audience may know, and some of whom they might not! One of my favourite parts of this show is discovering the stories of women you perhaps haven’t learnt about at school, for example Mary Anning, the archeologist that discovered fossils in Lyme Regis.

This is truly an ensemble show, with each performer supporting each other whilst also getting their moment in the spotlight, demonstrating great multi rolling and use of accents, and interacting brilliantly with each other! 

The story is fantastically led by Georgia Grant Anderson playing Jade. She perfectly portrays the excitement, determination, confusion, and emotion of a young girl finding her way and takes us with her on her journey throughout the ‘Gallery of Greatness’ with gorgeous vocals and a really engaging and exciting stage presence!

Elena Breschi is brilliant as Sacagawea, the expert mountaineer and interpreter, incorporating sign language into her performance excellently, and as Marie Curie, the Nobel Prize winning scientist! She is also inspiring and comedic as Frida Kahlo, and her rendition of ‘A World Of Colour’ fills the stage with beautiful choreography and stunning vocals!

Meg Hateley is strong and powerful as Emmeline Pankhurst, the Suffragette, (I loved hearing Emmeline’s Mancunian accent!) and very funny as Agent Fifi (Marie Christine Chilver), the spy recruited by the British government during World War Two to train other agents!

Charlotte Jaconelli is incredibly empowering as Gertrude Ederle, the Olympic swimmer and first woman to swim the channel, and amusing as Jane Austen who interacts with Breschi’s Kahlo fantastically! Her vocals are powerful throughout and she shows incredible physicality and movement, utilising all the props and set to create funny moments as both Ederle and Mary Anning.

Anelisa Lamola brilliantly portrays Amelia Earhart’s determination and sense of adventure, and the dedication and caring nature of Mary Seacole! She is particularly impressive as Rosa Parks, as she tells the story of how she refused to give up her seat on the bus in Alabama in 1955, which helped begin bus boycotts across the country. She highlights the way in which change can come about as the result of a collaborative movement. There is also a particularly poignant scene in which Lamola introduces Anne Frank, beautifully performed by Aaliyah Monk, and demonstrates how women can make change at all ages, be that 42 like Rosa Parks, or 13 like Anne Frank when she began writing her diary. 

The show discusses how not every fantastic women’s story has a happy ending, but their legacies and what they stood for continue to this day. For example through The Ninenty-Nines, the women’s flying club set up by Amelia Earhart, the publishing of Anne Frank’s diary, the mountains, rivers and national parks named after Sacagawea, the artwork by Frida Kahlo on display across the world, the element Radium named by Marie Curie, the discovery of which has treated so many people, and the swimming school for deaf childen set up by Gertrude Ederle, amongst so many other brilliant ways these women continue to change the world. 

The costumes used are colourful and bright, they light up the stage and ensure the audience is engaged throughout, along with the clever use of props and direction.

The set is well designed, and although it is excellent at The Other Palace, this show would work brilliantly on a slightly larger stage! The use of neon lights and signs to create the ‘Gallery of Greatness’ is exciting and looks amazing!

The production has fantastic, upbeat ensemble numbers and brilliant, sharp, energetic choreography! ‘Where Do You Want To Go?’, ‘Deeds Not Words’, and ‘A World Of Colour’ are especially engaging and fill the stage with storytelling. ‘Rosa’s Lullaby’, sung by Anelisa Lamola, is also a particularly stunning ballad!

Fantastically Great Women Who Changed the World is an inspiring, uplifting show that uses amazing vocals, exciting songs, and excellent choreography to tell the stories of so many different fantastic women! A great show performed by a very talented cast!

REVIEW: Your Lie In April


Rating: 4 out of 5.

A beautiful, heartfelt new musical based on the Manga by Naoshi Arakawa, Your Lie In April demonstrates the phenomenal vocal and musical talents of its cast with a stunning original score and exciting direction and choreography.


Your Lie In April at The Harold Pinter Theatre is a beautiful new musical adaptation of the Manga by Naoshi Arakawa, telling the story of piano prodigy Kōsei Arima and the arrival of new student and violinist Kaori Miyazono. Alongside his friends Tsubaki and Ryota, Kōsei navigates a complicated friendship with Kaori alongside his relationship with music following the death of his mother. Together, the group of friends support and challenge each other throughout their final year of school and tell a story of love, grief, and friendship.

This original score by Frank Wildhorn includes some outstanding solos and brilliant ensemble numbers. It also includes some truly beautiful instrumental solos with phenomenal piano by Zheng Xi Yong and mesmerising violin by Akiko Ishikawa.

Complemented by beautiful set design including a revolving stage, full grand piano, and a blossom tree and bridge, along with gorgeous costumes, the team have managed to create the world of Kōsei and his friends and bring this heartfelt tale to life. 

Nick Winston’s exciting direction and choreography, particularly displayed by the talented ensemble, creates the energy of a school and the tension of a music recital competition, allowing the audience to feel invested in each of the characters’ performances and the pressure and high stakes felt by these talented students. The use of clever video design also demonstrates scene changes and time passing. There are moments throughout that the Harold Pinter Theatre’s design blocks some of the action from mid-back stalls, particularly scenes utilising the theatre boxes. However, these are rare and despite the overhang of the circle and a few pillars the plot never feels confusing. 

Your Lie In April’s talented company are making history on the West End, with an entirely East and South East Asian cast, they tell this popular Manga story with incredible vocals and acting, but more importantly with phenomenal emotion and commitment. 

Zheng Xi Yong as Kōsei Arima demonstrates brilliant acting and some gorgeous standout vocal moments, and is particularly impressive in his multiple piano solos, which result in a well-deserved standing ovation mid show!

Mia Kobayashi as Kaori Miyazono has one of the most incredible voices I’ve heard on the West End, her heartfelt, emotional delivery of solos along with her powerful vocals are stunning and she portrays Kaori with brilliant humour and character, as well as emotion and heart.

Rachel Clare Chan as Tsubaki Sawabe is such an engaging character, she brings amazing energy to the stage every time she joins a scene and demonstrates her gorgeous vocals in both her solos and ensemble numbers.

Dean John-Wilson as Ryota Watari also has a beautiful voice and gorgeous tone, portraying the comedic, slightly overconfident but very charming, Ryota brilliantly. 

This original musical has taken a beloved Manga and brought it to the stage excellently. For those that know and love the original source material it will allow the heartfelt story to be seen in a different way, and for those that haven’t it will introduce this beautiful tale of the importance of music, love, and friendship to a new audience! I also particularly loved that the programme’s were written right to left to reflect the traditional structure of Manga!

A new musical created by a fantastic team and performed by an exceptional cast of young performers, Your Lie In April is a beautiful production that deserves to be seen by both Manga and theatre lovers. It is a definite success for the adaptation of Manga to musical, and combines all aspects of great musical theatre to create a beautiful show!

Creative Team:

  • Book by Riko Sakaguchi
  • English Language Book by Rinne B. Groff
  • Music by Frank Wildhorn
  • Lyrics by Carly Robyn Green and Tracy Miller
  • Music Arrangement and Orchestration by Jason Howland
  • Direction and Choreography by Nick Winston
  • Co-Direction by Jordan Murphy
  • Musical Supervision by Katy Richardson
  • Musical Direction and Conduction by Chris Poon
  • Set Design by Justin Williams
  • Costume Design by Kimie Nakano
  • Sound Design by Adam Fisher and Rob Bettle
  • Lighting Design by Rory Beaton
  • Video Design by Dan Light

Cast:

  • Zheng Xi Yong as Kōsei Arima
  • Mia Kobayashi as Kaori Miyazono
  • Rachel Clare Chan as Tsubaki Sawabe
  • Dean John-Wilson as Ryota Watari
  • Lucy Park as Kōsei’s Mother

Ensemble:

  • Chris Fung, Eu Jin Hwang, Mairi Ikegami, Gracie Lai, Imogen Law Hing Choy, Jojo Meredith, Daniel Nardone, Ericka Posadas, Ernest Stroud, Ria Tanaka, Kevin Tristan
  • Young Kōsei/Little Boy: Timothy Jian Soon, Eoin Mcloughney, Theo Oh

REVIEW: Sister Act


Rating: 5 out of 5.

Sister Act at the Dominion Theatre is a fabulous, uplifting, hilarious show full of incredible songs and sisterhood. Its talented cast spread the news and rock the pews with their phenomenal vocals, brilliant comedy and fantastic energy. It truly is one terrific Sister Act!


Sister Act, first performed in the West End in 2009 and based on the 1992 film of the same name, includes a musical score by Alan Menken, with songs such as ‘Raise Your Voice’, ‘Fabulous Baby’, and ‘Spread the Love Around’ raising the roof at the Dominion Theatre. Led by Alexandra Burke as Deloris Van Cartier (as in Cartier, baby), this show utilises excellent costumes, a fantastic set, and exciting, bold lighting design to bring the Our Lady Of Immaculate Sorrow convent to life. The finale is particularly energetic and sparkly, with every costume dazzling and the entire stage lighting up like a rainbow. The show also uses really clear transitions throughout to distinguish between the Philadelphia nightclubs and bars, and the church. 

I’d particularly like to highlight how brilliantly the stage management team, crew, front of house, and cast recovered from a show stop near the end of the performance. The pope’s golf cart remaining in the middle of the stage mid finale is difficult to dance around and the crew dealt with it swiftly and professionally whilst the cast came back out with even more enthusiasm and sparkle, ensuring an amazing end to the show!

The entire ensemble of nuns bring brilliant joy and energy to the show, creating a true feeling of sisterhood. Alongside the heartwarming and feel good ensemble numbers, there are also particular standout solo numbers. Alexandra Burke embodies the role of Deloris with style, spectacular vocals, and real emotion, and sings ‘Sister Act’ so beautifully it brings actual tears. She brings energy and sparkle to ‘Take Me to Heaven’ and ‘Fabulous Baby’ and leads the ensemble numbers ‘Raise Your Voice’, ‘Bless Our Show’, and ‘Sunday Morning Fever’ with phenomenal riffs and beautiful soaring vocals. Lizzie Bea is also a vocal superstar. From her first solo moment as a quiet, shy nun to the reprise of her stunning solo Life I Never Led she is phenomenal. Together, Burke and Bea as Deloris and Sister Mary Robert show brilliant emotion, causing goosebumps and (once again) tears. They demonstrate the importance of having a friend, a sister, there for you but also in making your own choices. Ruth Jones portrays the Mother Superior and similarly shows off a powerful voice, with her poignant and comedic solos. She is hilarious throughout, as she explains how she came to the church from Wales, England, and represents with her Welsh Dragon socks which pair very well with her habit.

Monsignor O’Hara, portrayed by Carl Mullaney, is also especially humourous throughout, bringing comedy and excitement to all his scenes, and highlighting the way this show has created a production centred on Catholic nuns that continues to support and uplift LGBTQ+ pride.

Curtis, Deloris’ ex-boyfriend, portrayed by Lemar, and his team of gangsters bring great comedy throughout, whilst Eddie, played by Lee Mead, is heartfelt and humorous. Mead ensures Eddie grows into a reliable and supportive friend for Deloris, and together they have a great rapport. Mead also does a particularly impressive on stage quick change (twice), a testament to both his performance and the clever costume design!

The finale costume changes also contribute to the uplifting, party feel of the show and alongside energetic choreography and the orchestra’s brilliant rendition of Menken’s score ensure the whole audience are dancing and clapping along. 

Sister Act at the Dominion Theatre is a truly fabulous show! Led by the incredible Alexandra Burke and a talented cast of hilarious and heartfelt characters, it’s a feel good, dazzling musical spectacle with fun choreography and a gorgeous score of uplifting songs! This is one terrific sister act!

Playing until the 31st August at the Dominion Theatre. 

Embarking on a UK Tour 24 June – 5th October 2024.

https://www.sisteractthemusical.co.uk

Creative Team:

Music by Alan Menken

Lyrics by Glenn Slater

Book by Cheri and Bill Steinkellner

Direction by Bill Buckhurst

Choreography by Alistair David

Set and Costume Design by Morgan Large

Lighting Design by Tim Mitchell

Sound Design by Tom Marshall

Wigs, Hair, and Make Up by Sam Cox

Musical Direction by Neil Macdonald

Cast:

Alexandra Burke as Deloris Van Cartier 

Ruth Jones as Mother Superior

Lesley Joseph as Sister Mary Lazarus

Lemar as Curtis Jackson

Lee Mead as Eddie Souther

Lizzie Bea as Sister Mary Robert

Alison Jiear as Sister Mary Patrick

Carl Mullaney as Monsignor O’Hara

Caroline Bateson as Onstage Swing

Natalia Brown as Tina

Damian Buhagiar as Pablo

Lori Haley Fox as Sister Mary Martin of Tours

Lauren Hall as Offstage Swing

Chloe Hopcroft as Onstage Swing

Tom Hopcroft as Joey

Bradley Judge as TJ

Claudia Kariuki as Michelle

Graham Macduff as Offstage Swing

Castell Parker as Clemont

Emma Ralston as Onstage Swing

Michael Ward as Onstage Swing

Jermaine Woods as Cop/Bartender

REVIEW: Swan Lake in-the-round

Rating: 5 out of 5.

A mesmerising production of Tchaikovsky’s Swan Lake, innovatively and beautifully staged in the round at the stunning Royal Albert Hall

Swan Lake in-the-round at the Royal Albert Hall, choreographed by Derek Deane, involves 60 swans and is divided into four acts. Though initially skeptical at quite this many sections to the performance, they each feel the perfect length, with a short pause following act one and intervals after the second and third acts. As each act concludes the audience is left marveling at the beautiful choreography and phenomenal dancers, but every section is more mesmerising than the last, with new costumes and featured dancers bringing exciting perspectives and storytelling. Performing in the round allows the audience to watch each individual dancer whilst also seeing them flawlessly come together to create an ensemble.

The costumes, created by Lola Stott, Peter Todd, and originally Whizzy Shawyer, alongside a whole team of talented wardrobe managers, assistants, dressers, cutters and makers, are intricately designed and stunning. From court jesters and jugglers, palace ball gowns, the villainous Rothbart’s epic winged cape, to the Prince, Odette, and Swans themselves, the costumes are a stand out part of this production.

The principal dancers, Sangeun Lee as Odette/Odile and Gareth Haw as Prince Siegfried, were stunning. They display spectacular technique, performance, and emotion, with costumes that show their beautiful footwork and help create a magical production. Their chemistry is particularly emotive throughout acts three and four, demonstrating not only excellent choreography but true performance and theatre. The villain, Rothbart, played by James Streeter, is intense and dramatic, bringing great flair and stage presence. The iconic music of Tchaikovsky is played brilliantly throughout by the English National Ballet Philharmonic, conducted by Gavin Sutherland.

The use of haze to create the titular lake is fantastically impressive and works brilliantly, allowing the floor of the magnificent venue to fill with mystery and reveal elegant swans. Similarly, the palace scenes are exciting and fun. Different choreography inspired by national dances is clever and particularly interesting as the audience is able to see the dancers perform different styles in different footwear. 

Ballet has often been viewed as a less inclusive and accessible art form, so it is lovely to see the English National Ballet creating a company with talented, diverse performers from around the world and I hope this continues and further improves in the future, inspiring people of all ethnicities to pursue and watch ballet. The Royal Albert Hall merchandise is also interesting and well curated, with a specific emphasis towards inspiring young people, ballet dancers of colour, and black ballerinas which will hopefully continue to increase diversity within ballet. Both the English National Ballet and The Royal Albert Hall also have exciting outreach programmes working with schools and communities, aiming to support and create a more diverse and inclusive future of classical dance, including ‘Ballet Futures: The Pipeline Project’, ‘ENB Youth Company’, and ‘ENB Elders Company’.

Swan Lake in-the-round is a beautiful evening. Its innovative staging tells this classical ballet, with over 140 years of history, from a new perspective, allowing the audience of the Royal Albert Hall to feel immersed and engaged with the performance. The talented dancers of the English National Ballet display outstanding technique and beautiful performance. They highlight soloists and work as an ensemble to create a stunning production, brilliantly supported by the orchestra and entire backstage team. A truly mesmerising ballet!

REVIEW: Twelfth Night


Rating: 4 out of 5.

A hilarious show full of miscommunication, meddling, and mischief, set in a stunning venue at Regent Park’s Open Air Theatre.


Very few theatre shows are born great, however some do achieve greatness, and I’m sure some do probably have greatness thrust upon them; Twelfth Night at Regent Park’s Open Air Theatre is a great show, set in a stunning venue. As the sun sets over this gorgeous outdoor theatre the audience enjoys a classic Shakespeare comedy. 

With excellent dinner options, ice cream for before the show whilst it is warm followed by hot chocolate and tea at the interval as it begins to get chilly, it is a fantastic setting, although cold once the sun has set. I’d recommend bringing a blanket. The lighting design creates an atmospheric scene throughout, particularly in the second act as it grows dark. The set is simple yet effective, with lots of varying entrances and exits providing interesting perspectives from different characters and subsequently adding to the confusion within this play.

Twelfth Night is an amusing production with the director implementing a great use of physical comedy to bring the text to life, particularly from Anita Reynolds as Maria, Michael Matus as Toby Belch, and Matthew Spencer as Andrew Aquecheek. Spencer is especially funny as the besotted, somewhat bumbling, Sir Andrew who remains out of the loop and unaware of the various subplots surrounding him, and Maria, alongside Toby, create an amusing duo causing chaos. Reynolds’ comedy was excellently supported by the actor-muso chorus quartet of Sally Cheng, Katherine Toy, Jon Trenchard, and Harry Waller. They brilliantly play the score, with Trenchard acting as Musical Director, and bring humour to scenes. 

Evelyn Miller playing Viola is particularly engaging, portraying the emotion, comedy, and conflict of the character brilliantly, whilst Anna Francolini as Olivia is also very amusing and uses silence and facial expressions brilliantly to create humour. Orsino, portrayed by Raphael Bushay, opens the show immediately drawing the audience in, and interacts brilliantly with Miller. Malvolio played by Richard Cant is superbly comedic and Michael Matus performing Toby as a drag queen is an exciting portrayal that brings lots of energy to the production. Antonio and Sebastian’s relationship, displayed by Nicholas Karimi and Andro Cowperthwaite, is openly portrayed as full of love and passion, as well as conflict and misunderstanding, which creates another perspective to the show and contributes to the confusion.

Regent Park’s Open Air Theatre’s production of Twelfth Night is not a musical but has an interesting use of song throughout, with Francolini as Olivia and Julie Legrand as Feste singing solos and some use of the actor-muso quartet, although I would enjoy further ensemble numbers. The end chorus when all characters come together and sing is quite beautiful. 

The costume design by Ryan Dawson Laight is excellent, particularly Feste’s gorgeous blue suit and corset, Viola’s understated but beautiful outfit, and Maria’s patterned, colourful ensemble.

This story is full of miscommunication, meddling, and mischief. Although the first act has moments of confusion as lots of scene setting and character introductions take place, it is hilariously brought together, or rather unraveled, in the second act as everyone reconvenes with mistaken identities, marriages, and reunions.

This is an exciting contemporary interpretation of a classic show that uses inspiration from queer culture and 80s fashion to bring Shakespeare’s themes of gender, identity, sexuality, love, and comedy to a modern audience. This is a great evening at an amazing venue, in the heart of Regent’s Park.

Creative Team:

Set Design: BASIA BIŃKOWSKA

Fight & Intimacy Direction: RACHEL BOWN-WILLIAMS & RUTH COOPER-BROWN FOR RC-ANNIE

Costume Design: RYAN DAWSON LAIGHT

Wigs, Hair & Makeup Design: CAROLE HANCOCK

Season Associate Sound Design: JAMES HASSETT

Movement Director: DANIEL HAY-GORDON

Casting Director: LOTTE HINES

Associate Director: CORY HIPPOLYTE

Director: OWEN HORSLEY

Composer and Musical Supervisor: SAM KENYON

Lighting Design: AIDEEN MALONE

Sound Designer: MAX PAPPENHEIM

REVIEW: Chisholm for President!

Rating: 4 out of 5.

 A gorgeous selection of songs and an incredible concept for a brand new piece of musical theatre!

A new musical with music and lyrics by Testament and book by Zodwa Nyoni, Chisholm for President! tells the story of Shirley Chisholm, the first Black woman to be elected to Congress in 1968, and to run for nomination of President of the United States in 1972. 

Born Shirley Anita St. Chisholm in 1924, to Bajan immigrants, Chisholm was a founding member of the Congressional Black Caucus. She advocated on behalf of women and minorities, stood for Gay Rights and environmental protection, fought against Child poverty, and opposed U.S. involvement in the Vietnam War. Chisholm served the United States House of Representatives for seven terms, from 1968-1983 (91st-97th Congresses) and passed away in 2005. 

First developed by Leeds Studio, this production’s live band, including: saxophone, drums, percussion, violin, guitar, bass, and trumpet, create a beautiful atmosphere, filling the Purcell Room of the Southbank Centre with funk, soul, and jazz of the 1960s.  Writer and composer Testament said:“Musically I wanted the sound and orchestration to be as authentic to the era as possible, like you are listening to a record live from 1968!”. 

Madeline Appiah wows as Shirley Chisholm, with her beautiful voice, emotion, and fantastic characterisation bringing Chisholm’s passion, hope, frustration, and determination to the stage. The vocal ensemble create beautiful harmonies, with some heartfelt standout solos, and a particularly inspiring number with the motif ‘When They Go Low, We Go High’ by Rachel Modest. Justina Aina’s song portrays the trials of being a congressional aide and being far from home on a presidential campaign. It is moving and showcases impressive vocals, whilst Pauline Tomlin’s solo as Chisholm’s Grandmother shows brilliant emotion and allows the audience to further understand Chisholm’s childhood and who she was.

The triumvirate of Ryan Harston, Testament, and Solomon Gordon portray male Black Caucus members in congress with an exciting three part polyphonic number fantastically depicting the way Chisholm’s peers were largely unwilling to support a women as the Black Caucus presidential candidate, emphasising the intersectionality of Chisholm’s gender along with her race. 

Milly Blue narrates the way in which predominantly white feminist activists such as Gloria Steinham  and Betty Friedan’s support wavered between firmly backing Chisholm to later withdrawing as they didn’t feel she could win. The production highlights the barriers Chisholm faced from both white feminists and black male colleagues and beautifully portrays Chisholm’s unwillingness to diminish her identity to appease others; she was proud to be a Black Woman and refused to compromise  her beliefs and what she stood for. 

This production also highlights the different demographics Chisholm received support from throughout her campaign, with Kat Govedarica portraying the student and LGBTQ+ community, who in Chisholm found a candidate that they wanted to support. 

This musical’s most empowering moment is when, as Shirley Chisholm realises she has not been successful in her bid to be a Presidential candidate, she questions what the point is? What did she achieve? The audience sees videos of young women in the present all declaring that they are running for President and demonstrates the inspiring legacy Chisholm left for those that came after her, for young black girls, for Hispanic, Native American, White, Mixed Race, Asian, Immigrant, and all women, to see that they could stand for President and make a difference. In a political establishment that didn’t, and often still doesn’t, want to hear the voices of women, particularly women of colour, Shirley Chisholm demonstrates that it is important those voices are heard.

 Playwright Zodwa Nyoni said:

“Shirley Chisholm left a great legacy as a Black woman in life and politics. Against the odds and doubters, she remained true to herself and her ethics. Her message stands the test of time.”

Chisholm for President! was also performed in Leeds on Friday 12th April as part of its work in progress presentations. The team aim to secure support and collaborators to turn Shirley Chisholm’s story into a full-length musical, and with its gorgeous Soul and Funk score and inspiring story of hope and dedication it deserves an exciting future and to be seen by more audiences!

REVIEW: The Lord of The Rings Return of the King In Concert


Rating: 5 out of 5.

A phenomenal event by the exceptionally talented Royal Philharmonic Orchestra and Chorus, performed at the beautiful Royal Albert Hall.


If there is one way to watch this record breaking film, that won eleven Oscars including Best Picture and multiple production design awards, it’s like this. A huge screen at one of the UK’s most stunning venues, with a full orchestra and choir. The Lord of the Rings: Return of the Kings is the final instalment in the epic fantasy trilogy and it’s musical score is spectacular. There are multiple battles fighting to save Gondor and the World of Men, and to allow Sam and Frodo time to destroy the One Ring, all of which are beautifully underscored by a cacophony of sound performed by the Royal Philharmonic Orchestra and Chorus and Trinity Boy’s Choir.

At the emotional moments the orchestra is accompanied by the outstanding soloist Kaitlyn Lusk whose voice soars throughout the entire Royal Albert Hall. She is particularly impressive singing Annie Lennox’s ‘Into the West’ throughout the credits. The credits, although a part of any film many usually don’t watch, were played in full and were an opportunity to appreciate all of the hard work that had gone into creating this film, from the costumes and special effects to the stunt teams and the camera operators. This movie is not only the climactic finale of the Lord of the Rings Trilogy, but also the culmination of eight years of dedication to their craft by everyone involved in creating the saga, with the trilogy winning a total of 17 Academy Awards and all three films among the highest-grossing of all time. It is no surprise then, that this final chapter sold out the Royal Albert Hall and created an atmosphere for fans of the films like no other. 

The Royal Albert Hall’s ‘Films in Concert’ series can be a very expensive experience with tickets for some films reaching up to £104 each, however there are also tickets available at many price points below this with the cheapest being around £30. In terms of what you receive for this, this event truly delivers and provides excellent value for money. Whilst the view differs across the different sections of the venue, most seats provide a great viewing experience and even those that are restricted will usually be able to see the screen and hear the incredible music that fills the hall. Coming up throughout 2024 there are also screenings in concert of Indiana Jones and the Raiders of the Lost Ark, Top Gun: Maverick, Ghostbusters, Avatar, and Harry Potter and the Deathly Hallows Part 2. 

The Royal Albert Hall as a venue is well practiced at hosting excellent events and their facilities allow guests to enjoy a meal or drink before the show, whilst the front of house team welcome patrons and expertly guide them to their seats, which in a venue as big as this one is no easy feat. 

This final chapter in the Lord of the Rings Trilogy is an exciting and visually brilliant piece of cinematography that has only been elevated by being a ‘Film in Concert’. The stunning Philharmonia Chorus and Trinity Boy’s Choir give depth and emotion to the beautiful choral moments and the Philharmonic Orchestra, conducted by Ludwig Wicki, demonstrate incredible stamina and talent in playing Howard Shore’s stunning score throughout the 3 hour 25 minute performance. 

A phenomenal evening of musicianship displayed by the Royal Philharmonic Orchestra, Philharmonia Chorus, and Trinity Boy’s Choir performing the Return of the King score live in this iconic venue. The Lord of the Rings: Return of the King in Concert at the Royal Albert Hall is perfect for all fans of the trilogy, be they Hobbits, Orcs, Wizards, or Human. 

You can find more Films In Concert here.

REVIEW: Before After

Rating: 4 out of 5.

A heartbreaking and equally heartwarming new musical with a fantastic, talented cast

Before After is a new musical playing at Southwark Playhouse, telling the story of Ben and Ami, a pair that meet by chance on a hillside. She knows exactly who he is as the previous love of her life, but he doesn’t remember her. The production utilises beautiful imagery throughout its original songs, and allows a simple but effective set to be transformed into a restaurant, a home, a sunset, and the tree at the top of the hillside. This creates a mesmerising setting forming their romantic place ‘Before’ and the meet cute of the two protagonists ‘After’. The show has very clear timing, shifting between past and present, before and after, with precision and great use of costume and hairstyling to indicate these jumps. The use of projections indicating ‘Before’ or ‘After’ also helped! 

Grace Mouat playing Ami displays effortless vocals, her tone beautifully soaring within this intimate venue. Her excellent ability to portray the stressed, burnt out twenty-something with the overpowering want to please her parent whilst not being entirely fulfilled with her current path, the spontaneous woman looking for excitement and a love that will last, the preoccupied partner struggling to juggle everything, and the organised, gallery owner following her dream whilst trying to find the words to tell the truth, demonstrates almost the full spectrum of emotions within a complicated, loving, turbulent relationship and work-life balance that many, of all ages, will resonate with. 

This, paired with Jacob Fowler’s charming, amusing portrayal of Ben and his stunning vocals, creates a captivating and honest portrayal of their relationship, from strangers to partners and back again. Fowler portrays the charismatic, disorganised, slightly Hugh Grant in the 1990s-esque Ben with ease and humour, and perfectly depicts his confusion and struggle as he searches to understand his life pre-amnesia. There are moments where the decision making feels fast and slightly more exploration of some of Ami and Ben’s thoughts as the show reaches its conclusion would enhance the understanding and portrayal of their relationship, however this 90 minute show manages to include a great amount of storytelling, emotion, and humour throughout.

Before After explores Ben and Ami’s ability to communicate, understand their past, and navigate their present and future, using effective props and costumes, and a beautiful score to create a heartfelt production. Southwark Playhouse is a small, welcoming venue perfect for this two person show, and following a successful live-stream in 2020, this fully staged production of an exciting new musical beautifully captures the emotion, commitment and complications of twenty-somethings searching for career, family, and romantic fulfilment through Ami and Ben’s unique story. A fantastic performance from both Mouat and Fowler, Before After is a gorgeous new musical!