Author: Manmeet K Walia

REVIEW: La Bella Bimba! at Baron’s Court Theatre

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Rating: 3 out of 5.

A charming mess of music, mischief with some total confusion

I went into La Bella Bimba! without understanding a single word of Italian, and I left in exactly the same state. Even so, I had a great time. The whole thing is chaotic, funny and strangely endearing, even when you have absolutely no clue what is being said.

The show introduces us to Carlotta and Cecilia, two Italian performers who have just landed in 1930s New York and are doing their best to make their mark. They bounce between live music, comedy, flirtation and general mischief, all while constantly tripping over the English language. The confusion feels deliberate. Staged at Baron’s Court Theatre- basement of a pub, they want the audience slightly off balance, and they certainly succeed.

Even though the Italian sailed straight past me, their expressions did the storytelling. Their eyebrows, hand gestures and exaggerated reactions were practically their own language. Both performers are talented physical comedians with excellent timing, and that carries the show a long way.

The piece jumps through several dance styles, sometimes polished and sometimes intentionally messy for comedic effect. The shoe dance was genuinely good, and the mix of cabaret, clowning and slapstick kept things lively. That said, there was a section in the middle that dragged on far too long. It felt dull and almost endless, as if the play lost its rhythm for a moment before picking up again towards the conclusion.

One of the highlights was their attempt at American accents. It felt like a cheeky dig at the pressure to assimilate and the absurdity of changing your voice to fit in. Beneath the silliness, the show has something to say about the dreams big cities promise and what people sacrifice while chasing them. The commentary is subtle, but it sits there underneath all the feathers and chaos.

Everything was clearly well rehearsed, and their energy never really dipped, aside from that slow mid-section. The live music, played by the musicians who also were the characters in the play,  added its own charm even when I could not understand the lyrics. 

The ending, however, was abrupt. After all the bouncing around and escalating chaos, the show suddenly stopped. I am still not sure whether that was the intention, but it left me just as confused as I had been throughout, thanks largely to the language barrier.

Despite the confusion and the slightly saggy middle, La Bella Bimba! is bold, playful and very funny. It may not give you clarity, but it will keep you entertained. And honestly, that is often enough for a cabaret.

REVIEW: A Night With Boy Blue – Generation Blue

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Rating: 4 out of 5.

 A sense of community, legacy, and sheer joy

Boy Blue’s Generation Blue at the Barbican was more than just a showcase of hip-hop and street dance. It was a celebration of community, legacy, and sheer joy. With nearly 200 performers taking over the stage, ranging from ten-year-olds to seasoned professionals, the evening was filled with vitality, movement and the unmistakable energy that only a dance family like Boy Blue can bring.

From the very start, the tone was set by presenter Ashley Jay, who was nothing short of hilarious. His banter, charm and comic timing gave the night a warm, welcoming energy, and kept the audience constantly engaged between segments. It was refreshing to see someone hold the space with such ease, reminding us that performance is as much about connection as it is about craft.

The performance was more than just entertainment; it was a compelling invitation into their world. Though at points the programme felt like an extended advert for their training pathway, from after-school clubs to higher education it still managed to ground itself in sincerity. The audience was witnessing the living, breathing result of that system: passionate dancers having the time of their lives on stage.

Five different age groups performed, with dancers as young as ten holding their own in a packed theatre. One of the most touching moments came when the youngest group took the stage. At an age where many would fear the spotlight, these children danced confidently, visibly supported by their teachers who moved alongside them on stage. The cheers that erupted from the audience in that moment said everything.

Boy Blue’s motto-Educate, Entertain, Inspire, echoed through the evening. Every piece showcased something different: dance-offs, clever formations, shifting silhouettes and narrative-driven choreography. There was real range in the movement vocabularies used, and the lighting design added drama and nuance throughout. Whether it was sharp, synchronised sequences or more experimental forms, the variety made the long programme feel worth the stretch.

Beyond the choreography, what stood out was a sense of belonging. This was a company rooted in care and creativity, presenting dance as something more than performance, it was resistance, expression, and joy all rolled into one. The use of lighting was particularly effective, shifting from soft glows to stark spotlights, enhancing both the intimacy and intensity of the work. It sculpted the stage space, highlighting moments of vulnerability, tension, and triumph, and gave the night its theatrical edge. In a time where global headlines feel increasingly heavy, this evening gave many of us a rare chance to forget, even if just for a while, and lose ourselves in rhythm and movement. As someone who claims to have two left feet, I found myself genuinely tempted to sign up to the Boy Blue Academy by the end of the evening. I left the theatre not just entertained but genuinely inspired. It reminded me that dance can be both a serious art form and an open invitation. Generation Blue didn’t just show us a performance; it gave us a glimpse into a world we might want to step into ourselves.

REVIEW: Neither Drums Nor Trumpets

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Rating: 3.5 out of 5.

A Choreographed Whisper That Echoes Loudly

Pam Tanowitz’s Neither Drums nor Trumpets, presented as part of Dance Reflections by Van Cleef & Arpels in collaboration with the Royal Ballet and Opera, unfolded like a beautiful symphony—meticulously synchronized yet effortlessly fluid. Set in the historic Paul Hamlyn Hall, a space steeped in layers of history, the performance played with ritual, repetition, and abstraction, weaving together movement and memory with a quiet, mesmerizing force.

From the very first step, it was clear—this was dance stripped down to its purest essence. No elaborate makeup, no extravagant costumes, just the raw power of movement. The performers, dressed in minimal, understated attire, let their bodies do the storytelling. Every step was precise, intentional, and almost meditative in its focus. At moments, it felt as if we were watching a rehearsal rather than a staged performance—a deliberate blurring of perfection and process, formality and spontaneity.

The solos were particularly striking—each dancer bringing their own emotional depth, technical finesse, and quiet intensity. But if I had to pick a personal favorite, Anson Zwingelberg’s presence was magnetic, his movement impeccable in its clarity and control.

What stood out most was the presence of the trainees—a seamless integration that felt like a continuation of ballet’s legacy, the passing down of knowledge and tradition through storytelling in motion. Their presence added a fresh, dynamic layer to the work, a reminder of the intergenerational dialogue that is inherent in dance.The impeccable twirls, the mid-touch holds, the unexpected wit woven into the choreography—it all contributed to an experience that was as cerebral as it was visceral. Tanowitz’s work is clever—witty in its restraint, playful in its precision. Neither Drums nor Trumpets was not just a performance but an exploration, a reflection on dance itself, seen from a distance yet deeply felt in the moment.

REVIEW: Adam Riches and John Kearns ARE ‘Ball & Boe’

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Rating: 4.5 out of 5.

Timely, Satirical, and Deeply Entertaining

Ball & Boe was a masterclass in comedy, musicality, and sharp satire performed at the Soho Theatre. Comprising stand-up, musical covers, and theatrical performance, the show had audiences roars of laughter cleverly weaving in poignant critiques about society, relationships, and the human condition.

Starring Edinburgh Comedy Award winners Adam Riches and John Kearns, the production is a remarkably brilliant parody of musical theatre legends Michael Ball and Alfie Boe. Riches, so brilliant as the exaggerated Sean Bean on 8 Out of 10 Cats Does Countdown, and Kearns, a breakout star of Taskmaster and co-host of Guessable, bring their comedic mastery to this intimate cabaret-style show.

Dubbed affectionately as “Ball & Boe,” the two performers in their tuxedos dazzled on as they brought a polished yet relaxed energy onto the stage. Their impeccable chemistry, highlighted both the challenges and hilarities of partnership. From age-related insecurities to ego clashes, they explored universal themes with self-awareness that made the humor relatable and razor-sharp.

The satirical elements of the show were striking. Their commentary ranged from jabs at capitalist culture to musings on the fragile egos of celebrities, all delivered with biting wit and perfect comedic timing. They even managed to inject humor into serious global, turning solemn topics into moments of hilarity without losing their underlying message.

The most enjoyable part of the show was how the two went about doing the cover of songs and including I the audience in their gig. Interpreting the songs to incorporate comic moments gave multiple meanings and showcased their vocal skills, proving humor and musicality coexist together in harmony.

It was an addition of an interaction to please the fans, from whom it received a section hilariously responding “Get well soon” to the letters sent to them. The interplay with expectations, therefore, was something much more intimate and joyful for the admirers of the duo.

With all that said, this show uniquely blends comedy, music, and festive chaos in a little under an hour. From ridiculous skits to moments of tenderness, Riches and Kearns keeps the audience laughing while riffing on the iconic personas of Ball and Boe, who themselves are celebrated for charisma, banter, and double-platinum musical success.

With their distinctive styles and impeccable chemistry, the duo parodies the charm and charisma of Ball and Boe while adding their own comedic twist. Expect songs that make you laugh, cringe, and maybe even swoon; anticipate goosebumps of both the musical and comedic variety; and pray for harmonies that walk the line between ridiculous and rapturous. It’s timely, satirical, and deeply entertaining – a must-see for anyone craving a night of laughter and clever social commentary.

Plays fourteen nights at the Soho Theatre until 7th January 2025

REVIEW: Carpet

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Rating: 3 out of 5.

A witty and relatable light-hearted performance

In a wider perspective, navigating the property market is a universal challenge across many demography groups in London. For international students and young professionals, however, this barrier gets really ludicrous. Being an immigrant myself, I perfectly understand the struggles. The particular experience is what the ‘Carpet’, shown at the Canal Café Theatre, draws on. Although it is a play concerning difficulties, uncertainty, and humour within the London rental market, the exploration delves into shared living and creative goals, culminating in the strange relationships housemates build with one another.

The play opens with three young Asian girls acting out the problems of living in London. Immediately, the protagonist — an aspiring actor — voices out London’s bleak house conditions and the harshest realities of finding work opportunities in the city.

Instantly it becomes very relatable to anyone who has ever had to search for housing in this capital: from overpricing flats right through to lowly maintained, falling-apart interiors—the narrative gets every unpleasant aspect just right. But it soon becomes about the dynamics of a shared flat, with toxic roommates and passive-aggressive tensions at the heart of the comedy.

One of the standouts is an art professional, whose thinly veiled superiority and passive-aggressive attitude create a hilarious, if somewhat painful, added layer to the story. The snootiness is perfectly set against the more earnest struggles of the foreign student. These moments of tension are played for humor but serve equally well as a commentary on a particular attitude often found within London’s certain professional circles.

While the play attempts to emphasize the lead character being Asian, it steers away from relying too much on stereotypes. There is a comment on how ‘Asians’ gets confused in London, always seeming to revert to the Chinese being the default assumption. This brings an interesting aspect into the story because it shows that many times cultural nuances are missed amidst the chaos of city living.

The true brilliance of ‘Carpet’ is in its universality. Told through the eyes of an Asian woman, the stories of housing struggles, toxic relationships, and the trials of navigating the arts industry are experiences that transcend cultural boundaries. It is the shared misery of the London rental market that brings the characters closer together in unexpected ways, showcasing how common struggles can forge friendships amid chaos.

Snappy, on-the-nose dialogue delivers one laugh-out-loud moment after another with barely a pause for contemplation. It’s humor at its most accessible, with ‘Carpet’ amiable enough to appeal across the board. The satire on roommates, meanwhile, is painfully accurate-the overcritical flatmate, the passive-aggressive veteran of the London way of life-perfectly familiar to all who have ever lived in shared housing.

Both cathartic and comical, ‘Carpet’ is for anyone who has been a victim of the London rental market, painting an all-too-familiar picture of a system so very bewildering and oppressive while reminding an audience that even the most frustrating of situations contain some sense of levity. Though not heavy in theme, the lightness in approach ensures the production is thoroughly enjoyable.

‘Carpet’ is an unpretentious, surface-level comedy with a sharp eye for the absurdities of modern London life. It might not leave you pondering life’s big questions, but it will certainly leave you laughing – and possibly reminiscing about your own roommate horror stories.

REVIEW: Good Girl

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Rating: 2 out of 5.

Story about friendship, womanhood, and cultural identity.

Good Girl, presented as part of the Bloomsbury Festival, offers a radical and tender reimagining of womanhood and family, following Suhana, Padma, and Brinda as they navigate the final weeks of Suhana’s long-anticipated pregnancy. While the play touches on significant themes of family, cultural expectations, and identity, its execution could have been more refined.

One of the central challenges was the play’s structure. The plot felt disjointed, making it difficult for the audience to grasp a cohesive narrative. The pacing also became problematic; the performance ran 30 minutes over the advertised time, which added to a growing sense of restlessness in the room. While delays and time extensions are sometimes inevitable, a more careful adherence to the schedule would have helped maintain the audience’s focus and engagement.

Additionally, the use of books in the actors’ hands was confusing. At first glance, it was unclear whether the books were meant to be symbolic props or simply scripts being referenced during the performance. If intended as props, their purpose could have been clarified or integrated more naturally into the scenes. Unfortunately, their presence distracted from the unfolding drama, breaking the flow and diminishing the emotional impact.

There were moments of humor and tenderness, particularly at the start, but as the play progressed, the energy flagged. The dialogue delivery, perhaps due to the actors reading from the books, felt stilted and unnatural at times, leading to a lack of immersion. What began with promise slowly drifted into a slower, more disjointed rhythm, which made it difficult to stay fully invested in the story.

From a South Asian perspective, certain cultural nuances were understandable and relatable. However, the portrayal of these cultural references seemed superfluous, as if they were presented more for surface-level recognition than for deeper exploration. The characters’ actions often felt incomplete, leaving the audience wanting more insight into their emotional journeys. The passage of time within the narrative also seemed unclear, which contributed to the disjointed feeling of the plot.

There were, however, moments of potential—times when the play grazed important conversations about women friendship, family, motherhood, and cultural identity. With some revision, particularly in terms of pacing, plot cohesion, and performance fluidity, Good Girl could become a more impactful exploration of these themes.

In its current form, while Good Girl touches on valuable themes and presents an intriguing premise, it would benefit from tighter direction, clearer storytelling, and more natural performances to fully realize its potential.

REVIEW: Der Vampyr

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Rating: 3.5 out of 5.

A Gothic Opera That Bites Back

Gothic Opera brings to life at the Arcola Theatre an engrossing mix of dark humor, horror, and social commentary in a biting manner within Der Vampyr. Director Julia Mintzer and conductor Kelly Lovelady breathe new life into Heinrich Marschner’s 1828 opera with a spirited, feminist bent that speaks to modern audiences.

This opera, whose starting point is John Polidori’s The Vampyre, draws upon the Gothic tradition, though this adaptation takes things further by featuring matters of modernity: consent, agency, toxic masculinity. Gráinne Gillis as the Vampire Master brings a presence of menace and absurd comic matter in her performance. There is buffoonery to patriarchal power captured well in her portrayal. She becomes a figure to be feared and laughed at.

The feminist reinterpretation of the production is evident in the way in which its female characters gradually reclaim their powers by the only ones surviving till the end. Over the course of the opera, they come to forge a united front, sort of a girl gang of sorts that turns the tables on the Ruthven, the only male vampire played by Giuseppe Pellingrain, a final act both gory and blackly comedic. That scene, where they get body parts off the vampire, is just something disgusting and at the same time hilarious. There is a sort of cringing-laughing throughout the audience.

Visually, the production plays on Gothic elements but with surreal touches when a large teddy bear toy takes on a layer of eerie absurdity to the narrative. The minimalist set and atmospheric lighting created an atmosphere that perfectly complements the themes brought out in the opera.

Musically, the new chamber orchestration, led by Lovelady, gives Marschner’s score renewed energy. It is sung in German, though English surtitles mean it is accessible to all; new English dialogue added bridges the chasm between 19th-century opera and modern sensibilities. One found oneself trying, at times, naturally, to keep up with the surtitles at the expense of the detail in the expression of the characters, and this did detract from the experience to an extent. It was a bit of a challenge to keep up with the text and to engage with the emotional delivery by the performers at the same time.

Des Vampyr is so much more than a revival, but an out-and-out re-imagining that speaks directly to now, and it’s a testimony to the ability of Gothic Opera to come up with something thought-provoking and sassy, yet true enough to the Gothic roots of the original work. Whether an opera aficionado, Gothic literature lover, or just a person looking for a good story, well told with humor and horror, you will not be disappointed with this production. With just four exclusive performances, Der Vampyr takes you on a short, unforgettable journey into a world where the line between good and evil is contested but humorously blurred.

Image credit to Max Kennedy.

REVIEW: A Lady Does Not Scratch Her Crotch 

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Rating: 4.5 out of 5.

One-woman show by Celeste Cahn – a tour de force in comedy and insight

At the Hen & Chickens Theatre last night, Celeste Cahn gave what was nothing more than a stunning performance. In this whirlwind one-woman show, Cahn takes the audience through the vagaries of growing up as a girl in a world full of patriarchal expectations. With quick wit and a shower of impressive dialects, she brought forth a myriad of characters, all while wearing the same costume. The result was a 55-minute single-act master class on how to construct a comedic tale with a biting social commentary.

The 12-year-old narrator, a character she plays with such a great deal of authenticity, takes the audience on a wild ride through all trials and tribulations associated with girlhood. Battling day-to-day demons that every woman can recognize—from oppressive beauty standards to internalized shame and the allure of toxic relationships—Cahn plays with a brilliant fusion of both humor and poignancy. Although based in a particular cultural context, it represents common experiences of women everywhere. The heavy themes particularly resonate well with Cahn’s use of humor. She reimagines familiar characters from idolized stories in one’s childhood and uses them to symbolize societal pressures on women. Mrs. Potts, now long from the comforting teapot in Disney, becomes a repressive voice that polices female sexuality. The “beast” that many women find themselves attracted to symbolizes dangerous allure to the wrong men—this is a poignant commentary on toxic relationships, so often romanticized in society.

One of the most compelling aspects of the show is her ability to critique the very narratives many women were raised on. Stories as young girls that not only reinforced restrictive gender roles but also told us our value resided in our physical beauty and the ability to land ourselves a man, Cahn does not simply question these narratives; she deconstructs them with biting satire and raw emotion. However, it came at a cost for some characters. For example, Cahn used the character of Bella—a ‘pretty girl’—as a vessel to carry society’s idolization of beauty and dismissiveness toward women who lack in that conventional mould of beauty. This is a valid criticism, but it does come off a little one-dimensional. She represents all these issues in a way that makes one laugh and at the same time shows deep emotional feelings, making the audience realize certain uncomfortable truths while they are entertained to their fullest.

Such is Cahn’s versatility as a performer that she convinces—this one moment, she’s this character, and the next, she’s that—all with only her voice and a couple of subtle mannerisms and props to differentiate. That is almost a magic trick: to capture these very different personalities through quite distinct and very real accents, all wearing the same costume. Every one of her characters is so fleshed out that following the twists and turns in the story is easy.

Certainly one of the more memorable moments of the evening was when Cahn, in character, asked someone in the audience to come up and assess her kissing skills. That bind embodied in itself the conceptual strands of self-doubt, the desire for social approval, and the craving for validation. The audience gasped in laughter, awkwardness, and eventually rose to its feet—a testament to the deft handling by Cahn of just such delicate emotions.

Previously, Cahn has enthralled audiences in New York; with this performance, she proves in London to be a real force. The way she involves the audience as the audience and part of her journey creates an absolutely blurred boundary between performance and reality, leaving it in the memory of all present. In a culture that is booming with messages as to how women must look, act, and love, Celeste Cahn’s one-woman show provides needed refreshment. It brings indictment on these pressures but also some overdue applause to the strength and humour it takes just to get by. This is a performance that will make you laugh and think and wonder about the stories you have been telling yourself.

“The narrative is as much mine as is every girl’s in this society, and not bound by geography. I have seen drastic reactions by women during my performance, they either love it or walk out of it,” says the playwright/performer herself. Do not miss the occasion to witness this marvel talent in action either on the 17th or 18th of August at 3.00 pm at Hens and Chicken Theatre for a rather bold, daring, hilarious, and soulful take on womanhood.

REVIEW: Land Acknowledgement or As You Like It

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Rating: 5 out of 5.

A gut-punching performance that will leave you in splits.

The London International Festival of Theatre opened its doors on June 5 at the South Bank Centre in London with Cliff Cardinal’s Land Acknowledgement or As You Like It. LIFT is a daring theatre festival rooted deeply in the idea of making it an unforgettable and invigorating experience, with your adrenaline going through performances from around the world. I went to see Land Acknowledgement or As You Like It with absolutely no prior notions, and this performance swayed me to give it a standing ovation. Pardon my naivety to not know how celebrated this performance is and the excellence that Cliff Cardinal puts in the dialogue.

As the title suggests, this performance defines the problematic and important topic of ‘Land Acknowledgment’ in the form of a monologue where Cardinal addresses sensitive issues of mistaken identities and the complexes within society. As defined, ‘Land Acknowledgment’ is a ‘formal statement that recognizes and respects Indigenous Peoples as traditional stewards of this land and the enduring relationship that exists between Indigenous Peoples and their traditional territories.’ Cardinal, in his satirical dialogue with the audience, questions racism and colored superiority within the global context, issues emerging due to the residues of colonialism. Within many layers of his monologue, he raises themes of ecological imbalance, misinterpreted histories, cultural identity, and class distinction.


However, a part of the title is inspired by Shakespeare’s play ‘As You Like It’, which also underlines the commonality in the themes, that change is inevitable in this ever-evolving society and celebrates the ability for people to change for a better tomorrow.

In his performance, Cardinal is playing with language by sharing his lived experiences in Canada, highlighting the challenges that indigenous people have been experiencing while they fight to claim their home. This deep and poignant story-telling reminded me of what Philip Mason mentioned in The Psychology of Colonization: ‘You taught me language, and my profit on’t is, I know how to curse’, questioning the interpersonal changes. This performance is an act of resistance that also raises questions about the ethos of inclusivity and diversity in the institutional setup. Having said that, with no emphasis on the set or costume, Cardinal manages to get the room full of audience to break into laughter time and again with his humor.

Cliff Cardinal will be repeating this performance until June 9; it is definitely worth a watch. The London International Festival of Theatre is on until July 27, 2024. 

REVIEW: Get it On

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Rating: 3.5 out of 5.

Glamour, Groove and Whole Lotta Rock!

“Get It On – Night of Glam Rock” presents itself as a homage to an era that defined a generation. Steeped in the essence of the 70s Glam Rock movement, this nationwide tour promises an immersive experience, transporting audiences back to a time when music was more than just sound—it was a statement, a lifestyle, and a rebellion against convention.

As the first notes reverberate, the audiences are met with an ambiance that is both nostalgic and electric. The air crackles with anticipation, and the crowd exudes a sense of reverence for the music that shaped an era. From the glittering sequins to the flamboyant feather boas, every detail of the costumes of the performers pays homage to the extravagant aesthetic of Glam Rock.

Yet, beyond the spectacle of fashion lies the heart of the show—the music. Featuring the iconic hits of T.Rex, Slade, Bowie, Wizzard, Sweet, and more, “Get It On” offers a sonic journey through a time of artistic revolution. Each chord struck and each lyric sung serves as a testament to the enduring legacy of these legendary bands, reminding audiences of the power of music to transcend time and space.

One cannot overlook the gender differences inherent in the Glam Rock era, where androgynous fashion blurred the lines between masculine and feminine. This aspect of the show serves not only as a reflection of the era but also as a celebration of diversity and self-expression—a reminder that true art knows no boundaries.

As the music reverberates through the venue, attendees find themselves swept up in a whirlwind of energy and emotion. The infectious beats and catchy melodies inspire spontaneous sing-alongs and impromptu dance-offs, fostering a sense of camaraderie among strangers united by their love for the music.

However, amidst the euphoria, there were moments where the volume of the mic may seem overwhelming. While this minor flaw may briefly disrupted the experience, it was a small price to pay for the opportunity to witness such a spectacle of sound and vision.

As the night draws to a close, as an audience, I emerged from the venue with a newfound appreciation for the Glam Rock era and the artists who defined it. Their spirits uplifted and their hearts full, they carry with them memories of a night spent in the company of legends, where music served as a catalyst for joy, liberation, and self-discovery.

In conclusion, “Get It On – Night of Glam Rock” is more than just a concert—it is a celebration of an era, a culture, and a movement that continues to resonate with audiences to this day. Through its captivating blend of music, fashion, and nostalgia, the show offers a poignant reminder of the enduring power of art to inspire, uplift, and unite us all.