Victoria Ashford

REVIEW: HOUSE23 Presents Short Shorts: Comedy

Published on April 13, 2026April 14, 2026 by Victoria AshfordLeave a comment

A fun collection of comedy shorts

New art community HOUSE23 put on a limited selection of comedy shorts from up-and-coming talent, with a Q&A with a BAFTA award winning director and a BAFTA award winning writer at Riverside Studios to discuss their work.

The evening started off with a friendly and warm welcome from Molly, the founder of House23. A small group had already formed and were talking to each other, several of whom either knew or had worked with each other before. After brief introductions and a short chat with an actor-writer, we were given a goodie bag and ushered into one of the cinema screens. The screen itself was small, maybe a 40 seat capacity, but it was perfect for the screening and the seats were really comfy. Other short film screenings have not been in such venues and that alone made this event stand out.

There were five films being screened, each of around 20 minutes. Each short was of high quality and what was produced on presumably a small budget was impressive. It is easy to produce very amateur productions on small budgets but none of them felt like that. Each was polished, engaging plots, well acted and good soundtracks or sound design and the filmmakers involved clearly were experienced. A standout short being “Egg Timer” which deals with the pressures of society expecting women to have children, which is very topical at the moment. All five shorts were equally funny and got a good reception from the audience. It was clear to see why several had been winning awards and festivals. There was one actor who appeared in a couple and it had been curated so that we saw the actor play a character avoiding noise and socialising to another character who was “hired” by a couple, making the audience feel like we were going on a personal development journey. Only in comedy short screenings would that level of attention to detail work and actually made the second screening even funnier, given how we had previously seen him.

The Q&A was brief but a good insight into what it takes to develop a short film, highlighting many challenges that filmmakers face. What was being said clearly resonated with the audience as many were nodding in agreement. It was interesting to hear how the director went from shooting shorts to working with Saturday Night Live UK and how she approached the step up. Equally it was an interesting insight to hear how the writer was organising a rehearsal for the bbc on a silent film and the process of the filming. The night ended with more networking, discussing what was thought of the films and friends catching up. In an industry that relies on connections and your network, it was lovely and refreshing to see a group of people come together to support each other.

After having a brief discussion with Molly about where she wants this art community to go, as someone who works in the industry and a fellow creative, it is reassuring to hear that there are people who are wanting to create a sense of community and support, especially when the arts is largely accessible for people who have the funds to do so. It’s exciting to know that there is a startup that is looking to address issues that filmmakers face and the realities of being a creative, even more so in uncertain times.

You can keep up to date on upcoming events via Instagram @HOUSE23_LTD or email hello@house23.co.uk for any enquires.

Image taken from https://royalcourttheatre.com/events/john-proctor-is-the-villain/

REVIEW: John Proctor is a Villain

Published on March 28, 2026March 28, 2026 by Victoria AshfordLeave a comment

“The most validating theatrical experience a young woman can have!“

“Five young women running on pop music, optimism and fury are about to shed light on the darkest secrets in their small town. A story about girlhood, power, and questioning the narratives we’ve been taught.” Written by Kimberly Belflower and directed by Danya Taymor, this eagerly anticipated Broadway transfer moved the audience to tears at the Royal Court Theatre last night. Whether from tears of joy, feminist rage, or undefinable overwhelming emotion, people of all ages and genders have a lot to connect with in John Proctor is a Villain.

This sold-out production (limited returns available) tells the story of five female students in a “one stoplight” American town during the thick of the #MeToo movement and Trump’s first presidency. Within this conservative Christian community, each girl has a distinct personality that shines through, from their unique family backgrounds, differing opinions and ways of expression. This was an extremely refreshing take on shows that are set in a high school, as we have seen countless teen musicals that supposedly centre the young female experience, but never from this perspective. As a young woman who was a teenager when the play is set (2018), I immediately felt protective of these characters who felt like an alternate universe, American version of my own school friendship group. John Proctor is a Villain is shockingly universal (most Royal Court audience members won’t be from small town America), and compels everyone to consider the true intentions behind a “witch hunt” and the consequences of defending a man’s reputation.

The young characters frequently use language and pop culture references that you would definitely hear a teenage girl say in 2018 (“to quote Taylor Swift, we are NEVER getting back together! LIKE EVER!”). Sometimes these references feel somewhat cliche, (“and that’s what you missed on Glee!”) but it is an understandable move for wider audience appeal. Any awkwardness or cringe that is felt in these moments is completely overridden by the feeling of sheer love and respect that the creative team clearly have for these characters. The girls are never portrayed as silly or wrong for any of their opinions. They are treated with emotional depth and sincerity, inviting the audience to do the same. While some of the girls seem to stand on opposite ends of the feminist spectrum, the play never points fingers at which girl is “correct”, you always get the sense that each of these characters are on their own journey, and must be engaged with as valuable and complex individuals.

The Royal Court is a perfectly intimate space for this phenomenally talented cast to connect with the audience. Special congratulations to the professional stage debuts of: Charlie Borg, Reece Braddock and Molly McFadden! Molly leads the gang as the straight-A student Beth, who is beginning to immerse herself in modern feminism. Molly gives an appropriately highly-strung and energetic performance, capturing the kind of girl we all knew (or were!) at school, on the precipice of activism but not quite knowing how to express herself yet. Miya James is outstanding as Raelynn. She is one of the most grounded characters in the show, and the way she juggles many real and complex relationships while still feeling like an awkward, funny teenager is very impressive. Sadie Soverall as Shelby deserves every piece of praise that is guaranteed to come her way. Perfectly balancing the awkwardness, hurt, vulnerability and bravery of her character, she leads the show with the strength of a West End veteran.

The direction and movement of this show felt very realistic to how teenage girls would speak and move. At times some line deliveries felt slightly unnatural, but it admittedly seems difficult to make pop culture references and (now slightly outdated) teenage slang feel fully ‘off the cuff’. The lighting and sound design elevated the already fantastic script, punctuating the inner angst that comes across in the acting. The show was gripping throughout, but the play builds to a moment of extreme catharsis, if you weren’t already tearing up, you will be sobbing by the end. The genius use of female pop music (Green Light by Lorde) in this moment perfectly encapsulates how overwhelming it feels to be alive as a young woman at this point in time.

John Proctor is a Villain is more than an ‘urgent’ play. It’s the most validating theatrical experience a young woman can have.

REVIEW: Government Inspector

Published on March 26, 2026March 26, 2026 by Victoria AshfordLeave a comment

“Guildhall students are outstanding in this timely and hilarious political satire.”

“The news that a government inspector is on his way throws a small Russian town into chaos, as its corrupt officials scramble to cover their tracks. A simple case of mistaken identity spirals into farce, exposing vanity, hypocrisy and greed in this razor-sharp satire from the grandfather of Ukrainian drama.” (Guildhall website). Gemma Brockis skillfully directs David Harrower’s adaptation of the Government Inspector, originally by Nikolai Gogul. The play stars final year acting students at Guildhall School of Music and Drama who give consistently bold and hilarious performances throughout.

Brockis’ version is gender-swapped, with male characters reimagined as female and vice versa, resulting in all the local officials (and the titular “Inspector”) being women. Gender swapping in theatre is often tricky to get right and can sometimes dilute the impact of a show’s message, but here it was extremely successful! The main political message of this piece is to highlight the corrupt upper-class officials and their self-serving attitudes. This is still effectively done by presenting the people in power as women. In the current cultural and political climate, this play cleverly alludes to the fact that women are also capable of abusing their power for their own gain.

The performances from the final year acting students were undeniably the standout part of the production. The play is led by the Mayor (Meg Bewley), who strides around onstage with the familiar energy of a politician who is convinced they are in control while chaos follows her every move. A fantastically strong performance from Bewley, particularly toward the end of the play when the truth unravels and so does she. Bewley’s Mayor could have stepped straight out of a Home County office during the Conservative Party’s 1990s ‘sleaze’ era, with the perfect physicality and accent to match.

The Mayor’s foil, the supposed “Inspector” (actually named Ivana Khlestakova) is expertly brought to life by Arden Wolfe. The way she morphs her physicality throughout the show is pitch perfect, going from a desperate and starving swindler to an almost comfortable and overconfident fraud. Her determination to rinse the corrupt officials is palpable throughout, driving the plot forward and leaving chaos in her wake.

The Postmistress (Serena Birch) and Husband Alex (Ewan Labram) were other standouts from the ensemble, fully leaning into their comic characters and being reliably hilarious every time they were onstage. The whole cast had fantastic chemistry, bringing the absurd world of this provincial town to life.

One aspect of this production that was confusing was the time period and location this play was set in. The characters clearly lived in Russia and would make references to the Tsar and St Petersburg but were costumed in modern British clothing (e.g. Met police uniform and Stanley cups). Additionally, the characters travel by horse and carriage and send letters, but speak with 21st Century language and accents. This can also be seen in the set design specifically creating a British hotel room with familiar-looking fire safety signs on the door. The mixing of modern and original contexts is clearly intentional (whether by Harrower or Brockis), but it was difficult to fully grasp the meaning behind this choice. Ultimately this doesn’t significantly affect the enjoyment of the show, but it does provide an extra mental hurdle for the audience.

Overall, this was an outstanding production from Guildhall, and the final-year actors 2025-26 did a fantastic job.

REVIEW:Chamber Music Festival: Sunday Afternoon Concert – Pärt, Mozart, Bridge and Vierne

Published on March 24, 2026March 23, 2026 by Victoria AshfordLeave a comment

A relaxing showcase of classical music

For one weekend only, the Guildhall School presents a music festival featuring student-professor collaborations showcasing talented current students, performances in collaboration with the Yale School of Music, as well as a performance from the Elemore Quartet. The Sunday afternoon concert features compositions by Mozart, Frank Bridge, Arvo Pärt and Louis Verne.

The pieces were captivating and executed to perfection, showcasing, as always, the incredibly talented students at the Guildhall School. Some pieces sounded familiar, probably because they had been used on a film’s soundtrack, but there was a good balance of unfamiliar too, though that depends on how knowledgeable you are about classical music. Even if you aren’t, the pieces selected were uniquely beautiful and it was very easy to appreciate the talent of the composer and the performance. The concert also highlighted how talented the professors are and the experience that they bring to the school, and it was good to see both student and teacher perform alongside each other, something that almost feels unique.

The only thing that let down the overall concert a little was the changeover in performances, which felt somewhat slow, and the audience did chat amongst themselves whilst the stagehands set up. Likewise, instruments being tuned up on stage felt unnecessary and something that could have been done backstage, but it didn’t seem to bother the audience and perhaps it is quite normal for that to happen. With the afternoon feeling relaxing, maybe a quicker turnaround would have killed the atmosphere.

Overall, the pieces were performed wonderfully, and it was a lovely way to spend a Sunday afternoon. It was very easy to get swept up in the music, though not knowing much about classical music, there were times where the whole concert did feel a little repetitive, even though obviously there were several different compositions. But this didn’t appear to affect any other audience members, so it could just be a personal response.

The students are incredibly talented, and any show I’ve seen performed by the Guildhall School has been professional and high quality. If you are a classical music fan, or even if you are not, it was an enjoyable showcase of classical pieces. In one piece, a professor even gave a little backstory as to why it was chosen, which was a nice touch as it might not have been known to everyone in the audience. This show’s run has now concluded, with it being played at Milton Court Concert Hall.

REVIEW: Owen Wingrave

Published on March 4, 2026March 4, 2026 by Victoria AshfordLeave a comment

“Another great performance from the Guildhall school”

From the Guildhall School, this performance brings students and professionals together to showcase the talent on the school’s degree courses.

Set in the 1800’s, this performance tells a story of Owen Wingrave preparing to follow in his ancestors’ footsteps for a path into military as he is enlisted into an academy for entry into officer training. Despite his promising future, Owen disagrees with war and the sacrifices that come with it. Inspite of his teacher, Owen is sent back to his family home to be “straightened out” and what follows is a disapproving welcome, pressure, expectation and a family legend which sees Owen suffer the same fate.

What is striking about this show is the talent from the students, in past shows, a similar level has been performed, making these shows entertaining. From the incredible opera singers to the orchestra and costume design, the performance is high quality and professional. The stagehands were utilised and were dressed as if they were servants or butlers which was fitting as the Wingrave family were upper class.

The lighting and set design were well designed, although the use of video, almost AI didn’t seem to work as perhaps best as it was intended. With the set changes, video of battles of the time were played, merely as a distraction and highlighting the Wingrave family history. Overall, it didn’t add anything, and the story gave the same information so it just felt a little unnecessary. There were also times when the orchestra overpowered the singers and the script shown on screens was needed to understand what was going on. But the music overall was well performed and helped to bring the story alive.

Considering the Wingraves have dealt with great losses and a “legend” this was not alluded to and only came to knowledge after Owen goes to visit his family. If the tragedy which has caused much loss and grief, the director could have made it their own and made Owen’s opinion more apparent as the family “legend” seems almost sprung upon the audience, which could make it hard for an audience to engage with the tragedy and characters.

Overall, it is a good performance and really showcases how talented the students are, and it was nice that professionals were working alongside one another to bring together this performance. The Guildhall School really do put on some wonderful shows and I would highly recommend catching a student performance. This shows run has now concluded with it being played at the Guildhall School.

REVIEW: That’ll Be The Day

Published on February 5, 2026February 4, 2026 by Victoria Ashford1 Comment

That’ll be the day is a show jam packed with hits from the golden era of rock n roll performed by some incredibly talented people.

From Trevor Payne and Prestige Productions, this long-standing show celebrates 40 years on tour with a night at the London Palladium.

The opening number was energetic, immediately drawing the audience into the world of 50s rock ’n’ roll. While the show features hits from the 60s and 70s, and selectively from the 80s, some songs were less familiar to younger audience members. However, long-time attendees clearly enjoyed revisiting these classics, and the show’s welcoming atmosphere ensured that all ages felt included.

Interspersed with the music were archive clips, which added to the nostalgia of the evening. Many of these were instantly recognisable, while others introduced lesser-known moments, enhancing the sense of history. Sketches and comedy references varied in accessibility: some resonated with all audiences, while others relied on familiarity with the original shows. Nonetheless, the audience’s laughter confirmed that the performances were delivered with timing and precision.

The band and vocalists were highly skilled, effortlessly switching between instruments and styles. Moments of insight into the performers’ experiences added a personal touch, fostering a sense of connection that has undoubtedly contributed to the show’s enduring popularity.

Energy in the stalls dipped slightly before the interval, though it remained lively overall. At approximately three hours, the performance is long, but spanning multiple decades of music and culture makes this duration feel appropriate. For fans of the era, time passes quickly, with only minor discomfort toward the very end.

This is clearly a much-loved show, drawing repeat audiences year after year. While aimed primarily at an older demographic, younger viewers may still enjoy it depending on personal music taste, though some comedy and cultural references might be less accessible. The production celebrates not only the hits of the 50s, 60s, and 70s, but also the shared memories and stories they evoke, making it a show to catch.

I left the theatre buzzing with excitement, and if it hadn’t been so late, I would have phoned my mum to tell her all about it – settling instead for a WhatsApp message.

REVIEW: One Jab Cures All

Published on January 17, 2026January 16, 2026 by Victoria AshfordLeave a comment

“A playful piece on a political topic that asks what matters more, people or profit.”

When Max (Rob Pomfret) stumbles upon a universal cure, he firmly believes it should be freely accessible to everyone, for the good of humanity. His boss and CEO, Judy (Sophie MacKall), disagrees, insisting it should be available, but at a price. Unsurprisingly, Max is fired, prompting him to plan the smuggling of a batch out of the secret lab. His daughter is soon caught up in the chaos and, as she begins to realise just how morally corrupt Judy is, joins the fight for humanity. Once a secret plan is set in motion, more truths spill out, leading to both humorous and disastrous consequences.

Set within a realistically designed tech lab, this well performed and sharply written piece poses a familiar but urgent question, what matters more, human lives or money? Despite its clear political stance, the inclusion of current cultural references adds to the realism, while moments of absurdity help to lighten the tone. Overall, the production remains largely light-hearted. Some of the humour appeared to land more strongly with younger audience members, those in their 30s, which may suggest that certain references were missed by others, or perhaps the piece is simply aimed at a younger demographic. It could also be attributed to the Thursday night audience. The energy often differs compared to a Friday or Saturday performance, and I imagine the response may vary accordingly.

While I did not laugh quite as much as the person sitting in front of me, though there were certainly standout moments, this remains one of the best written and best performed pieces I have seen in independent theatre. Since Covid, the idea of people before profit has become increasingly prominent in public consciousness, and this production tackles the theme in a thoughtful yet playful way. It avoids becoming heavy or overly intense, which can sometimes dull the impact of such topics, and instead delivers its message with clarity and humour, arguably making it all the more effective. After all, it reflects a sadly real corporate mindset, and if you cannot laugh at it, you might just cry at the injustice.

One Jab Cures All is an entertaining and provocative piece that will either make you laugh or, at the very least, leave you nodding in agreement with its core message, occasionally punctuated by lines you probably should not be laughing at. Ultimately, it is a fun and polished production well worth seeing, and a strong reminder that independent theatre is anything but amateurish.

REVIEW: Gumshoe

Published on November 9, 2025November 8, 2025 by Victoria AshfordLeave a comment

A one of a kind whodunnit comedy

This sell-out Edinburgh show comes to Soho for a weekend in this comedic whodunnit show.

New York, 1940’s, Gumshoe is on his last case-his most deadly one yet. In solving the case, he is reunited with an old lover and an old friend. The details of the case are in the hands of the audience allowing the fourth wall to be broken and almost creating a living piece of work, in some respects. And a Friday night in Soho, anything can happen.

Other characters are a voiceover, with minimal props and two chairs for the set used as a car and part of a museum display set up for an audience member to steal a gem. The use of sound effects was often used for comedic value and several songs with police in the title or about them, brings this show to life.

This performance is heavy on the audience participation, which I am starting to enjoy, though I’m not sure how I’d feel about being dragged up on stage (which is what happened and the audience member became the client in need of Gumshoes expertise). What I can imagine this does, is keep the material fresh which is interesting as it is quite reactive to how an audience is on the night and sets it apart from other detective and comedy shows. This approach also showcases how funny the performer is and with audience participation, there inevitably was a moment of borderline heckling which the performer dealt with in a humorous manner, incorporating it into the show.

Full of puns, jokes that didn’t land as expected and audience engagement (giving the front row members water guns was a brave move) I spent pretty much the entire show in stitches. It was clear that the performer has dabbled in improv which works for this style of performance as something heavily scripted would not have the same appeal and in breaking the fourth wall, it offers a different experience of a show.

I can’t fault this show, I was impressed with the format and amazed at the talent of the performer and the many roles his sister plays in bringing the show to the stage. It did feel like it dipped a little in the middle but that could have just been me after a long week. And after a long week, an hour of silliness and laughter was needed. If you manage to come across another performance of this, go, it really is one of a kind.

REVIEW: Overwhelm at the Lion and Unicorn Theatre

Published on October 20, 2025October 22, 2025 by Victoria AshfordLeave a comment

A reflective and intense piece of theatre dealing with issues facing men today

From writer director Stacey Cullen, Overwhelm seeks to uncover some of the causes to the “male loneliness” epidemic and mental health crisis happening today.

The staging was straight-forward, Jake and Miles’s living room but with the use of a spotlight, the piece shifted from their situation to Riley’s situation and with Riley isolated, often watching the action of Jake and Miles or lost in his thoughts, it was a clever way to highlight his lack of connection and abandonment due to his addiction. Through his messages to Jake being voiced, his ups and downs and struggles with his mental health were more impactful. Despite his situation, Riley seemed to have more emotional depth and awareness than Jake or Miles.

There was an almost brotherly relationship between Jake and Miles and a want for what’s best for the other, but it lacked any emotion, other than anger when things got heated between the two of them as they unwillingly talk about things they would rather ignore, which it could be argued is symbolic of a lot of male friendships. It was interesting that Miles was keeping everything together, clearly dealing with a situation with his girlfriend but being emotionally present for Jake as he tries to get him out of the flat and talking to people whilst trying to get him to open up about what is really happening around him.

Initially the piece started light-hearted with banter between Jake and Miles which was contrasted with Riley’s descent and a few twists here and there. Then it became tense and the laughter stopped, as all three started to face up to what had been eating away at them. Their failings and insecurities came to the surface and it built to an intense ending. The fact that it took the actors to go back on stage and the lights to come up and the audience to clap, really does show how hard hitting the play was.

Overwhelm is just that. It struck a chord with my own personal struggles of similar issues; it left my friend almost in tears and a little stunned at the end. This piece is reflective of how easy it is to fall down rabbit holes in the incel community when you lack emotional maturity and unwilling to take accountability. How not having a support system around youwhen you’re struggling can take you down a path that can be hard to come back from and how the pressure of being expected to fix other people’s problems can have on some people. It also highlights a very real sentiment-you can’t help someone unless they want to help themselves and the unwillingness/fear in getting help that I am sure some men have felt.

REVIEW: Exxy

Published on October 9, 2025October 9, 2025 by Victoria AshfordLeave a comment

“A visually powerful performance challenging people’s perceptions.”

From Dan Daw Creative Projects, comes Exxy, a bold production of how to live in a society that has barriers to keep you out.

This visually impressive performance was largely sold out, on a Tuesday evening. The staging was well thought out-a reflective floor surface and a wooden panelled back wall used for projecting footage of the outback and of the performers with occasional strobe lighting, which complimented the movement. This paired down staging really allowed the performers to have space to move and the focus was on them. Equally the costume was clever, the performers were dressed in grey but the clothing was not the same for everyone-reflecting how we can all look similar when we are together but be different. With inclusivity in mind, the performance was captioned and was a relaxed performance, whereby you could come and go as you please, making the show accessible for any and everyone.

Told through movement and spoken word, which was often humorous, Exxy is a performative piece that looks to challenge perceptions on disability and how not all disabilities are obvious and what that means for the individual trying to survive in a society that hasn’t been built with them in mind. A moment reflecting this was a performer who had cerebral palsy but wasn’t obvious and with people’s perceptions, it seemed easily to say it was a sports injury. It also is challenging people’s perception on disability and the belief that it is used as an excuse to get out of obligations/responsibilities when it is not apparent. This unempathetic mindset that society does seem to have was reflected towards the end where the four performers seemingly pushed themselves far beyond what they were physically able to do in order to function in an abled society. A rather uncomfortable and powerful moment.

What is interesting about this performance is that it is thought provoking and almost activist-even if we are different, we still feel emotions, still have dreams and want to be accepted and loved for who we are. It confronts the realities of living outside of the box and the impact of living in an uncaring society has. This piece also in some ways, taps into the ideal of “the survival of the fittest” and how those who are different, ultimately get left behind in various ways. But it also taps into the social construct of sticking together and how communities are building themselves into more accepting ones and helping people find somewhere where they belong.