Category: Review

REVIEW: The Ballad of Johnny and June 

Published on by Megan FourieLeave a comment

Rating: 3.5 out of 5.

The greatest country music love story that doesn’t shy away from the bad times, set to a new and old musical soundtrack.

Telling the story of Johnny Cash and June Carter through a theatrical lens, this production blends concert-style performance with biographical storytelling, aiming to offer a fresh perspective on two of country music’s most iconic figures.

The show relied on the audience having prior knowledge of Johnny Cash and June Carter, focusing heavily on trying to tell something new or hidden. It feels like being at an authentic country concert, but the interjections from the narrator (who is their son in this case) keep the show from being a mere replica. The first act is very fast-paced, with only a few songs sung in completion, and it is difficult to fully settle in. Johnny and June are only just engaged when it comes time for the interval. However, Act 2 has a much clearer point to make, with more time devoted to the importance of the story.

Both Christopher Ryan Grant and Christina Bianco are expertly cast as the two leads. The chemistry is completely believable. They hit all of the points expected whilst adding something extra that makes this show worthwhile as its own thing. It makes all the difference to have genuine Americans inhabiting the roles, who sound effortlessly similar to their actual counterparts. The recognisable movements and mannerisms look totally natural and unchoreographed, just as they should be. Johnny Cash enters the stage to cheers and applause as a sparklier-than-real-life showman version of himself.

The entire cast has perfect harmonies, but during The Carter Family Tree song, it is difficult to understand all of the information due to poor diction. Instead of just casting children, the actors are left talking to a spotlight on the floor for scenes involving the young Johnny Cash and John Carter, which feels silly.

The production has an orchestra of two halves: those relegated to the back of the stage and the actor-musicians. Although everyone is given their fair share of credit and applause, it would work better to have one or the other, but there seems to be a trend against using the pit in musicals these days.

The fully wooden set is very fitting for the country music atmosphere. There is an excellent use of projection to highlight the various venues in quick succession — a simple but effective touch. Some aspects try too hard to be clever (such as the spotlight), and facing the back of the stage to play to a fake audience feels unnecessary and happens too often. The few props used are noticeably accurate, down to the old-fashioned microphone and American-style pill bottles.

The show is enjoyable for the most part. There is a sense of waiting for the well-known songs (which are thankfully given the time they deserve). The many quips get clear laughter, and mentions of other famous singers such as Elvis Presley, Patsy Cline and Kris Kristofferson are picked up on with excitement from the audience. There are unfortunately a handful of sticking points in this production, but it is a unique way of presenting a story known by many and, arguably, still preferable to being at a real Johnny Cash concert. What it does well comes from the brains and talent of these theatre makers and, whilst not everything needs to be turned into a musical, this one gets a green light.

The show continues at The Festival Theatre in Edinburgh until 2nd May 2026, before continuing its UK tour. 

REVIEW: Grammar Girls Grind

Published on by ayoungishperspective1Leave a comment

Rating: 4 out of 5.

An homage to weirdos, women and geeks – Grammar Girls Grind invites you to enroll in the tales of the authentic grammar school experience!

Bonnie McGhee’s Grammar Girls Grind is a triumphant tribute to grammar girls everywhere. It truly details a universal school experience, where grades and roles in the school determine both your social and educational hierarchy. Even the title alludes to the stories about to unfold, with the potential double entendre of “grind” as both the educational and “recreational” definition. This was such an entertaining experience, we were lucky enough to have Bonnie join the screening of the series and speak first hand about her project. Bonnie’s team have done such a fantastic job and it was clear how much of a family had been created over the course of filming and creation.

The series encapsulates the chaos and madness that is taken so seriously, which is reflected in the characters themselves and the variety of camera angles and creative shots. The often on-the-nose, blatant humour worked so well to expose the earnest attitudes of grammar girls everywhere. This also balanced well with the naivety of the characters, thinking they knew it all when really, school is only the beginning.

Each character was well thought through, all motivations were made clear in the storytelling and every character developed throughout each episode. This was refreshing since it kept an element of realism embedded in the madness, bringing the characters back down to earth. The comedic timing of every actor really shone through the writing.

Rüva Jasi as Willow showed off her dedicated comedic approach to the character and her manic behaviour at times, providing some main character energy and enthusiasm for every episode. Carmen’s character had such a growth in her overall arc, developing from a stern, focused individual to opening up her feelings to the group and accepting herself. Tabitha Crocker gave a fantastic and committed portrayal of Carmen and all her oddities that was celebrated in the end by her peers. Aiyana Bartlett as Bea really became one with her character, the one friend who is effortlessly clever when she chooses to be but with a balance of support to her grammar sisters through holistic healing and crystals. The wealth of skills that Aiyana Bartlett offered to the character was mesmerising and I commend the commitment to every scene. Rhys Quilley as Kian gave a really grounded performance amongst the group, with the aspiring theatre kid emerging from the short bursts of song throughout and the motivation to fit in with the girls’ already formed bonds.Ruby Layla Redford’s Gwen, the typical “popular/head girl” type, had terrific comedic timing and outstanding range of acting skills throughout.

I loved the details in costume, down to the logo of “GGG” featured in the school’s crest. Molly Fraser did an amazing job at crafting each character’s costume to be unique to them. Special mentions should also go to artist Felix Blunden ( “Felix Blu” on social media) who did a stellar job at designing the characters in cartoon form and animating the title sequence.

This was a great proof of concept! I would love to see more from each episode; the team had grasped the story in every episode for the concentrated time we witnessed.
I could definitely picture it as an ITV/ BBC series, appealing especially to audiences familiar with Derry Girls or the Inbetweeners. I can’t wait to see how the series develops and hope to see it on TVs soon! Bonnie McGhee is one to watch, it’ll be exciting to see her name featured in upcoming sitcoms.

Image Credit: Chris Payne

REVIEW: Tchaikovsky Violin Concerto

Published on by Steffan EldridgeLeave a comment

Rating: 5 out of 5.

“An orchestra at the top of its game, BBC Philharmonic has outdone itself.”

Manchester’s Bridgewater Hall was once again home to BBC Philharmonic this weekend, hosting a rich classical programme. Featuring Julia Wolfe’s Big Beautiful Dark and Scary, Pyotr Tchaikovsky’s Violin Concerto in D major, and Hector Berlioz’s Symphonie fantastique, the evening boasted iconic pieces and an orchestra at the top of its game.

Composer in Residence Julia Wolfe, known for her documentarian composition, wrote Big Beautiful Dark and Scary in the aftermath of 9/11. The piece lived up to its name, with instruments evoking blaring alarms, falling rubble, and a growing sense of dread and chaos, building to a wall of frantic sound. Short but effective at 9 minutes, this piece set a dark but exciting undertone for the rest of the evening, making lighter moments of other pieces shine and darker ones heavier.

Tchaikovsky’s Violin Concerto in D major followed, a much lighter piece but with persistent shadows. Solo violinist Bomsori was nothing short of extraordinary. The way she played was precise but breathtakingly expressive. Not only did she portray the emotions through each note, but through her entire body, appearing almost to struggle to get it all out in a beautiful push and pull before freeing herself entirely. Bomsori, conductor Anja Bihlmaier, and the orchestra blended together incredibly well, dynamically ebbing and flowing to build a romantic and gently melancholic mood.

Hector Berlioz’s Symphonie fantastique closed the night. Innovative in Berlioz’s time, the symphony still stands today as an impressive and ambitious work. Throughout, listeners were urged to question: is this a bold profession of love or of obsession? What began as airy, carnival-esque joy morphed and devolved into a foreboding and punchy Dies irae. The piece felt playful one moment and terse the next, where harps created a romantic lightness and scratchy violins made hairs stand on end. The orchestra shifted effortlessly between moods and dynamic shifts, showcasing their talents in what I can only imagine is a challenging piece to master.

The evening’s programme was conducted brilliantly by Anja Bihlmaier, BBC Philharmonic’s Guest Conductor. She embodied the music as though it flowed through her, seemingly casting spells over sections to animate them. She was truly captivating to watch at work, feeling and expressing every emotional beat in conversation with the orchestra. She tied the evening together beautifully, conducting with passion and high energy.

Overall, the evening was a showcase of some incredibly exciting musical talent. As such a highly regarded broadcast orchestra, BBC Philharmonic has no need to prove itself, but it does time and time again.

These pieces were performed for one night only on Saturday 25 April at Bridgewater Hall, Manchester.

REVIEW: Murder in the Cathedral

Published on by Marisabela ALeave a comment

Rating: 3.5 out of 5.

“A bold and evocative revival of a classic text.”

At Oxford Playhouse, Murder in the Cathedral by T.S Eliot returns to the stage in a production directed by Simon Tavener, with Assistant Director Vicky Wild. Originally written in the 1930s against the backdrop of rising fascism, Eliot’s retelling of the final days of Thomas Becket remains a weighty and reflective piece, though here it provides a challenging and at times uneven theatrical experience.

This is a production defined by language and dialogue. With Eliot’s dense, heavily inspired verse dominating the current script, extended monologues and philosophical exchanges drive the narrative rather than physical movement and action. The Archbishop, played by Nick Fyson is at the centre of the play, delivering long, intricate speeches that demand sustained focus. While some of the old language can feel inaccessible and occasionally lose clarity for a modern audience, the performance itself is strong. Nick Fyson brings a commanding presence and vocal authority to the role, grounding the text and giving emotional weight to Becket’s internal conflict.

A range of voices shape the Archbishop’s journey, from the four Tempters to the priests and later the Knights. Each Tempter is subtly distinguished through lighting with individual colour beams that help define their presence and influence. However, it is the Women of Canterbury who leave the most lasting impression. Their repeated phrase of “living and partly living” becomes a haunting theme, reinforced by their constant presence on stage.

The production’s most striking element is its use of choral music. The choir appears several times throughout, delivering church hymns that are both powerful and immersive, adding a rich spiritual atmosphere. Lighting is used effectively in key moments, particularly in the Archbishops’ final scenes, where bright white light paired with the pale costume creates an almost angelic martyr image before his death. Staging is minimal but functional. A large suspended cross dominates the set, reinforcing the play’s central themes of faith and sacrifice, while simple seating lines the stage for the women. This stripped back approach allows the language to take precedence, though it can leave the production feeling static at times.

Costume design, however, is less cohesive. While the clothes worn by the women and priests effectively evoke the period, other choices feel odd with the setting. The Archbishop’s initial appearance in a hoodie and jeans is particularly jarring, briefly pulling the audience out of the 12th-century world before transitioning into more traditional attire. Similarly, the Knights’ camouflage costumes create a disconnect that sits uneasily alongside the otherwise historical tone, making it unclear whether a modern reinterpretation is being fully realised.

Despite its inconsistencies, the production offers moments of genuine impact, particularly through its choral work and central performance. However, the density of the text and conflicting stylistic choices make this a production that is more intellectually engaging than emotionally absorbing.

REVIEW: Double Bill: Down to Chance/Sorry I Broke Your Arms and Legs

Published on by sarasioufi1Leave a comment

Rating: 4 out of 5.

“What begins as chaos resolves into something precise, controlled, and quietly devastating.”

DOWN TO CHANCE

“A relentless comic performance that sustains its momentum right through to the final beat.”

Sorry (I Broke Your Arms and Legs)

At the Pleasance Theatre, Maybe You Like It arrive in London with a double bill that hinges on contrast. One piece reconstructs a moment of historical crisis with mounting intensity. The other leans into absurdity, charting the emotional logic of adolescence through escalating theatrical form. What connects them is not subject but execution. Both are built on precision, on performance, and on the careful shaping of momentum.

Down to Chance

Written and performed by Ellie Jay Cooper, alongside Robert Merriam, Down to Chance draws on the real story of radio journalist Genie Chance in 1964 Anchorage. Under the direction of Caleb Barron, the production uses multi-rolling, live sound, and rapid transitions to construct a community in crisis.

At first, the multi-rolling is difficult to track. Characters overlap and the pace threatens clarity. But once the rhythm settles, the effect sharpens. What initially feels confusing becomes defined. Each character lands with a distinct physicality, tone, and presence. It becomes impossible to confuse them. From that point on, the production tightens. Transitions feel controlled rather than frantic. The storytelling gains confidence, revealing a careful underlying structure.

The emotional centre arrives toward the end. As Genie Chance delivers a crucial broadcast, the scale contracts and the noise recedes. The moment is held with restraint, and it is difficult not to feel a chill. The ending resists easy resolution. It is beautiful without becoming sentimental, landing at a summit rather than a conclusion.

Sorry (I Broke Your Arms and Legs)

Written and performed by James Akka, Sorry (I Broke Your Arms and Legs) follows twelve-year-old Sam Wilson as he attempts to secure the role of Head Boy through an increasingly elaborate PowerPoint presentation. Directed by Caleb Barron, the production transforms a familiar format into something theatrically inventive.

From the outset, the energy is total. It does not drop. Akka moves between characters with remarkable fluency, shifting voice, posture, and rhythm so completely that his own baseline becomes impossible to locate. Sam’s world unfolds through rivalries and anxieties, from the looming presence of Darius to competition with Chris as play lead. The narrative initially appears to scatter, branching outward. For a moment, it is unclear where the piece is heading. Then the structure reveals itself. Small threads begin to tighten. What seemed like digression becomes purposeful, with earlier details feeding cleanly into later revelations.

Akka uses every available tool. Infographics, impressions, tonal shifts. The PowerPoint is not a gimmick. Each slide adds information, shifts perspective, and steadily builds the case Sam is trying to make. The humour remains constant, but beneath it sits something more precise: a recognition of how large these stakes feel at twelve. The performance honours that scale without undercutting it. The energy carries through to the final word, maintaining clarity and control throughout.

A Double Bill in Contrast

The two productions could not be more different in subject. One looks outward, toward community and crisis. The other turns inward, toward ego and identity. Yet the quality across both is strikingly consistent. Performance and structure are handled with equal care.

Maybe You Like It demonstrate a clear sense of how to shape theatrical form around material. The result is a double bill unified not by theme, but by the precision of its execution.

CREDIT: MARK SENIOR

REVIEW: The Price

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

“a superb four-hander for a deep wound both in family and in capitalism”

In a way, Arthur Miller’s The Price revolves around one simple question: is the police officer in uniform a projection of your father as the archetype, or it is, in fact, the other way round?

If you incline towards the former, you are potentially siding with Sigmund Freud and Jacques Lacan, those psychoanalytic thinkers who, by the 1960s, had turned the world into a familial psychic drama of daddy-mummy-me, where everyone becomes a traumatised subject because the father deprives them of what they imagine should be theirs.

If you side with the latter, then welcome to the Marxists’ club: the father is actually a projection of the police officer, produced by a capitalist social order that requires subjects to be organised by that sense deprivation, fear, and perhaps guilt. Those psychoanalysts fail to see the socio-economic and cultural context.

Even though there is no evidence that Arthur Miller was consciously aware of this philosophical and intellectual fault line, living in the United States of the 1960s, amid hyper-developed capitalism and the growing influence of psychoanalysis, he could still acutely capture that tension and present it in The Price. This new revival at the Marylebone Theatre, directed by Jonathan Munby, is a lightly directorial handed production that weightlessly allows Miller’s reckonings to emerge with a remarkable cast of four. 

Henry Goodman’s Gregory Solomon is perhaps the production’s greatest pleasure. While Solomon can easily be reduced to comic relief, Goodman’s rendition is indeed tragicomic, overtly theatrical, at times almost excessive, which feels entirely right here. He is, after all, the ultimate embodiment of capitalism itself that monetises everything. 

As Victor, Elliot Cowan no doubt is the play’s emotional and ideological anchor of the evening. Victor’s tragedy doesn’t really sit within his father alone, but as a deeply oedipalised son. His selfhood is entirely built through negation. Self-scarification is internally weaponised for him to morally hijack others and only through that way he can make sense of himself. 

Cowan successfully captures this distorted sadness and ressentiment in every precision of his body language and facial expression, presenting this middle-aged policeman a perfect product of 1960s American capitalism. John Hopkins’s Walter, in that sense, presents the opposite. While many readings tend to see him as charming at surface but beguiling in nature, this Walter is simply a man who does not allow his rage and sorrow to curdle into ressentiment. Similarly, although Ester is a smaller part in the play, but Faye Castelow brilliantly turns this role into another living evidence of Victor’s twisted selfhood. She is the true victim here who does not victimise herself. 

REVIEW: Jeezus!

Published on by Holly A CoombesLeave a comment

Rating: 4 out of 5.

Blasphemous, bonkers and brilliantly queer 

Following on from last year’s breakout Fringe run, Jeezus! returns for its second coming in London this spring, and it does so with even more sparkle, swagger, and subversive bite. Directed by Laura Killeen, this latest offering from migrant-led theatre company Alpaqa is flamboyant, strutting onto the stage in sequins and refusing to apologise for a single second of its identity.

Co-written and performed by Sergio Antonio Maggiolo and Guido Garcia Lueches, the show thrives on their electric chemistry. Both deliver standout performances, particularly Guido, who shifts seamlessly between an ensemble of multiple characters. Maggiolo’s Jesús is all wide-eyed innocence and hormonal confusion, playing the role with a straight-faced sincerity that makes the escalating ridiculousness even funnier.

Set in 1990s Peru during a period of military dictatorship, the story centres on Jesús, the son of José and María (think, Mary and Joseph). As he prepares for his first communion, Jesús has to confront a growing realisation, his love for Jesus might not be entirely spiritual. What unfolds is a vibrant and often hilarious exploration of queer identity, religious guilt, and the tension between personal truth and societal expectation.

Clocking in at a tight 69 minutes, a detail we’re cheekily told upon arrival, the runtime is no accident, and it sets the tone for what follows. This is a show that knows exactly what it is doing: playful, provocative, and knowingly cheeky. That confidence carries through the entire production. Subtlety isn’t on the menu here. Instead, Jeezus! delivers a rapid-fire barrage of jokes, innuendo, and outright blasphemy. There are plenty of genuine laugh-out-loud moments, though at times the relentless stream of dick jokes feels more gratuitous than purposeful, adding noise rather than sharpening the comedy.

The musical numbers are a clear highlight. High-energy and infectiously fun, they elevate the show beyond sketch-like comedy into something more cohesive. Drawing on everything from hip-hop to Latin beats, the songs are paired with sharp, playful lyrics that land just as well as the jokes. Much of their success is down to musical director Tom Cagnoni, who performs as a one-man orchestra, juggling multiple instruments with impressive ease. His presence isn’t just musical, he actively feeds into the comedy, adding an extra layer of charm to the performance.

Unapologetically queer, deliberately provocative, and consistently funny, Jeezus! is a riotous return that delivers exactly what it promises. It’s messy, outrageous, and more than a little sinful—but that’s entirely the point.

Jeezus runs until 9th May at the New Diorama Theatre in London. 

Content warning: The show contains sexual content, strong and homophobic language and is recommended for ages 16+ 

REVIEW: RUM

Published on by jaketurnerchanLeave a comment

Rating: 5 out of 5.

“The team behind RUM handle Mallalieu’s material with immense skill and care”

Public consciousness has been raised, in recent years, to the concerns around male mental health and the damage that unfettered patriarchy inflicts on the men enforcing it. Toxic masculinity has become somewhat of a painful buzzword, an attempt to capture the pain and discourse of all of this abuse. The ways men have been taught and teach each other to behave has been a self flagellating cycle that with the advent of shows like Adolescence, and the exposure of real life horror stories of violence against women, people are generally more interested in understanding and putting an end to. However, sometimes the route taken to tell these stories explore it solely through an angle of pity, or plain sympathy, flattening the role of harm in the process. 

Joe Mallalieu’s RUM explores this deeply, capturing the tragedy of toxic masculinity in a truly haunting fashion. A plasterer himself, Mallalieu’s show follows Danny as he tries to finish a job before heading to a funeral. We learn how he ended up in the profession, and see what it takes for him to work under such circumstances. The storytelling quality is nothing short of excellent. Mallalieu tells Danny’s stories with the familial quality of those told at the pub, leaning in over a wobbly table and damp mats. It’s as if he’s letting you in, to a world he’s carefully crafted himself over years, so he can be top dog at the local. There’s a strenuous expression of power, one that feels both dominating and sure to break. When it does, we see the mechanics of this masculinity unravel, and exposed to the stage, we see how it’s rigidity acts as a cage. One of the most powerful moments comes at a moment where Danny physically cannot find the words he would say to comfort a friend. Mallalieu strains his face, bulging in the light, mouth stretched open to such an extent that his silence is genuinely shocking. It’s an extraordinary demonstration of how this masculine bravado can disempower men to connect with one another truthfully. It’s not necessarily an original revelation, but it’s an incredibly raw exposure of this. 

It’s clear that director Tess Seddon possesses an immense skill to capture subtext through movement, and a real attention to the material Mallalieu has written. There is a moment where we watch him plaster the wall, no dialogue, just the rhythmic sound of him scraping it onto and across the wall. This displayed a real appreciation of the craft of plastering, a self-explanatory moment of calm amongst the noise of the rest of the play. In another scene, Danny takes a call from his son, crying immensely, whilst keeping his voice as steady and regular as possible. So many of these moments showcase the heights of both Mallalieu as a performer and Seddon as a director. Together they make an excellent team. 

This is assisted by a brilliant set, designed by Rūta Irbīte. Before the show begins, there’s already a unnerving quality set by the empty cans on the floor and the holes punched through the plaster on flats. He performs within the perimeters of a very clear box, a nice touch which compliments the content of the show. The onstage colour combination is good, matching his outfit, blending him into his place of work. There’s also a great use of the holes in the wall, complimented by some great lighting design by Amy Mae. 


The team behind RUM show immense care for every detail of this story. It’s a showcase of real skill at every angle, and the result is a story that digs deep and draws you in. It is truly interrogative and occasionally intimidating—but this is where the authenticity lies. It is precisely what a show like this needs to be.

REVIEW: The Scottish Comedians

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

Woke taxi drivers, shocking Christmas Market prices, Elvis impersonators and First Ministers, these Scottish comics were brilliant!

A fine selection of talent graced The Beacon Arts Centre as The Scottish Comedians came to give Greenock a hard a time and a good laugh. With four headline acts and a wonderful compere, the audience were treated to a fun evening of some entertaining regional comedy.

Our host Jay Lafferty was no stranger to Greenock having grown up here herself, with much of her humour revolving around the town. Interacting with the audience to get up to date on the nightlife scene, she recalled memories from the notorious nightclub Word Up and how she was once “fingered in there”. Realising she probably shouldn’t discuss such things with her dad in the room watching, she switched gears quickly but the laughter from the audience definitely signalled the crowd were open to some edgier content. My one wish is that we had seen more of Lafferty. Having seen her at the Edinburgh Fringe before and the fact she was easily able to ingratiate herself with her hometown audience made her a perfect contender for a full set of her own but alas, such are the sacrifices of being compere. However, she was also a perfect choice for this as it was easy for her to keep the audience on-side and build momentum for the other acts.

Mark Jennings was first up and wasted no time in roasting Greenock, commenting on drug use and making a savage comment on how people in the town like to heat up spoons. When met with gasps from those watching, he simply exclaimed, “Youse know what you are”, which did illicit laughter once again. His humour about dating and still living at home was all good fun but his best bit revolved around Glasgow taxi drivers and their less than politically correct comments. His desire to meet a woke taxi driver was entertaining and something many would agree with. My personal favourite bit was when he talked about bringing back the young teams as it feels like it was taken straight from my own head. Making the audience picture a bunch of 40 somethings running about in tracksuits being delinquents was an amusing image.

While Gareth Mutch admittedly got off to a slow start, the audience started to warm to him as he got into his stories about marriage and the early days of meeting his wife. His humour was certainly relatable as he discussed the ridiculous prices of Christmas markets and the audacity of paying £34 for a hat there. When mentioning a sweet story of how he bought his wife one such hat when they started dating due to her ears being cold, he mentions how that story would flip now he’s married and how he’d be more likely to chastise her for not bringing one with her. The married couples in the room all seemed to relate to his antics.

Des Mclean really got the audience behind him form the start with stories of disastrous gigs during Covid, both over Zoom and strangely, drive-ins. His tale of cars beeping if they liked his act or staying silent if they didn’t was bizarre and brutal as sadly, no cars pressed their horns. The Greenock audience however were in stitches. While his whole act was great, the standout that had the audience in fits of laughter was his story of an Elvis impersonator being forced to sing Rangers songs in a masonic club. Hearing his own fairly impressive Elvis voice singing the lyrics of “We are the Billy Boys” was so ludicrous it was brilliant. 

The final headliner was Fred Macauley, well known for his days on BBC Radio. His wry political commentary was enjoyed by all as he talked about how Baroness Mone’s house is within stone-throwing distance of his own, “and I would know” he stated. The audience lapped it up as comments were made about Scottish First Ministers old and new. The comment about Nicola Sturgeon’s former husband not hearing “Peterhead” for the last time after he enters prison was particularly funny.

Overall, this was a testament to the power of Scottish comedy and its ability to lift people’s spirits. Each headliner was able to make the audience laugh and with stand-up, that’s all you can really ask for.

REVIEW: LIBERACE & LIZA – A Tribute

Published on by Flora HemmingwayLeave a comment

Rating: 4.5 out of 5.

Glitzy, cheeky and irresistibly fun, this dazzling cabaret mash-up delivers big laughs, bold vocals and pure feel-good sparkle

Ever wondered what your favourite karaoke classic from the noughties, or latest radio hit would sound like performed as classic show tunes? Or what show-biz icons Liza Minelli and Liberace would sound like in their own vivacious cabaret together?

This show holds the answers, with a reaching cross-generational appeal to anyone who loves music, comedy and musical theatre, not just those who are fans of these celebrities and their work.

The stage is set with two microphones, a stool and a piano lit from above in nothing but a moody red light. It feels like the start of a sexy, indie underground cabaret show. The evening that follows, although, not quite the former, is not in the slightest disappointing. It’s a night of glitz, glamour and silliness wrapped up in dazzling sequin costumes.

Once the show goes up the audience is greeted by the garishly glamorous Liberace who charms the audience with crowd work and a taster of what is to come on the piano. The classic ‘chopsticks’ becomes an elaborate showcase of skill and the audience are left laughing  and utterly impressed. Saffert’s attention to detail can be appreciated even by audience members with little knowledge of the musician’s real-life stage presence. A true entertainer, he delights in showing off Liberace’s distinctive jewellery, flashing his idiosyncrasies like a friendly inside joke. 

Opening night microphone issues (quickly rectified) were deftly made into a bit. Saffert’s piano playing is astounding, but just wait for Liza to join him on stage. Snow’s vocal skills are a thrill and a treat to listen to. She marries physical comedy with brilliant musical performances to hilarious and delightful effect. Her jokes are witty and walk the line well of self-awareness without breaking character. The pair have great chemistry on stage and do an excellent job of balancing the show with comedic and silly moments, with sharing a fantastic classic repertoire with modern twists. 

The evening whips by with good pacing and a show quiz in the second half keeps the audience on their toes. With some confident audience participation in the in-show game, the inevitable singing along and the standing ovation at the curtain call, it’s safe to say Saffert and Snow’s performances had their audience enraptured and made up for a fabulous night of entertainment.

This show runs at Greenwich Theatre from 24th-26th April. The tour continues across the UK.