Category: Review

REVIEW: Lifeline

Published on by calumskuodasLeave a comment

Rating: 3 out of 5.

“This medical musical about the invention of penicillin doesn’t live up to its promise.”

Lifeline is an ambitious musical braiding together two stories: the life of Sir Alexander Fleming after his groundbreaking discovery of penicillin in 1928, and a contemporary love story set on a hospital ward.

The audience follows Fleming (Alan Vicary) through his later years, grappling with the death of his wife while sounding early warnings about antibiotic resistant diseases. Running alongside this is the story of musician Aaron (Nathan Salstone) and his ex-girlfriend Jess (Maz McGinlay), a paediatric doctor. When Aaron falls ill with a bacterial infection, their relationship is rekindled at his bedside.
Part period drama, part 21st-century romance, Lifeline falters under the weight of these parallell storylines. The thematic link – the legacy of penicillin and the threat of its decline – is clear enough, but the audience is left until well into the second half to draw a meaningful connection between past and present.

This structural disconnect has a knock-on effect on pacing. At two and a half hours, including the interval, the show is overly long. The modern love story, meanwhile, feels underwritten, and perhaps even unecessary, with the audience given little chance to invest in the relationship.

It’s a missed opportunity, especially when the show does gesture towards some compelling themes. Flashbacks to Fleming’s work in a First World War field hospital are among the most powerful moments, and offer more immediate drama. It is hard not to feel that a version of Lifeline less reliant on a contrived modern romance might have delivered a sharper piece of theatre. It’s a shame for bookwriter Becky Hope-Palmer, whose script conveys an obvious passion for the cause, but is overly ambitious in her aims.

Fortunately, the show does have several strong performances to hang its hat on. The inclusion of a chorus of real-life doctors, nurses, and researchers who work with antibiotics is an amazing touch that elevates the stakes beyond the fictional narrative. At the end of the show, they are invited to address the audience directly, which makes for a incredibly moving finale and an amazing tribute to those on the front lines of healthcare.

Alan Vicary delivers an accomplished portrait of Alexander Fleming, capturing the doubts and quiet anxieties of the dour Scotsman with real nuance. It’s a measured, believable performance that anchors the period sections. Opposite him is Kelly Glyptis, who brings a likeable presence as colleague and love interest Amalia Voureka. Glyptis inhabits the impatience and frustration of trying to reach the “man behing the mould” with an assured performance, and generates many of the show’s big laughs.

Nathan Salstone brings charisma and versatility to Aaron – singing, dancing and playing guitar with real aplomb. He convincingly inhabits the role of a rising musician, and his jangly acoustic numbers and impressive voice are a great lead for the first half’s musical numbers.

Maz McGinlay, opposite him as Jess, gives a considered performance, though it occasionally lacks the emotional weight needed to fully anchor her part of the story.
Helen Logan, as Aaron’s mother, threatens to steal the show in ever scene she appears. Her performance is emotionally rich and expressive, elevating the characters around here and highlighting her drastic underuse in the first half.

The large cast shares the stage effectively, with well-choreographed ensemble numbers that make impressive use of a relatively small space. Robin Hiley has done an impressive job with the musical numbers, which move the story forward meaningfully and are catchy despite their somewhat sterile subject matter. Along with Musical Director Neil Metcalfe, he also createss a fantastic score with five other talented musicians sitting on raised balconies beside the stage.

There is, undeniably, real heart and gusto here, along with an important message and a central role for real-life heroes. But despite these strengths, Lifeline never quite coheres into something truly powerful. Given the weight of its subject it makes that shortfall all the more disappointing .

Lifeline is running at Southwark Playhouse Elephant until 2nd May 2026.

presented by Alex Pearson Productions in association with Glass Splinters;

REVIEW: Edward II

Published on by leahjLeave a comment

Rating: 3.5 out of 5.

“This creative, engaging, and accessible production of Marlowe’s queer historical tragedy dives into themes of loyalty, duty, and betrayal.”

In this stripped-back production, Alex Pearson Productions brings Marlowe’s stirring tragedy to life; this small cast and intimate theatre setting places the focus squarely on the human relationships at the heart of this political drama. Marlowe’s play, inspired by historical texts, explores the downfall of the 14th- century English king Edward II in a rebellion largely driven by Edward’s unrelenting preference for his ‘favourite,’ Piers Gaveston, and Edward’s neglect of his governing duties. This all-female cast adds aunique texture to a story traditionally about the love between two men.


With just six actors presenting a play which has over thirty roles in its original form, each actor (besides Natalie Harper as Edward II) takes on a handful of characters to populate the many moving parts of Edward II’s court and the various groups plotting against him. Clear and consistent costuming choices by designer Eve Oakley, as well as some well-utilised accents, helped make each character easily identifiable even as several of the actors swapped between four different roles throughout the show. This cast also has a strong grasp of Elizabethan language; their clear, natural, and emotional delivery of Marlowe’s lines made a complex plot very accessible.

Harper’s performance as Edward II was most powerful in the moments when her royal composure was allowed to slip and reveal Edward’s true emotions–from rage at the mistreatment of Gaveston to fear and eventually despair as Edward faced his fate. Elinor Machen-Fortune brought a lively versatility to her performance as Gaveston, with confidence verging on arrogance as Gaveston faced off with the English lords, melting into a more tender intimacy during more romantic scenes with the king. Machen-Fortune’s dynamic delivery of each phrase truly brought Marlowe’s poetic language to life. Alison Young brought a sweet, demure energy to the cast-aside Queen Isabella, and Srabani Sen was chillingly sinister as the calculating Mortimer. Victoria Howell’s expert grasp of pacing and ability to command the stage made each of her characters memorable–especially the scheming Spencer–and Emma Louise-Price added some
necessary moments of light relief with well-placed comic timing.

Hannah Clancy’s sound design and Steve Lowe’s lighting added atmosphere to a minimalist set, with some especially immersive moments in the Kenilworth Castle dungeons, with a dripping, echoing soundscape and cool, murky lights. Alex Pearson’s direction trimmed Marlowe’s text down to a 90- minute runtime, though there were a few moments in which the pacing of the scenes seemed to lull slightly, especially in a few moments when several characters delivered lines facing entirely out towards
the audience. While this formal blocking can sometimes help evoke a courtly atmosphere, at times it seemed to defuse the tension between the characters onstage. The choice to trim down the cast also created one or two awkward moments in which a scene might have benefited from having some soldiers nearby to escort some troublemakers away, but also offered some opportunities for new and exciting
thematic explorations. The doubling of Gaveston and Lightborne felt particularly meaningful, as it draws links between both men’s integral roles in Edward’s fate. Overall, Pearson has crafted a moving and accessible version of this iconic tragedy, which will draw in both newcomers to the world of early modern drama and seasoned Marlowe fans alike.

Edward II is running at the Jack Studio Theatre in Brockley, at 7:30 PM Tuesdays through Saturdays until 18 April 2026.

REVIEW: Dead Inside

Published on by annieyezhoua29f00172fLeave a comment

Rating: 5 out of 5.

Riki Lindhome’s Dead Inside is equal parts hilarious and heartbreaking, sometimes in the same breath

Riki Lindhome’s Dead Inside at Soho Theatre is a musical comedy following her fertility journey, beginning at 34 and spanning nearly a decade. It is an emotional rollercoaster as the audience goes through every low (and there are many), as well as every high right alongside her.

The show plays with the structure of the classic female hero’s journey; the one we’ve seen time and time again in fairy tales and rom-coms, but lindhome’s story shows the reality of it all. The first three-quarters lean hard into comedy, fuelled by what Lindhome calls her “delusional optimism.” It’s a great phrase for it as she continues to joyfully persevere despite repeated devastating setbacks, and the combination of hopefulness and chaos is both very funny and quietly disconcerting. 

The musical numbers are a highlight: genuinely laugh-out-loud, but also doing real work in terms of story and emotional reframing. She has real range too going from riffing on the plot of The Sound of Music by highlighting the Countess’ perspective when she is ceremoniously dumped by the Captain who chooses to be with Maria instead to singing about how her child should not google mummy due to her spectacular internet presence.

Then the tone shifts. As the setbacks mount and the optimism finally runs out, Lindhome’s vulnerability becomes the whole point. The accompanying musical number and a stretch of more personal storytelling that feels quite intimate; the kind of thing that makes you realise you’ve stopped watching a comedy and started watching something else.

Some of the questions she raises stay with you: why is pregnancy, and particularly early pregnancy loss, something people feel they have to hide? Why do we keep quiet about it to protect others from discomfort?

Whether or not parenthood is something you’ve ever wanted, Lindhome’s honesty makes it impossible not to feel every moment with her. By the end, when Lindhome finally gets what she’s been working towards for the past decade and you can’t help but feel overjoyed for her. Funny, vulnerable, and genuinely moving – this is a show that will stay with me for a long time.

For Ticketing:https://sohotheatre.com/events/riki-lindhome-dead-inside/

REVIEW: Private Lives

Published on by Laura DaviesLeave a comment

Rating: 3.5 out of 5.

The Royal Exchange’s production is well-paced and joyful

What goes on behind closed doors? How do you treat your spouse when nobody else is around? Does love unavoidably cause insanity? Noël Coward’s 1930 comedy Private Lives reveals all of these answers and much more. Taking place over the honeymoon of two couples, Amanda and Victor Prynne and Elyot and Sibyl Chase, the play takes an unexpected turn when previous divorcees Amanda and Elyot realise they are stuck on the same boat.

The first half of this production is so gripping and truly joyful to watch. Immediately the audience witnesses the rapid decaying of the two recently married couples, which drew many laughs and I noticed lots of people sitting forward in their seats. The pace of it is excellent, and I feel this is when the actors gave their best performances. Particularly Shazia Nicholls, who is a captivating standout as Sibyl. She injects youthfulness and charming hyperactivity into every line. Her incessant questioning of Elyot, though based in the context of the 30s, felt strikingly like it could be from 2026, and a lot of this was because of her erratic yet truthful delivery. It also indicates how Coward’s writing, comedically, has stood the test of time.

The worldbuilding was fantastic, Dick Bird’s set is wonderful. The revolve stage is an outrageously art deco boat, divided into two sections with cream sofas. Minimalist enough that the four cocktails that appear in the first half almost feel like a set piece themselves rather than a prop, which is apt when drinking is such a big part of the narrative and the romantic relationships.

For the second half, the set becomes Amanda’s messy, stale Parisian apartment. Warmly lit and cluttered, it feels claustrophobic and queasy. This was supported by the subtle speeding up and slowing down of the revolve as tension spiked and flattened, I really enjoyed this touch. It got to a point where the revolve spinning became dizzyingly quick – though imaginably intended to perpetuate the idea of Amanda and Elyot going round in circles in their relationship, it didn’t feel like a cliche.

With such an incredible, seamless first half, I was expecting the second to keep me much more engaged than it ultimately did. For me, there was something missing that didn’t match the quality I’ve come to expect from the Royal Exchange. There was an absence of chemistry and a subtle loss of connection between Amanda and Elyot in the second half that I felt confused by. However, overall, this is a good production. Funny and well-paced with accomplished design.

Private Lives runs until the 2nd May at The Royal Exchange

Credit: Mark Senior

REVIEW: Choir Boy

Published on by ayoungishperspective1Leave a comment

Rating: 4 out of 5.

A deeply moving piece of theatre with beautiful spiritual music about the pursuit of Black excellence as a young queer man. 

Choir Boy at Stratford East is a deeply moving piece of theatre about the pursuit of Black excellence as a young queer man. Written by Academy Award winning writer Tarell Alvin McCraney, directed by Nancy Medina and co-directed by Tatenda Shamiso, this transfer from Bristol Old Vic has arrived to captivate London audiences. 

The play looks into the lives of five young Black men at an elite boys boarding school in America. We see how each of the boys behave and interact in the prestigious school choir, and how their own lived experience influence the way they navigate this high-pressure environment. The story surrounds Pharus, a young queer Black man, who has earned his position as choir leader and soloist. Terique Jarrett leads the cast with humour and sensitivity and gives a fantastically layered performance as Pharus. Jarrett’s stage presence is electric and endears the audience to Pharus’ outgoing but occasionally combative personality. Freddie MacBruce joins the cast as AJ, a character who starts off in the background but gives one of the most emotionally impactful moments at the climax of the show. Michael Ahomka-Lindsay (as David) and Rabi Konde (as Bobby) expertly portray characters with differing perspectives navigating class, legacy, religion, queerness and grief. Khalid Daley as JR provides fantastic comic relief without ever taking away from the more serious themes of the play. Each of the actors (not to forget Doan Broni and Martin Turner) give extremely grounded performances which succeed in welcoming the audience into the unique world of Charles R. Drew Prep School for Boys. 

The music in this show was outstanding. Throughout the show, the choir boys sing spirituals and worship songs, originating from enslaved people in America. These are sung acapella and move between diegetic and non-diegetic depending on the scene. Musical direction and arrangement by Femi Temowo, the music was deeply moving and spiritual, connecting with every single person sat in the theatre. The music does more than set the mood of the play, but provides a necessary outlet of expression for Pharus and the other boys. The writing discusses the messaging of these spirituals, and debates one character’s connection to the music itself versus another character’s view that the music holds importance for the instructions it provided for their ancestor’s routes toward freedom. There is so much nuance in every aspect of the writing, and the play frames these political topics from the realistic perspectives of the young men. 

The direction and design of the show was simple but effective. The timeless beautiful dark wooden setting is versatile for the choir room, dormitories and various interior rooms of the school. The stylised movement was gorgeous in the intimate moments of the play, particularly when the boys are comforting a character who is suffering from grief. Overall, Choir Boy is a fantastically performed, written and directed coming-of-age piece of theatre.

Author: Victoria Lee

Ticketing info: https://www.stratfordeast.com/whats-on/all-shows/choir-boy

REVIEW: Some Films Are Trash, Some Have Trash-Ness Thrust Upon Them

Published on by graceboagmatthewsLeave a comment

Rating: 5 out of 5.

A fascinating introduction to the world of Trash cinema.

This April, the BFI is home to a brand new season ‘Trash! The Wildest Films You’ve Ever Seen’. Archivist William Fowler and BFI programmer Justin Johnson have curated a
wonderfully varied roster showcasing the campest, sexiest and trashiest of 20th century cinema. The season will begin with Paul Morrissey’s ‘Trash’ (1970) showing on Thursday 9th April and will close with two shorts ‘I Was A Teenage Serial Killer’ by Sarah Jacobson and ‘A Family Finds Entertainment’ by Ryan Trecartin showing on the 24th and 27th of April. On the 1st of April, the collection was kicked off with an introduction by its curators along with
three prevalent film scholars, critics and writers: Elena Gorfinkel, Helen de Witt and Dominic Johnson.

We began with the question ‘how do we define Trash cinema?’ The panel discussed genre, with films spanning horror, comedy, melodrama, pornography and queerness. The defining elements of Trash though, have much more to do with circumstance. The Trash-ness of a film is in its low budget, home-video style reality. These films are made by individuals, groups of friends, transgressives, punks in their own homes and cities, using what they have and revelling in its strangeness. They reclaim their ‘Trash’ label in their camp, bizarre
commitment to the filmmaking cause. A big takeaway of this discussion: ‘No one sets out to make a bad movie’. These filmmakers knew their budget and their resources, and they knew their films wouldn’t ever be consumed in the mainstream; therein lies the joy. They are
starkly aware of their ‘Trash’ and they love it. They are often a harshly real depiction of
marginalised identities, non-normative desires, unglamorised sex, drugs and vulgarity. As Fowler noted ‘The audience is confronted with more than just the maker’s intention’. We lose the layers of production, construction and merchandising and are left with what 1960’s ‘tastes’ would label ‘Trash’.


Justin Johnson showed a clip of John Waters’ ‘Pink Flamingos’ starring Edith Massey and Divine. Although known for its increasingly ‘revolting’ scenes and taglined ‘An exercise in poor taste’, we saw a charmingly strange scene between Edie and The Egg Man. Johnson noted the fascination in the everyday, taking it to surreal lengths through melodramatic script and peculiar performances. De Witt’s clip was from George Kuchar’s short ‘I, An Actress’ in which the filmmaker directs his student in a screen test, hijacking it and making for a hilariously hysterical short film. De Witt noted how the actor’s pleasure and excess in performance produces pleasure for the audience, another trademark of the ‘Trash’ genre. Gorfinkel chose a scene from better known ‘Trash’ by Paul Morrissey, starring Warhol
superstars Joe Delissandro and pioneering trans actress Holly Woodlawn, who George
Cukar suggested should have been nominated for an Oscar. It’s funny, eccentric and starkly confrontational of social conditions and the life of the ‘outcast’. Dominic Johnson showed ‘Super 8 1/2’ by Bruce LaBruce, a mockumentary style film about himself. LaBruce called the film a ‘Bruce-ploitation movie’, and through it blurred the lines between arthouse film and pornography. Johnson noted how LaBruce was often labeled ‘too arty for porn’ and yet ‘too pornographic’ to be widely successful in film. The clips were all captivating, and the panel’s analysis was thoroughly engaging and thought-provoking.

The evening was an eye-opening and intriguing introduction into the world of Trash cinema and I would strongly recommend a visit to the BFI during the season to take in some yourself. I certainly will be.

Trash! The Wildest Films You’ve Ever Seen runs at BFI Southbank until 30th April. Tickets here.

REVIEW: Learning the Ropes

Published on by tgilfillan4512d47d4dLeave a comment

Rating: 4 out of 5.

A powerful and inspiring documentary about boxing as a sport and a metaphor for life.

Learning the Ropes is a documentary about Bethnal Green’s Repton Boxing Club, one of the most famous amateur boxing clubs in the world. It has produced countless champions, whose photos line the walls. The documentary is directed by Ryan Pickard, who began boxing age 7 at Repton and went on to be a highly successful amateur boxer. He describes the documentary as ‘a poem to the ones I loved,’ and this sense of pride and commitment to the club that shaped him permeates every aspect of the narrative.

The documentary focuses on the club’s legend, Tony Burns MBE, a coach who nurtured multiple young talents. At the point of filming, he had Alzheimer’s (he died in 2021.) Nonetheless, his spirit shines through in small moments, particularly in the reminiscences of students of the club.

The film starts and ends with a tracking shot, the camera gently meandering through the streets, parks and alleys of Bethnal Green. We are guided to the red brick front of the club and welcomed through the doors to meet Tony. Over the haunting sound of a solo viola, he walks through the building to the training ring, where so many greats have sparred. We meet the ‘old crowd’ first, men who are in their later years, who still share a strong sense of camaraderie. One of Pickard’s main concerns in the film is to show the way his beloved club created not just fellow boxers, but real, deep family. The documentary demonstrates the opportunity boxing provides to those overlooked by society, giving generations of young working-class men, and now women, the chance to create a life that takes them beyond the constraints of circumstances.

It probes at class, identity and community with a beautifully light touch, floating like a butterfly with humorous commentary before stinging like a bee with a moment of emotional impact. One moment that had the whole audience belly laughing was when one of the Nursery students says ‘Repton is old and traditional and smells of it!’ The documentary follows the whole range of generations at the club, from children aged seven up to the old timers. It conveys the strong bonds and community created by a shared passion, which are ever rarer in the modern world.

As a documentary focused on Repton but with Tony Burns as the lynchpin, a lack is felt in the gaps in Burns’ own background, which is slightly skated over, leaving questions as to how this formidable character emerged. However, the film conveys a deep love for boxing and its power as a metaphor for a life of courage and the strength to always get up, no matter how many times you are knocked down.

Learning the Ropes was the opening film for The Cinematic Life of Boxing season at BFI Southbank, ending 30th April. Tickets here.

REVIEW: Ruddigore: The Witch’s Curse

Published on by Will OsbonLeave a comment

Rating: 4 out of 5.

 A fun and freaky production that succeeds in what it sets out to do.

To take on a Gilbert and Sullivan production as a student group in the medium-sized space of Bedlam Theatre is, at first glance, a big swing. EUSOG’s “Ruddigore” indeed is a big swing, and thankfully an enjoyable and mostly successful one.

Mostly every element in this production is working together like a well-oiled machine. This is an achievement worth stating in of itself: many Off-West End and West End productions struggle to balance their plates this well. What results is a nearly three-hour evening at the theatre that flies by with all the fun it’s having, as goes the adage. 

Though, some figures certainly deserve singling out. Choreography by Rachael Steel and Roisin Collins is impeccable. Huge ensemble sequences are kept unique enough to remember, while being thematically and aesthetically cogent. A clear standout dance number occurred during the Act 2 opening, in which an incredible Tango-Esque duo performance unraveled, as well as the Opening Act 1 mime-influenced episodes in which three players are murdered at some typewriters. Steel and Collins’ choreography remains interesting throughout, ever changing yet ever consistent.

Musical direction by Franky Leony-Murphy was also consistent and creatively decisive. A beautiful mixture of strings, flutes and appropriate synth created a Scooby Doo style atmosphere. This band sparsely missed a beat, keeping up a distinct performance from start to finish. Each song felt full and this aesthetic worked perfectly well for the piece at hand. Music often conducted the beginning and ending of scenes, in the best case creating a dynamic bookending, but occasionally creating blank spaces onstage while actors waited for cues. Still, these intersections were fun and well meaning enough to forgive.

Finally, design elements were well orchestrated, but occasionally failing. The set, led by Audrey Nicholls and Isla Duffy, was decisively minimal. Some gauze with embedded frames created a doorway for dramatic entrances and windows into alternate scenes. It was a gorgeous set. Yet, with props also being minimal, what resulted was a stage design that relied heavily on performer embodiment to bring the town of Ruddigore to life. Unfortunately, this wasn’t entirely effective; by the second half, it was certainly hard to tell what was happening where and when. In conjunction with tech elements that were at times subtle, flashy and affecting, and at others a little over-abundant, perhaps some further focus on visual design elements in the future will elevate this piece further.

The homogeneity of the cast was overwhelming. For Directors Lewis Eggeling and Bea Temmink to accomplish such a well organised collective performance is a huge feat. Some standout vocal performances came from lead Maia Jones and Nina Berbeck, both handling challenging pieces with ease. Standout acting came from Poppy Hunter and Natalie Rengger, who created an awfully impacting set of half-funny, half-creepy twins, and my personal highlight of the night, Julie Girardin’s performance, which was equal parts silly and technical. Girardin’s utterly unabrasive and effective characterization led to a comfortable presence on the stage, sharp sometimes and soft at others – a perfectly appropriate approach for the character of “Richard Dauntless”.

While incisive direction felt at times absent, with true characterization only being accomplished by a handful of cast members (and with comic beats being missed in the second half because of this), it is hard to feel too troubled by this. G&Ss are silly, melodramatic trope-parodies, and every performer quite agreed on that premise. What results is a seamless evening of theatre that, yes, has room to improve, but ultimately understood the assignment.

REVIEW: A Midsummer Night’s Dream

Published on by tgilfillan4512d47d4dLeave a comment

Rating: 4 out of 5.

An enjoyable and clever production of A Midsummer Night’s Dream for a younger audience.

This production of A Midsummer Night’s Dream is the Unicorn Theatre’s first co-production with the Royal Shakespeare Company, creating a pared back version of the play that is accessible to children as young as seven. The production is playful and witty, blending smart moments of direction with an ability to tap into childish wonder. 

Co-directors Rachel Bagshaw and Robin Bellfield have approached the daunting task of slimming down Shakespeare with precision, and the play feels approachable for a younger audience without, for the most part, losing the depth and nuance of the original script. The use of projected captions in various funky fonts on the pared back backdrop of plywood-like material is an especially clever device, working particularly well for the voice-over interjections of Titania’s attendant fairies. 

The play centers around four lovers fleeing Athens for the woods surrounding for their own different romantic reasons, encountering magical confusion and chaos. The forest is ruled by its quarrelling fairy King and Queen, Oberon and Titania, played by Chris Jared and Amelia Donkor. Both Jared and Donkor display a commanding presence befitting their characters, with a standout scene being their first explosive argument, physically twisting as if they are both being blown around by the storms that have manifested from their quarrel, as the guardians of nature. 

The lovers’ portrayal of both the comedy and the deep pain of love is enthusiastically conveyed by a lively and responsive quartet. Boni Adelyi is particularly captivating as Helena, moving from confused anguish to playful exuberance, making Helena’s desperate pursuit of Demetrius both pitiable and deeply understandable, not always the case with this character. The lovers’ scenes contrast with the comic relief of the bumbling mechanicals, led by one of Shakespeare’s most brilliant comic creations, Bottom (Emmy Stonelake). Stonelake gives a fantastic rendition, making each well-loved line feel fresh and spontaneous, drawing laughs from all ages within the audience. 

Praise must also be given for Puck, played by Joséphine-Fransilja Brookman with charm and the accompaniment of silver bells of laughter. Necessarily for a children’s production, the character loses some of its complexity, the more darkly mischievous elements of a fairy who is aligned with her sometimes immensely cruel master. Nonetheless, Brookman floats and dances across the stage with an effortless physicality, ultimately drawing the play to a quiet and beautiful close. In another strong piece of staging, she bends over a glowing orb, her shadow leaping up the wall, sending the audience away feeling the world is a little more magical. 

The production is at the Unicorn Theatre, London, until the 10th May. Tickets linked here: https://www.unicorntheatre.com/events/a-midsummer-nights-dream

REVIEW: Just Enough Madness & Caught Again in the Net of Rebirth

Published on by laurentemplepoetLeave a comment

Rating: 3.5 out of 5.

A baptism of dance, music, and light.

These two performances centring around the theme of motherhood, especially in relation to loss and societal expectations of women, were told through the medium of Indian dance, and both were produced by MILAP, the UK’s leading Indian Arts and Culture company.

The first performance (an excerpt from Gobardhan’s Caught Again in the Net of Rebirth), took a modern street-dance-informed approach to Indian dance. This was reflected in the costumes, which had traditional Indian silhouettes but in a muted colour scheme. The performance was abstract, with the dance reflecting emotions more than a narrative. The piece begins in darkness, with black curtains and liquid-like black flooring, creating a liminal effect like you’ve been transported into a different plane of existence (possibly the subconscious mind of a mother). The music (live singing with prerecorded instrumentals) certainly aided this effect, hypnotically drawing the audience into the symbolic world created by Gobardhan. The bodies of the dancers are abstracted, becoming machinery, weapons, animals, and multiple bodies that move as one. The lighting design emphasises this, creating vivid moments of strength and intimacy (both literal and emotional). What is really fascinating about this piece is that it is made up of several men and only one woman. This is an interesting choice, and is especially potent when two of the male dancers form the shape of a vagina and give birth to another man. Perhaps this is a reflection of how much control that men have over women’s bodies.

The second performance (Ramchandi’s Just Enough Madness) had clearer narrative elements and took an approach that focused on more purely Indian dance. Again, this was reflected through the costuming, this time with the traditional silhouettes being brightly coloured and complemented by cultural makeup and jewellery. In this performance, men are present but are more background players, with the female voice taking centre stage. This is both through the primary mother figure but also through the singing of the grandmother figure, highlighting the generational strain of motherhood.

Ramchandani’s performance was much longer than Gobardhan’s, and honestly, although it was very enjoyable at first, it dragged a lot, especially due to frequent use of repetition. There was a desire for the final release, the moment of breaking free and divulging into madness, but there is only so long that you can stay on the edge of your seat before you fall off it.

A recurring image in the performance was that of fabric and rope. Rope was used symbolically to show the battle that motherhood brings, with the dancers pushing, pulling and tangling with it. Poetry was also a key part of the performance, which, for the most part, beautifully accompanied the dance and music, to show the struggles of motherhood. To quote Ramchandi: ‘Once my womb was a forest alive with light … now I am faded whispers.’

An element that really shone bright in Ramchandi’s performance was the space it allowed for joy and play, with cultural traditions amongst family and community, being placed within the context of the role that women are obliged to play within them. A central theme was pretending to be ok to fit the role of woman and/or mother. This was reflected by the facial movements showing the daily performance that women have to do and the mask they have to wear, as Ramchandi says: ‘Still I smile because isn’t that what mothers do’, which then results in the panicked puppet-like dancing reflecting how women are controlled under patriarchy, as Ramchandi pleads ‘I am no god with arms of plenty’. There is a false end where the woman seems to embrace both the joy and suffering of motherhood and is no longer hiding from either, instead embracing the complexities of motherhood. This would have been a really strong place to end the performance, and yet it went on for much longer than necessary.

Although the themes of motherhood were universal, it would be interesting to know how the experience of someone of the same language/ culture would have experienced the show differently with their gained insight. However, in both performances, the amazing dancing, music, and lighting design conveyed meaning beyond language and culture, to create a vivid exploration of what it is like to be a mother.

‘Just Enough Madness’ and ‘Caught Again in the Net of Rebirth’ were performed as a double bill at the Lowry, Manchester, on Tuesday, 31st March.