Category: 4.5 stars

REVIEW: Fleetwood Unchained

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

Jaw-dropping instrumentals and amazing vocals, Fleetwood Unchained achieve impressive feats in this fitting tribute

As one of the most iconic bands of all time, paying tribute to Fleetwood Mac in any form is no easy task. However, Fleetwood Unchained have risen to this challenge with gusto and put on a sensational performance at The Beacon Arts Theatre. With each member mirroring a member of the original band, this group really went the extra mile to make the evening special.

There was unfortunately a single caveat within this otherwise excellent concert. To my deep dismay, there was one song throughout the night that unfortunately wasn’t up to scratch and that was sadly the opening number, The Chain. This is one of, if not the greatest hit Fleetwood Mac ever produced, so it was truly a shame that this wasn’t at 100% as this song in particular can never be played at anything less. However, to offer some grace, it sounded as if there were some technical issues with the sound, specifically with the lead guitarist’s instrument. It can be extremely off-putting being onstage when there are tech issues and there was a noticeable problem that made the whole thing sound off, so it’s completely understandable under the circumstances. That being said, that classic bass line was still perfect.

A fluke in an otherwise superb lineup, it’s not an exaggeration to say that every other song was incredible. With each Unchained member paying homage to the original lineup, the Stevie Nicks of the evening gave us some stunning renditions. It feels strange to call any song on one of the top 10 best-selling albums of all time underrated but Gold Dust Woman always seems to be less appreciated than the other hits on Rumour. This version could have been mistaken for the original as this performer channelled her inner Stevie, even donning her own golden shawl for the occasion. Later, she switched out the shawl for a top hat, wowing the Greenock audience with sensational vocals on Rhiannon alongside the band’s Christine McVie and Lindsey Buckingham. The singer honouring McVie blessed the crowd with a touching cover of Songbird. The emotion she sang with was so deep it could be felt throughout the theatre and her voice was simply beautiful. 

These songs mean a great deal to so many, with numbers such as Songbird getting very vocal approval from the crowd before they’ve even started. Therefore, finding people who can do the music justice is imperative. It’s how tribute acts rise or fall and the ability of Unchained to rise in almost every single scenario was impressive. The man honouring Buckingham did not disappoint in this regard, not in vocals or as a musician. Big Love was a display of exceptional talent from this performer, the guitar solo being an example of his particularly gorgeous work. 

As is the case with most artists, the band pulled the final song fakeout, exiting the stage claiming to be done only to return for more (following a superb drum solo). This was to great cheers from all as the night concluded with Don’t Stop and Go Your Own Way, two Titans from Rumours’ pantheon of classics. These were, without question, the perfect songs to end on. They’re absolute showstoppers and numbers that give every member of the group a chance to shine. Plus, as a general rule of thumb, it’s always good to pick something that everyone will know the words to.

Overall, Unchained succeeded in honouring Fleetwood Mac. Though they did not have the strongest of starts, it only got better from thereon in. Everything that followed was a roaring success and the passion of this group is what makes the act work. They gave their all and proved that a rocky beginning does not have to define an entire performance.

The Chain is the only thing that kept this from a perfect rating but everything else was near perfection. Brilliant vocalists and absurdly talented musicians across the board.

REVIEW: Death on the Nile

Published on by omarydawnLeave a comment

Rating: 4.5 out of 5.

“A sharp, funny and genuinely gripping whodunit. The kind of show that reminds you why live theatre just hits different.“

Kicking off the theatre year with a show like this feels like a real win. Going in with very little knowledge of the story – aside from the promise of a murder, a famous detective, and some comedic moments – makes the experience even more exciting. It is the kind of production that leaves audiences leaving the auditorium energised and already looking forward to what else the year might have in store.

Ken Ludwig’s adaptation gets the balance just right. It’s witty and genuinely funny, but never at the expense of the tension that drives the mystery forward.  The production knows when to make you laugh and when to make you lean forward in your seat, and it moves between the two with ease..

Mark Hadfield is a joy as Poirot. His performance is warm, sharp, and his comic timing is a definite highlight. One of the most memorable moments comes in the final act, as Poirot pieces together the truth behind the murder while the cast act out flashbacks around him in real time. It’s inventive, engaging theatre and theatrical storytelling that just would not work the same way on screen.

Across the board, the cast deliver strong performances, but Esme Hough stands out as Jacqueline de Bellefort. She is absolutely magnetic in the role and brings a layered intensity that elevates every scene she’s in.

The writing also deserves credit for how well it handles the show’s many suspects. Each character is carefully positioned to keep the audience guessing, with clever moments of misdirection that is tight and the payoff is satisfying. Even without prior familiarity with the story, it’s easy to stay engaged and invested in the mystery.

Visually, the production makes excellent use of the Festival Theatre stage. The set is both stylish and practical, allowing the action to move smoothly between locations without disrupting the flow. Sound design plays an equally important role, subtly building atmosphere and tension throughout. It’s one of those elements that might not always be front of mind, but it contributes significantly to the show’s overall impact.

Crucially, this is a production that feels very accessible. There’s no need to be a dedicated Agatha Christie fan to enjoy it. The storytelling is clear, the characters are distinct, and the world is easy to step into from the outset. At its heart, it’s simply an entertaining and well-crafted piece of theatre.

With a cast that clearly enjoys the material, thoughtful creative choices, and a script that keeps audiences guessing right to the end, this makes for a strong start to the theatre year.

Death on the Nile plays at Capital Theatre until 28th March. Tickets are available here.

REVIEW: Flight

Published on by nmcgarrityLeave a comment

Rating: 4.5 out of 5.

‘A show that leaves you winded with hope and grief’

‘Flight’, based on the novel Hinterland by Caroline Brothers, was adapted by Oliver Emanuel and directed by Jamie Harrison and Candice Edmunds. Originally commissioned by the Edinburgh International Festival in 2017, it is an experience like none other, seen by audiences across the world. The sixty-five minute performance consisted of voice acting, music, lighting, and small models, exploring the journey of two young brothers travelling from Kabul to London. Equal parts creative, beautiful, and devastating, ‘Flight’ delves into the cruelties and dangers faced by refugees on their journey west.

The composition of the performance was unique and only added to the incredible experience. Each audience member was led to their own private booth, where they could watch the story unfold and listen through a pair of headphones. Staged in this way, it left the audience closer than ever to the two brothers whose stories the performance follows. The figures were displayed on a revolving set which lit up to draw the audience’s attention to the correct relevant panels. Enrapturing and spellbinding, the audience, at first, is charmed by the intricacy of the set. Every figure was clearly crafted with care and hard work; the details, varied and multitudinous, to capture the brothers’ emotion and dialogue.

In regards to the plot itself, the story that was told was beautiful, a considered mix of hope and tragedy. Unlike in theatre, where the audience are drawn in by the realness of the actors’ bodies and movement, ‘Flight’ was contained to still images and the model figures, but by no means did this detract from how engaged the audience felt. A sense of deep grief haunted the performance from start to finish, the connection to real stories and real refugees never out of mind. The story portrays the struggles of refugee children with honor and love without sugarcoating the atrocities faced.

At times it was difficult to connect the auditory experience with the visual. Some images felt untethered from the story being told, or slightly hindered by the lack of any movement. Moments felt rushed – the ending, in particular, perhaps could have been longer, exploring the repercussions of the final leg of their journey and the toll it took on the younger brother’s psyche. Some of the themes only had time to be explored briefly, and it would have been helpful to have a slightly longer performance runtime. Nonetheless, parts of this criticism can also be attributed to the haziness of a child reminiscing on a traumatic, years-long event: not everything will be remembered. If this was the effect that was meant, making this clearer would perhaps aid the audience in understanding this. Despite this, the performance as a whole was immensely powerful, and packed a punch that won’t be forgotten any time soon. 

As a performance, ‘Flight’ is incredible. As a story, especially one based on real lived experience, ‘Flight’ is devastating. Vox Motus, the company behind the show, are gloriously forthright in their devotion to exploring stories that “challenge understanding of the world” (a quote taken from their website). Their performances are incredibly vital to contemporary societies worldwide, the themes and stories they tell equally brilliant and emotional. At its heart, ‘Flight’ is a show you don’t want to miss as long as you heed the content warnings: every part is designed with care and love, and is a breathtaking experience.

‘Flight’ runs until Saturday 4th April at the Citizens Theatre in Glasgow. Tickets for the show can be purchased here: https://citz.co.uk/whats-on/flight/#book.

REVIEW: Scots – The Musical

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

This cast made sure to gie it laldie as they belted it oot for aww to hear

A show filled with laughter, songs and more than a few wee facts, Scots-The Musical is more than just a comic glance at the country. This show delves deep into Scotland’s past, its origins and its people; all told from the point of view of a toilet. THE Toilet, in fact. The very first. The Pavilion, being such a beloved theatre in Glasgow, made this the perfect venue for such an event, as the audience went on an educational, if somewhat ludicrous, journey.

Any story told by something people use to defecate in is going to be a bit mad. There’s really no way around that; it’s a pretty bold choice for a narrator. Yet, oddly perfect? It honestly sort of sums Scotland up in a brutal kind of way, or at least our humour. We do, undoubtedly, partake in a lot of toilet humour. Even the infamous “DISGUSTANG” meme gets a nod as we go through a variety of bog-related jokes. The reason for such an unusual storytelling device is that the first ever toilet was said to have been dug in Scotland. Throughout the show, The Toilet takes us on a journey through Scottish history, all beginning with the song “I’ve Seen Some Shit”. With this kind of storytelling device, you’d think all the humour would indeed be “shit”, but the audience was roaring with laughter as our narrator talked about how it had seen “a lot of arseholes”. This opening song has already become an earworm as it is incredibly catchy. It works really well to open the show, being a light-hearted, less serious number. 

As previously mentioned, though, this show is about more than just laughs. This musical shows us many important figures in Scottish history, especially women underappreciated within their own time. Mary Somerville, the first-ever scientist, is one such figure. Mary gets to sing one of the most powerful numbers of the show, “I Don’t Need Your Approval”. The high notes achieved by Katie Barnett were sensational, acting as a perfect closer for Act 1. Themes of female empowerment continue into Act 2 with Annie Gibbons, a woman who was instrumental in the implementation of the first toilets in tenement flats in Scotland in 1972. She provided Raymond Young with a space to build his schematics, and this led to a movement which saw toilets be included in flats and tenements all across the country. The song “Som’dy Needs A Boot Up The Arse” accompanies this part of the story and rhymes the words “didnae” and “kidney” in an act of absolute lyricism.

One thing this show manages to do well is address Scotland’s missteps. Acknowledging that Scotland has made a lot of mistakes is actually one of the factors that will help it stand the test of time, and it can’t be stressed enough how important that is. Scotland’s not perfect. Nowhere is but especially not us. We have work to do to improve, grow, and evolve and this musical addresses that boldly, while remaining hopeful for our future. One such example of this is the homophobic attitudes towards gay people in Scotland, across time, but especially in the 1970s-1990s. We see how this led to many retreating to bathroom cubicles as a place to hide, in school, work, social settings and how the hostile environment towards the community exacerbated the AIDS crisis. It goes on to show how times have evolved, as being gay was no longer illegal in Scotland in 1980. It took over 3 decades for gay marriage to be legalised, with Scotland finally being at the forefront as the first country to do so in 2014. This is all beautifully captured in a moving song sung by characters Oscar and Daniel, “Things We Don’t Say”.

 Another example of Scotland’s biggest errors that gets mentioned, in which we got “so utterly shagged” as it was so eloquently put, is when we tried to colonise the Darien region of Panama from 1698 to 1700. Known as the Darien Scheme, William Patterson took over £400,000 (roughly £60 million in today’s terms) of money taken from Scottish citizens with the intent of establishing a colony and trading route known as New Caledonia. However, it was an absolute failure, leading to the death of Patterson’s whole family as well as 2000 others due to disease and attacks from Spain, who also wished to colonise the area. This is savagely summed up in the line “Scotland backed the horse that got malaria and died”. These financial losses are ultimately what led to the formation of the union with England in 1707.  Another brilliant quote that helps summarise our storied history as a country is simply, “Sometimes we’re a f—ing mess”. Harsh, but true. However, the show also states that we always get up and try again, that we never give up, and that is important. Scotland may have some work to do, but we’re doing our best, and if we can own our mistakes and learn from the past, our future can be brighter. Better.

It’s worth noting that there are a couple of excellent running gags in this show. One is the map girl, always getting in the way and always with a deranged look in her eyes. The other is the lute player, constantly trying to get away with playing an old Scottish song known as “How Can I Be Sad On My Wedding Day?” The Toilet is having none of it, which leads to some panto-like interactions as we feel sorry for the poor lute player, but eventually, she gets to fulfil her wish, and it’s worth the wait. Yana Harris had multiple roles, but this was definitely her most endearing. It should also be mentioned that Tyler Collins did superb work with all the humour throughout the night as The Toilet. He served as a perfect narrator.

Overall, Scots- The Musical is a total riot! The balance between silly and serious is just right, the songs are incredibly entertaining, and the cast is very clearly having an absolute ball. It was plain to see how much they were all enjoying themselves, which flowed through their performance and made this a memorable and enjoyable night. Gon’ yerselves!

This has Fringe energy written all over it. It’s funny, well-balanced in tone and even educational. Plus, the songs are all fabulous! Perfect length in runtime and perfect for Scottish audiences.

This show has finished its run at the Glasgow Pavilion. Find more tickets for the Glasgow Pavilion here – https://trafalgartickets.com/pavilion-theatre-glasgow/en-GB

REVIEW: Horrible Histories LIVE (AND DEAD)! – The Concert

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

Whether you grew up with it or are being raised with it now, Horrible Histories is perfect for all ages

There was real buzz in the air of the Theatre Royal as fans young, old and in-between gathered for Horrible Histories: LIVE (AND DEAD)! – The Concert. Based, of course, on history but also the original works by Terry Deary, Horrible Histories has been an ongoing television show since 2009 with songs written and composed by Richie Webb. As both band and cast member, Webb is a solid example of the meta, fourth-wall breaking joy this concert offers, much as Horrible Histories always has.

Now, just to get it out the way for anyone wondering, no; this does not have any of those classic original cast members from way back at the TV show’s inception. While that would also be a wonderful opportunity for an event and one many would love to see someday, that’s not what this is. The last thing I’d want is for any original fans to go in unaware and be disappointed. As many know, most of that particular group moved on to do the Ghosts show some time ago, to great success. However, this cast is truly delightful and have an exuberant approach to the work, it really comes across onstage.

The concert is not contained solely to the stage though. The audience are indeed addressed throughout and it’s especially interactive for kids. Singing, heckling, and even pantomime actions are encouraged. Chorus words appear for the songs (although frankly, nobody seemed to need them, other than perhaps the parents who have no idea what’s happening), the audience are asked to assist from their seats in question games and there is an open dialogue between the fans and whoever is onstage at the given time. The main sources for back-and-forth audience/cast interactions are Webb and Richard David-Caine’s Shakespeare, who gives a wonderfully camp performance. Being someone playing a character in a television show for kids doesn’t necessarily equate to someone who is actually good at entertaining them live so David-Caine should really be commended for terrific crowd work. 

While it would be a shame to give away all the songs in store for ticket-holders, it should be noted to pay attention to the cast. Many of the famous monarchs show up in this concert, all thinking they’ll get to perform the final number of the show, thanks to a misunderstanding with Shakespeare. They all get their moments to shine, so if you were hoping to hear from Charles II, Elizabeth I, or perhaps Cleopatra, you’ll be very satisfied. My personal favourites though, had to be The Viking Song (more affectionately known as “Literally”) and without a shadow of a doubt, Boudica. Truly, the excitement was palpable. There’s a great blend of classics and more recent hits so there is definitely something for everyone. 

It goes without saying but Horrible Histories has always been funny. It hasn’t lost that in this transfer to the stage or even all these years after it started. The cast have excellent comic timing and recognise that fun is the most important thing. They understand their job and they execute with maximum efficiency, giving each number, each one-liner, each facial expression 100% in terms of energy, effort and positivity. As a collective, they truly can’t be rated high enough. There are no weak links in this chain.

Now, there is some disappointing news; our host was not, in fact, a talking rat. Yes, sadly, the iconic host of the TV version Rattus Rattus, does not make an appearance. Heartbreaking to be sure and in all honestly, this did lose the concert a few points. Maybe there is an argument for a puppet being onstage the whole time and ruining the illusion of the character for children but damn it, it’s 2026! Surely there could have been a way! With all of that being said, Shakespeare still did a fine job in his role. There is a world in which they could have shared hosting duties, which absolutely could have led to some moments of comedy gold but alas, it was not meant to be. So, a note for the future would simply be this; give us the rat!

Overall, this concert was a huge success with the audience, myself included. It’s really lovely to see that in 2026, not only is Horrible Histories still going but it’s thriving. Many people probably watched those first episodes nearly 17 years ago who dreamed of days like this, where they could see these songs performed live. That day has come and let me tell you, it’s okay to still go if you were one of those kids. If you’re a 20 or 30 something who feels like they need permission to go and have fun, you’ve got it. Indulge yourself! Whether you’re 7 or 27, you’ll have a blast.

This concert’s final tour stop will be Sunderland Empire in Sunderland from Friday 17th-Saturday 18th April.

REVIEW: MEDEA

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

Harrowing and tragic, Medea defines brutality in a performance that will leave you speechless

This classic Greek tale, as with many, has a variety of versions and rewrites though perhaps none quite as harrowing as this retelling by Kathy McKean. Based on the original work by Euripdes, McKean’s work delves into the levels of deep intensity within these character’s emotions, accentuated by the talents of theatre company Raw Material. Touring this production in association with Bard In The Botanics, this performance at The Beacon Theatre was an impressive yet brutal watch.

As a Greek tragedy, it goes without saying that Medea will not be the easiest watch for some to digest but despite its harsh, and at times horrific subject matter, the compelling nature of the play makes it fly in for those with a stomach for darker themes. The intense atmosphere of this performance was felt by all as Medea spirals while the life she knows crumbles around her. Her paramour Jason, as in the Jason who sailed on the Argo and claimed the Golden Fleece, abandons her to marry the King of Corinth’s daughter. After going into a rage and threatening Jason and his new wife, King Creon exiles her and she is forced to flee with her children. However, she appeals to Creon who grants her one day before she must leave Corinth. This gives her enough time to plan her revenge. 

She plans to take everything away from Jason. Luring him to their former home, she convinces him that he should take the boys so that they can have a better life. She says she will send gifts with them, in order to appease his new bride and wipe any previous slights from her mind. The gifts in question however have quite sinister properties. A cloak and crown made by her grandfather, these items were only supposed to be worn by those of her bloodline. As a descendant of the sun god Helios, Medea would not be harmed but when the princess dons them, her body begins to melt away, killing her and Creon as he attempts to aid her as she dissolves into nothingness. Medea is not through with her vengeance though. To rob him of his legacy, Medea murders her own children. Jason arrives to get them to safety so they will not be harmed for the deaths of the king and his daughter but he is too late. After seeing him broken, defeated and helpless, Medea vanishes, leaving devastation in her wake.

The end result is shocking, no doubt but what makes it even more crushing is the way her relationship to her children is handled throughout the play as well as her psyche in general. She slips further and further away from reason as the story progresses, her emotions ranging from rage at Jason’s treatment of her to pain over the loss of him. We see her feel a sense of isolation as she reckons with the prospect of having to leave this home she built with her family, with no idea where to go and almost no friends to turn to, save the Nurse. Jealousy and envy are apparent as she faces the fact this princess has stolen her life and though originally, she does not believe her to be at fault, we begin to see her turn and head down a dark, treacherous path of revenge. In all of this, she still loves her children but it is stated by the Nurse from the very beginning that she can barely look at them as she sees too much of their father in them. Ultimately, this is foreshadowing of what is to come but her decisions are never framed in a way that make us believe she doesn’t love her children. Even in the moments before her final crime, she talks about running and taking the boys with her. In the end though, she realises it is too late. Whether that be because she knows they will be killed for the deaths of the royal family or because she’s determined to take everything away from Jason at any cost is truly hard to say. Each reason has merit and it could be that either or both are true. In the end though, there is a sickening satisfaction in Medea’s reaction to Jason’s despair that shows us she got what wanted, no matter the cost. The way Nicole Cooper displays the complexity of Medea’s nature and emotions is in a class of its own

Some would look at aspects of her behaviour and defend Medea. While there is justification for her outrage at the circumstances she finds herself in, any notions of her being on the side of righteousness dies with her children. The moment we see her walk back onstage with the blood-soaked knife she used to slit their throats, there’s no amount of grace we can give the character. Which is fine because this is not a heroic story. Yes, we see that without her, Jason would not have succeeded in his famous quests and that she should have got the recognition she deserves but Medea makes it clear to Jason and the audience that he always knew what she was. There are no heroes in this story. Only flawed, broken individuals. It’s what makes it so compelling. Which isn’t to say they don’t make us feel. Isabelle Joss’ screams as the Nurse discovers the bodies make us feel that brutality. Johnny Panchaud beautifully displayed Jason’s heartache as we see him crumpled in a pile on the floor, howling. Alan Steele’s haunted memory of watching the royals melt away was one of the finest moments. We see how he was almost transfixed by it, mesmerised by the horror.

The only true issue with the performance was lack of appropriate accents. While there are moments where Greek is spoken (and in those moments we do hear tonal differences), they are few and far between and the Scottish and English voices were initially jarring to tell the truth. Perhaps if there had been prior warning, it might not have been as much of a problem and ultimately, it doesn’t affect the acting in acting in any way but there are definite hints of a different accent in the few moments that Greek is spoken which does beg the question, why not just make the choice to do that the whole time? It is however a relatively minor thing and doesn’t ruin the performance as a whole.

Overall, Medea was raw and intense. The acting on display was superb and the company did a splendid job with some very complicated material. This is definitely worth a watch for those who enjoy looking at the old myths through a more emotional lens.

This tour’s next stop is the Tron Theatre in Glasgow from Wednesday 25th– Saturday 28th March and closes in Eden Court Theatre in Inverness on Saturday 11th April.

REVIEW: Glorious!

Published on by jaybinghamLeave a comment

Rating: 4.5 out of 5.

A bold, comedic tribute to Florence Foster Jenkins, the world’s worst singer

In 2016, the film Florence Foster Jenkins was released. Starring Meryl Streep in one of her many Oscar-nominated performances, the biopic draws us into the lavish lifestyle of the New York City socialite and her strong love of music. Endlessly generous and ridiculously brave, Florence constantly pursued performing opera gigs at all the renowned venues – never realising that she is actually a horrendous singer.

Glorious! brings Florence’s absurd, comical story to the stage. The glitz and glamour of the film are stripped away in this production, instead giving us four insightful, dialogue-heavy scenes (two each, before and after the interval) depicting the last few months of the tone-deaf singer’s life. Although the set design and costumes are fairly simplistic, everything still looks very beautiful, and the actors have such a striking stage presence that it is impossible to describe Glorious! as anything other than dazzling.

Florence is played by Wendi Peters, a woman who is tiny in stature and gargantuan in personality. Every second of her presence as Florence is a delight from start to finish. With a big, beaming smile on her face, she takes to the stage and delivers each line with such brilliant comedic timing, her singing so awful it had us all laughing and cheering. Like Florence, Peters feeds off the positive energy of the audience, in turn giving us a thoroughly entertaining show.

Matthew James Morrison plays Cosmé McMoon, a talented yet struggling pianist who lands a high-paying job as Florence’s accompanist. Morrison holds his own well against the bold Peters, his reactions of shock and awkward movements eliciting frequent laughter from the audience. At times, and this may be because the actors were not wearing microphones, it was difficult to hear certain things Morrison was saying – the first two scenes began with a monologue by him, so missing several lines was disappointing. However, Morrison brought the camp, cool energy that Glorious! required of all its performers.

Glorious! is a thoroughly entertaining show, filled with laughter, bright colours, and splendour. It is incredibly well-written, and the close friendship between Florence and Cosmé is lovely to see unfolding. The performers all have incredible chemistry with each other, and how can they not with someone as jolly as Wendi Peters at the forefront? This is an endlessly fun production, ending too quickly and entertaining splendidly.

Glorious! is playing at the Theatre Royal Windsor from March 17 to March 21, 2026.

Credit: Manuel Harlan

REVIEW: Yentl at Marylebone Theatre

Published on by sophieelizabethmorrisonLeave a comment

Rating: 4.5 out of 5.

A captivating anecdote for exploring self and queer identity through religion and breaking gender norms.

Yentl is a compelling ode to those who wish to defy odds whilst maintaining a sense of belief and exploring the boundaries of their religion. Traditionally, Jewish girls were highly restricted by formal religion (Torah/Talmud) to study for centuries, primarily from the Talmudic era until the early 20th century. Yentl craves to defy her gender expectations as a woman just to be married off and serve a man for the rest of her life. Now, she must navigate grief whilst approaching the alien realm of masculinity to achieve further study and learn about the world around her. She possesses a unique perspective on knowledge as a cisgender woman and introduces this to a man she meets on her travels, Avigdor. The play is reminiscent of Shakespeare’s Twelfth Night, without a set of twins, and provides more specific references and themes surrounding the Jewish faith.

The set depicted a rural minimalistic grassland using woodchips and a couple of scattered large rocks. We were also met with a grey separation curtain which revealed a large wooden set piece to act as a multi-rolling backdrop. A particular detail that really stood out was the use of carvings in the backdrop of small squares or windows that lit up. Metaphorically it created this idea of “windows of opportunity” for not just Yentl but the story to unfold, some out of reach with a ladder still makes the highest box unobtainable. 

The play was linguistically plentiful, using traditional Yiddish and providing a projection of English subtitles for those who did not speak the language. This provided a space to remain true to the language, since movement alone helped convey emotions of the dialogue that audience members could cast their attention away from subtitles and still be enveloped with emotion and storytelling.

Yentl explores themes of sexuality, gender, queer identity and religion, with a poignant commentary for those who identify as non-binary. Yentl expresses feelings of being both genders but neither and that she may have a woman’s body but she feels so much more than how she appears. Whilst this remains a historical commentary on a religion that previously restricted gender roles, contemporary audiences may relate or find allyship within the story within its queerness. It also acts as a signpost for those who aren’t as informed on the topic, providing an opportunity for them to understand deeper what it feels like to identify as queer or nonbinary. Religious themes were also prevalent with the use of the apple as knowledge for a character in reference to genesis, and a goat headpiece wielded by The Figure. The symbolism of a goat may generally symbolize sin, rebellion, stubbornness, and separation from God which mirrors themes in the story.

The wonderful Amy Hack brilliantly portrayed the titular character of Yentl, who skillfully developed her from naive to gaining a strong maturity and achieving a fulfilling sense of self. Evelyn Krape as ‘The figure’ conveyed the character with a cheeky warmth, utilising both masculine and feminine traits within the performance. Genevieve Kingsford gave a gorgeously elevated performance as ‘Hodes’, portraying both her young feminine traits and harrowing desperation to be a mother. Last, but by no means least, Ashley Margolis as Avigdor. Margolis gave such depth and complexity within the character, portraying the sexually-driven and romantic sides to the scholar.

The emotional gravity of this play was carried with such care by these four individuals, audience members often forgot there are only four people performing. A huge congratulations to them and it was a privilege to get to see their opening night performance.

For tickets and listing, please go https://tickets.marylebonetheatre.com/shop/tickets/series/Yentl

REVIEW: A Giant On The Bridge

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

“Deeply emotional and slightly mad, this is a performance which stands out from the rest“

Fascinating, mad and impactful are just a few of the words one could use to describe A Giant On The Bridge. This concert-like experience mixed with spoken-word theatre blends the story of a father on his way home from prison to meet his family with that of a more traditional story of a giant and a prince. Accompanied by songs written through the “Distant Voices: Coming Home” project, this performance and its message stood out.

Based on real life events, this performance was devised from the “Distant Voices: Coming Home” project, a four-year research collaboration with the intent of shining a light on the experience of those affected by the criminal justice system. These workshops were used to give a voice to people who had previously been in prison and those still in the system, or to quote from the performance, “those who have crossed the bridge home and those yet to do so”. The use of music to tell their stories and give insight into their lived experiences feels very personal and comes from an intimate place. 

The music itself is varied. Ranging from pensive and melodic in songs like “Autopilot” to more classic rock vibes in “Fuck It Button”, every song has a story to tell and they all sounded great. Despite different genres in the mix, there was a feeling of connection between all the songs. The emotional weight of these songs is felt as it was stated at the start of the show that some of the song-writing sessions became quite dark at times, understandably so. Upon speaking to co-creator and musical director Jo Mango, she stated that there were over 150 songs written throughout the workshops. Although all of them could not make it into the performance, the selection within the show is effective in helping us understand more about not only the lives of people who have left or are still in the justice system but the people that care about them. 

When asked about why this narrative was blended with that of a more traditional fairytale, Mango mentioned that a common theme across the workshops with many inmates was that of heartlessness, specifically that this was how they felt towards the justice system. This lent itself well to the story of giant who had lost its heart and also created a parallel between this character and how many people saw them; as monsters. The story in question is based on the fairytale “The Giant Who Had No Heart In His Body”, though is altered somewhat from the original text. This narrative weaves through the prison homecoming by means of former inmate D’s daughter Faye, telling the story to her dad through letters. These letters are never sent by her Aunt June however as they act as a fantasised version of what has been going on in their lives while D has been in prison. While details are never explicitly mentioned, we are told that June was forced to leave her partner due to domestic abuse and she had to flea in order to shield Faye. The blend of these stories surprisingly works quite well and both narratives remain compelling. Special mention has to go to Kim Grant for the narration of the Giant’s story. Her telling of this tale was incredibly captivating which brought the whole performance up a level. All the musicians in this show were truly fantastic, everyone involved in each aspect of telling the story, through words, song and instrumental. 

Overall, this was a deeply impactful performance. It did an exceptional job of highlighting the journey people go through, both in prison and after, as well as showcasing why we should focus more on reformation than punishment within the system. Plus, aside from being emotional and interesting, the music just sounded brilliant which is always a bonus. If anything, all one could really ask for was more.

The next stop on this tour will be The Studio Theatre in Edinburgh from Friday 13th-Saturday 14th March and closes at LAS Cinema and Theatre, Portree in Skye on Saturday 21st March.

REVIEW: In Bloom

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Rating: 4.5 out of 5.

Sometimes the bravest thing a flower can do is open again.

 In Bloom is a bold, playful and deeply feminine solo performance that blends theatre, dance and physical storytelling. At its heart, it asks a deceptively simple question: what does it mean to bloom again after the wind has forced you shut?

From the moment Louna Palombo steps onto the stage, she proves that one performer is more than enough to fill the space. As a standalone presence she is phenomenal. She is not just portraying a flower – she becomes one. Rooted in her pot at the start of the show, she inhabits the fragile optimism of something growing toward the light. Through voice, posture, breath and movement, she brings a plant to life with startling conviction.

The story unfolds across acts that mirror the rhythm of the seasons: spring, summer, autumn and winter, before returning to a final rebirth in spring. In the beginning, our flower grows quietly on the balcony of an apartment complex. But when summer arrives she is repotted into a garden, a moment of liberation that introduces her to the Wind, a carefree force that blows without consequence and becomes her Mr Big: thrilling, intoxicating and ultimately destructive.

Left alone after the storm, the flower is forced into a period of reflection. The performance cleverly uses the natural cycle of seasons to chart this emotional journey. Spring represents growth, summer is joy and reckless love, autumn signals loss, and winter becomes a time of stillness before renewal.

At several moments in the piece, the flower poses a question that lingers long after the show ends: “What does a flower mean if not given?” Later she asks the more radical counterpart: “What does a flower mean for itself?” These lines crystallise the core of the performance. Flowers are so often symbols offered to others — tokens of love, apology, celebration. But what happens when the flower exists not as a gift, but as something living for itself?

The transitions between the seasons are one of the production’s charming devices as the show pauses briefly as Palombo changes a sign marking the new season, almost like a cinematic title card. With music swelling in the background, the audience can practically picture filmic transitions: leaves swirling for autumn, warm sunlight for summer, icy quiet for winter. It gives the piece a playful theatricality while keeping the storytelling clear and rhythmic.

Physically, Palombo’s performance is extraordinary. She uses every part of her body to embody the flower’s life. Her voice moves through vulnerability, excitement, heartbreak and resilience, while her physicality shifts seamlessly between spoken theatre and bursts of dance. In moments of love with the Wind, Sofia Zaragoza’s choreography expands into fluid contemporary movement, Palombo’s limbs stretching and spiralling as though pulled by invisible currents.

What makes it so compelling is how effortless it appears. Palombo’s control and physical intelligence make the choreography look organic, as if the movement is simply the natural way this flower exists. The audience ends up living vicariously through her and rooting for her to bloom again.

The visual world of the piece is equally thoughtful. The staging transforms the performance space into a small garden: pots, scattered flowers and patches of grass that gradually become part of the action as the story unfolds. Nothing sits idly on stage for long. By the end of the show, the set has been touched, moved, or repurposed, mirroring the flower’s own transformation.

Costume plays a key role in building the character. Palombo wears a soft, ballet-core outfit that suggests the delicate structure of a plant: she is the stem, while a crown of petals sits on her head. Glittering highlighter across her cheeks catches the stage lights like morning dew. The effect is whimsical without tipping into parody, allowing the symbolism to remain playful yet sincere. The petals themselves carry an unmistakable metaphor for femininity, evoking womanhood, sexuality and independence.

If the piece has a flaw, it arrives in its final moments. After such a rich visual and physical journey, the closing explanation of the show’s message feels slightly unnecessary. The metaphor is already clear: a flower reclaiming her ability to open herself again. Especially performed on International Women’s Day, the audience hardly needs the theme spelled out quite so directly.

Still, this is a minor misstep in an otherwise captivating work. In Bloom succeeds because it trusts the power of the body, the stage, and one performer’s ability to transform imagination into reality.