A Brilliantly Experimental Multi-Lingual Reimagining of Chekhov’s Three Sisters
Alienation, from themselves and each other, is the recurring theme of Chekhov’s Three Sisters. Masha, Olga and Irina long to return to Moscow, but we sense that beneath that there is a more innate longing: for their lives to make sense to themselves. It is these feelings of loss and alienation that Not Quite Three Sisters turns up to the extreme.
It is a wonderfully bold and experimental reimagining. Three directors (Mia Cousins, Shuxin (Theresa) Si, Shuyi Alice Wang), each responsible for a sister, each sister speaking a different language. The three sisters drift dreamlike through surreal scenes as video montage layers itself into the story. We find ourselves inside their alienation itself as if the original play is turned inside out. It’s an incredibly original and bold way of making theatre. As with all good experimental work, there is a real sense that anything is possible, that no idea is off limits.
This all takes place on Lynia Cao’s elegant set. Markings on the floor trace out a house with no front door; a stack of screens flicks between Buster Keaton movies, grainy war footage and 90s-esque pink pixel art; translucent screens appear and disappear as walls or frames. It’s a design that manages to tie together the varied and abstract ideas of the play – no mean feat for a play this complex.
The play is at its best when the ideas of the three directors feel layered over one another and interwoven. In these moments, it’s brilliant and enthralling. At times, the ideas feel sequential, and this is when the cohesiveness of the play suffers a little. That said, it’s a play of such frequent and clever ideas that these moments pass quickly and – as with all experimental theatre – taste factors hugely. Some ideas won’t work for some people, but the ones which do will really work.
It’s a play which trusts its audience. That trust in and of itself is moving. There is a real feeling of the play asking the audience to reimagine what theatre can be, should be, could be.
What’s most successful is how well it explores how lost these women are and how far from one another they are. There’s a profound loneliness in all three of them – a sense of being displaced from time and the rhythm of life. Perhaps the most moving part of the play is a monologue about whether an arrow is ever really moving or whether it is a thousand moments of stillness all tied together by perception. Are these sisters like that? If they should get back to Moscow, would anything change? If they were to speak the same language, would they be able to understand each other?
It’s not perfect. There are a few moments where it doesn’t quite work, but that is a natural hazard of a play so ambitious. This is experimental theatre at its boldest and most exciting.
The Boy at the Back of the Class and the Reviewer in Tears.
A new boy sits at the back of a Year 5 class, not knowing anyone or even the language, and his journey is far from over. The Boy at the Back of the Class tells the story of Ahmet, a Syrian boy who begins his education at a British primary school after making the dangerous journey to seek asylum. The narrative is told through the eyes of the children who befriend him, helping Ahmet to find more than just his voice. A heartwarming story of friendship and resilience, The Boy at the Back of the Class is sure to move even bullies to tears.
Nick Ahad has adapted the story to stage beautifully. The children talk like children, and the production design is filled with imagination and playfulness. Serious themes are portrayed sensitively but impactfully, and though young characters may not always say the right thing, they are trusted with heavy topics. Onjali Q. Raúf’s writing and Ahad’s subsequent adaptation encourage the audience to stay curious and open their hearts and minds.
Monique Touko has directed the piece beautifully, putting careful thought into characterisation and blocking. The piece exudes energy, and you can tell the performers are having an incredible time, which is a testament to the environment created in the rehearsal room. Sometimes nods to the audience feel a bit forced, but do provide important emphasis to key lines. The movement and fights are coordinated brilliantly by Kloé Dean and Maisie Carter, with clear regard for safety and an eye for using the whole space whilst having a child’s mentality at heart.
All actors have an impeccable grasp of characterisation. Sasha Desouza-Willock and Serkan Avlik give particularly moving performances as Alexa and Ahmet, delicately and intelligently playing the characters with close attention paid to portraying trauma sensitively. Another stand-out is Evie Weldon, who, when multiroling entirely embodies each character, from snobbish schoolgirl to sinister old teacher. Natasha Lewis also shines as Mrs Khan/Mum, with a formidable presence and subtle improvisation, which keeps the momentum whenever younger audience members become restless.
The lighting (Ryan Day) and sound (Giles Thomas) work in synergy with the sets and costumes (Lily Arnold) to propel the story, immersing us in situations from child’s play to imminent danger. The football segment is especially effective, with mimed balls bouncing and lighting up the set, which becomes the performers’ playground. Every inch of space is used, whether by actors climbing the PE equipment walls or by LEDs illuminating the borders. Ahmet occasionally steps outside of the established performance area to speak to us directly, as though we’re in his head, which is beautifully done.
My one criticism is that there is a very cheesy moment of resolution in the second act involving the Queen, which I feel cheapens the achievements of the children themselves, as their big plan to help Ahmet causes enough change as it is. Whilst this has a negligible effect on the final emotional payoff of the show, it stunts the plot’s progression slightly after a tightly executed unfurling of events.
Overall, the piece is sensitive, educational and big-hearted. Multiple elements work together beautifully to deliver a lasting message. A tale of hope and the enduring power of raising your voice in an ever scarier political climate, The Boy at the Back of the Class is a must-see for children and adults alike.
The Boy at the Back of the Class runs until 18 April at the Lowry, Salford, before continuing a tour. Tickets here.
Rock and roll: a lifestyle, a mindset, a revolution.
This Easter weekend, Liverpool Empire Youth Theatre presented their performance of We Will Rock You, paying homage to rockstar idols from the past through a comedic, playful and symbolic plot. The entire cast, from the protagonists to the ensemble delivered a show well worth remembering.
The first half of this show harnesses the attention of the audience scene after scene, song after song. The story is set with ease and natural thespian spark: rock is dead in the future realm of ‘IPlanet’, the government of the Killer Queen oppresses the ‘bohemians’ who dare to challenge to status quo in the fight for their freedom of expression. Rare Studio trainee Jack Ward playing the role of Galileo Figaro, and soon to be musical theatre bachelor’s student Izzy Chapple as Scaramouche, paint a brilliant picture of two young outcasts, hungry for more than the hand they’ve been dealt and the crippling desire to simply be understood.
It goes without saying that the vocal ability of both these young actors is exceptional, taking on renditions of beloved rock fan favourites such as, “Somebody to Love” and “I Want to Break Free”, Ward and Chapple both exceeded expectations for such young voices, while making the music their own still managing to maintain the songs’ original appeal throughout. Translated into the world of ‘IPlanet’ and the ‘bohemian’ resistance, these Queen songs are illuminated in a light perhaps forgotten by their usual audience: Freedom.
The second half deliberately plays into this theme, to encompass this spirit of revolution and humanity through championing rock and roll legends we have lost too young. As the brilliant actors performed the iconic and heart-breaking ‘Only the Good Die Young’, the projector screen behind them presents footage of classic rock heroes, such as Janis Joplin, Kurt Kobain and of course Freddie Murcurey. These reoccurring themes of self-actualisation and liberation of identity reminds us to look inside, to be true to who we are and what we love and allows us to reflect on why we consider the stars shining on the screen our idols in the first place. Going against the grain and forming a collective resistance to conformity is imperative in times of oppression.
While we are shown this through the play itself, it rings alarm bells for us in real life, in this new age of AI, Cyberspace and tyrannical governments. How much do we conform with modern society? What parts of ourselves do we suppress, and what immoral things are we programmed to believe is undoubtedly normal?
At the same time as tackling these emotive topics, actors such as Oscar Martin, playing Buddy, keep things light-hearted and enjoyable with his impeccable comedic timing and delivery. Cheeky yet never too crude, these laughs nourish the true spirt of the play. Keeping it camp, exciting and important, simultaneously. I will mention, however, a slight slip-up with the set, whereby the makeshift tent that Chapple and Ward had to construct would not seem to clip in place as it should, leaving us in slightly awkward silence for a solid 4 minutes during their scene. This being said, I believe this was handled very well by the young performers, as nerve-wracking as this must have been.
To sum up, I thoroughly enjoyed this production of We Will Rock You. Although I do appreciate rock and roll, I wouldn’t say this point is what had the biggest impact on me. Rather, it was this idea of community, fighting for freedom and fighting for love that spoke to me the most, especially in today’s political climate, as I’m sure some of the young actors and audience members would agree. Liverpool’s youth has truly reminded all of us to remain ‘bohemians’ within our own society. I cannot miss mentioning the performance of Bohemian Rhapsody as the grand finale. How spectacular and mesmerising. From the dancers, all the way to the guitar solo from the live band, each part of this performance made the audience stand up on their feet, dance and applaud. (including even, my plus one, who hates rock music).
Joyful, powerful celebration of women composers by phenomenal musicians
Her Ensemble at Ronnie Scott’s was one of those rare evenings that felt both purposeful and genuinely joyful. Founded by Ellie Consta, the ensemble is built on the fact that just 3.6% of classical music performed worldwide in 2019 was written by women. Rather than treating this as a footnote, the programme placed it front and centre by celebrating the depth, range and brilliance of women composers in a way that felt both intentional and long overdue.
The evening was hosted by the trio Ellie Consta (violin), Laura van der Heijden (cello), and Junyan Chen (piano). All three are phenomenal musicians, and what elevated the performance even further was hearing their perspectives between pieces and their admiration for women composers.
What stood out most was the tone of the programme. There was a real sense of joy running through the setlist; each piece was vibrant, engaging, and rich on its own merits. One highlight was Saaans by Reena Esmail, a composer renowned for weaving Indian influences into her music. The piece brought a distinctive texture and emotional depth to the programme, blending traditions in a way that felt deeply expressive.
The standout moment of the evening, however, was Jazz Nocturne by Dana Suesse. Knowing that Suesse studied under Gershwin adds an extra layer of context, but what made it particularly special here was that the piece had been arranged collaboratively by Consta, van der Heijden and Chen themselves. It felt like a perfect convergence of past and present by honouring a composer who had been historically overlooked, while also showcasing the creativity and artistry of the performers on stage.
Overall, it was a very special evening with Her Ensemble, where the audience was able to enjoy excellent musicianship, thoughtful curation, and a clear sense of purpose.
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.
“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.
‘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.
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.
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.
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.
