Category: 5 star

REVIEW: I Saw Satan at 7-Eleven

Published on by Ke MengLeave a comment

Rating: 5 out of 5.

An essential love letter

I Saw Satan at the 7-Eleven is probably one of the most beautifully written monologue plays I’ve seen in the past few years, if not the best. Written and performed by Christopher Brett Bailey, pretty much as the title indicates, Bailey meets Satan at a 7-Eleven, where the Devil is trying to refuel his car. They talk. Bailey realises that Satan is a heavy-metal headbanger who at times helps the good guys, and also a believer in a whole spectrum of outdated and trendy conspiracy theories. There are definitely political reflections, but probably in nature it’s just an once-in-a-life-time encounter.

What makes the performance extraordinary is how precisely its approach sits right with the text. It is not theatrically striking: Bailey sits at a desk, unmoved for 70 minutes, with only minimal lighting changes (Alex Fernandes). Initially, I was wondering whether the piece might benefit from more theatricality: maybe an ensemble, elaborate props, live video and projections, and a heavier, perhaps more “European” directorial hand. I quickly rehearsed that stage in my mind, releasing it doesn’t gonna work. Overwhelming visual can be detrimental to the writing, because it needs the vision in your mind. It needs imagination.

Then came a second thought. Why shall I sit in a theatre watching the writer read his story, when I could just as easily listen to it on the radio or, more contemporarily, via a livestream? Again that didn’t hold either, as I suspect I would have drifted away from it in those formats. In fact, only the current way Bailey performing works. It has to be a virtuoso storyteller, presented live, to the audience. I Saw Satan at the 7-Eleven quietly proves how live storytelling lasts, in its own way, indispensable and irreplaceable in the whole territory within contemporary theatre and performance art.

Bailey’s voice is the perfect vehicle for this satanic road-side fable. His delivery is unhurried and intimate, allowing the story to unfold as if of its own accord. His tone is low and warm, but reminds you of a cool summer night after sex, perhaps with a devil, I reckon. From time to time, a note of helpless self-mockery flickers through, drawing you into his desperate gentleness. At the same time, Bailey shows a deft responsiveness to the audience, whether it was an accidentally ringing alarm, or an audience member pitied Satan when he’s rejected for sex.

I left with unrequited desire, a desire to perform I Saw Satan at the 7-Eleven to someone I love, looking into her eyes, and telling her, that the world is nothing, and that I am home.

Image Credit: Mark Douet

REVIEW: The Woman in Black

Published on by molliebiddlecombeLeave a comment

Rating: 5 out of 5.

“No matter how much you may brace yourself, this show is ready to startle you.”

The Woman In Black, will never grow old, terrorising those who watch it. Directed by Robin Herford, a champion of this account and adapted by Stephen Mallatratt, based in the novel by Susan Hill, get ready for an unforgettable and stormy reenactment of a paranormal encounter.

The play covers the story of Arthur Kipps, a man with a tale desperate to be told about his days working as a solicitor, travelling to a coastal town North of London, Crythin Gifford, to find and retrieve the financial papers of a client who passed away. Upon his arrival, Arthur Kipps begins to feel an air of unwelcomeness, secrets and paranormal activity. Years after his traumatising tale, Arthur Kipps desperately asks an actor to help him retell the story, to inform his friends and family after keeping this secret with him, eating him alive. Arthur Kipps and the actor begin to explore the story, reliving it to a grave extent.

Regardless of whether you have read the book, seen the play or watched the film, admittedly, there are large expectations from the stage play, it must be terrifying. The large task of creating theatre which scares unexpectedly was there, without being obvious as to when something was happening. The audience jumped and yelped at each scare, it seemed we fell into the trap every single time.

Directed by Robin Herford, the choices made seemed to be the right ones. Although this performance translated to the audience perfectly, it is understandably a story which can be easily muddled. The performance seemed honest and had great simplicity to it, nothing was too much, Herford’s direction made complete and total sense bringing two dimensions together, the theatre, where Arthur Kipps and The Actor work on bringing Arthur’s story to life and inside the story, the bleak and strange Eel Marsh House, the causeway and the unfriendly coastal town of Crythin Gifford. Herford himself has played Arthur Kipps in several different theatres across the world, conceivably, Herford’s knowledge not only as a director but as an actor, has clearly had an impact on this production.

Both actors had a heavy assignment to complete, having the complexity of being The Actor and Arthur, but also as several different characters in Arthur Kipps story, succeeding entirely in this process. Daniel Burke’s performance as The Actor and as young Arthur Kipps was honourable and had a great lightness to it, showing determination from both The Actor, perfecting the performance and the young Arthur Kipps, eager to do what is right. It was easy to differentiate between the two, which is essential for keeping the story easy to follow.

John Mackay’s Arthur Kipp was one to never forget, as well as his additional roles as Sam Daily and Keckwick. Mackay’s performance appeared to be slick, clever and precise, it was thoroughly enjoyable watching both actors tell this story.

The element usage on stage paired perfectly with everything else, lighting and sound were used effectively, yet not overdone. This play was on two different levels of excellence to watch; one, being the fact that The Actor mentions the importance of lighting and sound to aid Arthur Kipps to life, something of such simplicity but effect, and two, us watching it roll out, being hypnotised by said lighting and sound, believing it all and making this ghost story feel all the very realer.

Mystery was generally what led the production forward, in all means. Arthur Kipps perplexing experience, the paranormal and haunting doubt and the suspense as the story was told. This production is not one to be missed, and certainly is one to leave you feeling frightened.

The Woman In Black will be at the Bristol Old Vic until the 25th of April 2026. Tickets are available here.

REVIEW: Relay

Published on by Lucy CLeave a comment

Rating: 5 out of 5.

A warm and inventive one person show that blends comedy, music and animation to explore queer family.

Relay follows Leila Navabi’s debut show Composition, which sold out at the Edinburgh Fringe Festival before transferring to Soho Theatre. Here, Navabi writes and performs a one person show that blends stand up, music and animation to explore what it means to build a queer family on your own terms. It is a simple premise on paper, but one that opens into something much more layered.

The show drives forward each event with humour, it’s punchy and personal and at times improvised. This only makes the more reflective moments stand out, as Leila is the very show itself and when the themes get more pensive so does she. There is a clear sense of control in how those shifts are handled. It never feels like it is trying too hard to land a point, which makes the emotional beats more effective when they arrive.

The performance style leans into something conversational. It feels relaxed, almost like being told a story by someone you who know at your local bar. That ease is matched by strong writing. Even moments that appear spontaneous are clearly well structured, giving the piece a steady rhythm throughout.

Structurally, the show avoids a straightforward retelling. Instead, it weaves together stand up, electro musical numbers and hand drawn animation. The use of cut out figures stands out and really gives personality and presence to all the people involved, even if in reality it’s just Leila breathing life into cardboard. They could easily feel like a novelty, yet they bring surprising depth. The people within the story feel distinct and recognisable, despite only appearing as illustrations. It is a simple idea executed with real care.

There’s variety to the music. Each number feels purposeful, you have the punchy intro, the funny catchy brunch number, and a sombre song, because sometimes despite your best efforts, life puts your wants on hold. Plus, I love punk singers. 

What resonates most is the balance between humour and sincerity. It’s a personal story, told intimately by the one in the middle of it, that first hand telling of is rich and gives you so much to engage with. It all plays on the strengths of a one woman show.

Relay is an engaging and thoughtful piece of theatre that manages to feel both personal and expansive. It offers a fresh perspective on family, told with warmth and clarity, and delivered in a way that feels genuinely inviting.

This show was a one-off that ran at The Lowry, Manchester.

REVIEW: Nayatt School Redux

Published on by Ke MengLeave a comment

Rating: 5 out of 5.

revisiting and reinventing embodied theatrical liveness

The Wooster Group was no stranger to me when I was studying. They were almost everywhere: in textbooks, in journal articles on their famous Hamlet, and in conferences. They have long stood as a synonym for avant-garde theatre in the English-speaking world, and beyond.

When it comes to Nayatt School Redux, I am not exactly surprised, or pushed off, by their signature screen/live approach: extracting archived performances projected on screen while actors enact the same scenes in front of it. While live-camera and multi-media projection now seem so common and even overused, theatre’s ontology was much under peril in the 1970s, threatened by mass media such as television and cinema. Thus, theatre was made forced to rethink and justify itself, and pioneers of theatre practitioners painstakingly navigate their ways in between embodied liveness and mediated materials.

The Wooster Group is one of these pioneers. Performing in the liminal space in-between archive and living embodiment to validate and surpass both, Nayatt School Redux is of no exception. As a contemporary reworking of Nayatt School, originally created by Elizabeth LeCompte and Spalding Gray, this remake opens with Wooster Group member Kate Valk unveiling newly restored archival recordings of Gray’s original performance, interwoven with her own encounters with the company, before the current ensemble reenacts scenes from the 1978 piece, including T. S. Eliot’s The Cocktail Party, moving toward a climactic reanimation of performative social disguise, chaos and despair.

Using Diana Taylor’s terms, The Wooster Group often stages the friction between archive and a live event, where the performance per se becomes a way of storing and transmitting knowledge. This was already evident from The Town Hall Affair where the documentary Town Bloody Hall, a documentary about a squawky 1971 Town Hall debate on women’s liberation, serves as the archival source material. In Nayatt School Redux, that archival source becomes Gray’s original performance recordings, in front of which Valk and later Scott Shepherd enact the same action to carry forward their bodies. To me, this feels extremely exhilarating to summon living memories through living bodies.

T. S. Eliot’s The Cocktail Party was chosen by LeCompte and Gray in 1978 to integrate Gray’s innermost autobiographical voice and through a more theatrical, or in Richard Schechner’s terms, more “performative” frame. In this remake, that choice illustrates such performativity when the full ensemble reinvents the party scene as most ferociously raw, undisciplined, and desperately ecstatic, which still feels uncannily relatable today.

Some half a century ago, theatre was thought to be under threat of disappearance, supposedly eclipsed by mass media. Today, that anxiety returns with Netflix and its countless imitators. Under such conditions, Nayatt School Redux feels urgent and necessary: it is both a site and a signpost for us to revisit again and again, the ultimate value of embodiment liveness, and how such value can confront, mediate, and coexist with whatever new medium appears to demystify the ontology of theatre.

REVIEW: Avenue Q

Published on by eloisebarber611Leave a comment

Rating: 5 out of 5.

A vibrant and raunchy show that adds so much colour to the west end scene, and a massively talented cast.

Avenue Q is an up-to-date, vibrant show with an absolute corker of a cast – a brilliant success of a musical! A show any theatre fan should go and see, or in fact any puppet fans! For a small cast, they truly pack an absolute punch. 

Emily Benjamin as Kate Monster / Lucy The Slut stood out as an incredibly strong performer, especially in her convincing duality as the two entirely opposing characters, both in physicality, but also in the way that she changed the quality of her singing voice when singing as the different characters. If I hadn’t known they were the same person going into it, I would be fully convinced that they were separate people. A showcase of exceptional talent through and through.

Her castmate, Noah Harrison, showed a very similar ability to adapt to completely differing characters and yet was utterly convincing in all areas when on stage. He had played a soft and lovable Rod – opposite the brilliant Charlie McCullagh playing Nicky – and had the whole audience absolutely feeling for him! It was a brilliant display of how even in a theatre as large as the Shaftsbury, a performance can still be as intimate as if you were living these events with the characters. As Princeton, he showed another side to himself, showing a plucky young thing, although equally as easy to sympathise with. Another masterclass in performance for any audience member. 

The set, unassuming at first, is brilliantly designed, with a simplicity to it that allows for a lot of fun with the staging of songs – and a surprise manipulation of the set in act 2! The movement in this entire piece is absolutely brilliant and just adds to the complete hilarity of the show as a whole, especially in conjunction with the puppets. Speaking of the puppets, they are gorgeously designed and absolutely brilliantly handled. Hats off to the entire cast on this – but especially to Meg Hately, who stepped in frequently to take over when multiroling was taking place and changing her physicality across all of the different roles that she played – not an easy feat! 

A small moment that stuck out across the entire cast through the entire show was that the puppeteers kept the Puppets breathing throughout the whole thing. In theory, a small moment, however, something that just shows how slick, polished, and professional this company truly is. 

This production cannot be complimented enough. An absolutely brilliant show, one that I truly believe everyone should come and see. Well done to all involved!

Avenue Q is running at Shaftesbury Theatre until 29th August. Tickets here.

REVIEW: Matthew Bourne’s The Red Shoes

Published on by Lia WalshLeave a comment

Rating: 5 out of 5.

A exquisite production exploring the challenges of artistry and celebrating the joy of dance

Something very special happens when an artist decides to explore a story about their own craft. It often means that the story is told with heart, passion, and nuance, and that’s one of the things that makes Matthew Bourne’s telling of The Red Shoes so mesmerising – one of the many things. This is a show about what it takes to be an artist, and what it takes from those who must create.

Matthew Bourne is known as a visionary in modern ballet, so it’s no surprise that this production features some truly spectacular choreography. It will also come as no surprise that the dancing itself is superb, as Bourne’s company New Adventures seems to have some of the finest young dancers an audience is likely to see. Cordelia Braithwaite, whose dancing is beautifully delicate and yet powerful, plays the rising star, torn between the love of a struggling composer and success as a ballerina. While the entire company is exquisite, a special mention is due (as is becoming increasingly the case in New Adventures productions) to Jackson Fisch, who moves with such grace, precision, and character specificity as to be simultaneously chameleon and unmistakable. 

Bernard Herrmann’s music, orchestrated by Terry Davies, is rich, textured, and powerful storytelling all on its own. Were the visuals not so spectacular, one might even be tempted to close their eyes and focus on the swells and detailed arrangements (listen out for the harp – under-utilised in most orchestras and put to incredible effect here). 

The production is simple, realistic and stylish, as are the costumes. A spinning curtained proscenium arch is used to separate the dancer’s experience onstage from the chaos that occurs behind it. The story is told clearly, with immense feeling and a focus on the pure joy of ballet.

While this is a story that explores the highs and lows of creativity, the result is a show that wholly celebrates the art of dance. As the artists perform the challenging choreography with soul and passion, the challenge for the audience is not to grin with glee.

The Red Shoes is at Festival Theatre until 18th April 2026.

REVIEW: HOUSE23 Presents Short Shorts: Comedy

Published on by Victoria AshfordLeave a comment

Rating: 5 out of 5.

A fun collection of comedy shorts

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

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

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

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

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

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

REVIEW: Fantasia Orchestra with Jasdeep Singh Degun: Between the Raags

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

Fantasia Orchestra led a vibrant and instinctive meeting of East and West, where traditions blended naturally into a shared, living musical experience.

There are events that promise to curate a programme where West meets East, but there are others others that move past that idea entirely. Under Tom Fetherstonhaugh, this felt fluid and open. Not East meets West or the other way round, but rather a shared space where both could exist at once. In a world he described as fractured, everything felt quietly grounding, cultures coming together naturally. 

There was a looseness to the evening, closer to a live session than a formal concert, but never unfocused. Everything relied on listening and trust. The Fantasia Orchestra did not just accompany. They were the engine of the night, pulling the audience through shifting moods with so much energy, precision and a sense of fun. 

At the centre, Jasdeep Singh Degun felt less like a soloist and more like a connector. His sitar moved through the sound rather than sitting on top of it. Sometimes it blended so closely you almost lost it, then it would return, bright and clear. It carried both the story and the atmosphere, holding everything together without forcing it.

The programme could have felt mixed, but it worked. Degun’s own pieces sat alongside Jean-Philippe Rameau and minimalist works by Terry Riley and Philip Glass. The connections became clear in the repetition and slow shifts, which felt shared across styles.

Rameau brought some of the strongest moments. In Tristes Apprêts, the sitar took the vocal line with real sensitivity. It did not imitate the voice, it reshaped it. The result felt both familiar and new at the same time. Earlier, the Thunderstorm from Platée added contrast with its sharp energy, a reminder that the programme needed that shift in tone.

Rhythm was at the centre of everything. Gurdain Rayatt on tabla was incredible, acting as the heartbeat of the evening. His playing grounded the music and kept it moving, often pulling your focus as much as the melody.

This really came through in Riley’s In C, which was one of the most striking parts of the night. Degun and Rayatt, with their backs to the orchestra all the time and unable to take cues, followed it almost instinctively. It felt less like coordination and more like shared instinct. The lead violinist was turning from time to time towards Degun, listening closely to his rhythm, and everything seemed to settle into a pulse created in the moment.

That sense of negotiation defined the evening. The differences in rhythm and structure were not smoothed out. Instead, they were explored. Eastern and Western approaches met through listening and adjusting, creating something that felt alive rather than fixed.

The final piece, Arya, brought everything together. It felt calm and resolved, as if the music had found its balance.

The sound itself was also handled with care. In a space like this, balance can easily slip, but here the sitar, tabla and strings sat clearly together.

This was not just a collaboration but a real meeting of traditions, handled with care and confidence. It showed how music can bring different voices together without losing what makes them distinct.

REVIEW: I Was A Teenage She-Devil

Published on by Ross BevanLeave a comment

Rating: 5 out of 5.

Carrie meets Heather’s meets The Pick of Destiny, this show is bonkers!

I Was A Teenage She-Devil really exemplifies the wonderfully mad spirit of The Other Palace. A Theatre known for putting on shows that break the mould or are a little out there in nature, this crazy 80s-inspired musical fits the bill.

The best word to describe this musical is bonkers. It’s absolutely wild in every conceivable way, and that’s exactly what makes it work. Sometimes, in fact, more often than not, things that are trying to be 80s don’t work as intended. Either because they try so hard it feels inauthentic, or they just don’t capture the magic of the era. This stands out because it fully leans into itself. Into the madness, the 80s tropes, the cringe and the iconic. It knows it’s insane and fully embraces it, usually in very funny ways. Most importantly, it doesn’t take itself too seriously. It fully recognises that the era it lives in is full of melodrama and goofy energy, both in the films it pays homage to and the music. It captures the romance and the teen angst, but also isn’t afraid to make fun of itself. It takes thoughts you’ve had about every 80s movie, like “why does this high school student look like they could have a mortgage and kids of their own?”, and fully presents it to you through humour, with the reveal that Rod, the jock who looks way too old to still be in education, is in fact 35 years old.

It has fun with all these tropes, the jock who’s a total jerk, the popular mean girl head cheerleader who goes out with him and the glasses-wearing loser girl who just wants to fit in. We know them all because they’re classic (if somewhat overused) themes of virtually every single film from that decade. Then we have the best friend who’s in love with the protagonist, but this is where the use of these labels gets interesting, as it becomes this queer love story with Debbie having a crush on her best friend Nancy, the story’s “loser girl”. In the 80s, people often weren’t bold enough to tell stories of this nature, so it’s nice to see how well it can work for the time period.

The narrative of this musical then gets a bit nuts and adds Satan in. Having been humiliated by head cheerleader Tiffani and boyfriend Rod following an incident in which Tiffani is banned from homecoming and kicked off the cheer squad by the gym teacher, this part of the plot possibly sounds familiar as being more or less the story of Carrie. However, the show being as self-aware as it is points this out through the character of Doobie, resident film expert and manager of the video store. After the humiliation, this is where the Heathers aspects come in. “Nancy’s Lament”, a short emotional number where she sings of how she’d sell her soul for love, leads to the sudden appearance of the devil. Naturally, she is given exactly what she wishes for, but is also turned into a she-devil. She then proceeds to punish her classmates for their wrongdoings. Nancy is like a cross between Veronica and J.D. from the cult classic. If it wasn’t already crazy, Debbie challenges Satan to a rock-off for Nancy’s soul. We go pretty far from the 80s here, as this is essentially the plot of Tenacious D In The Pick of Destiny. It’s a mashup of wild proportions and the sort of mix that maybe feels like it shouldn’t work, but somehow, it just does.

The music helps greatly with that and is across the board, intrinsically 80s. When it comes to the voices behind it, they’re nothing short of perfection. The vocals from this cast are so powerful, so strong that it makes the atmosphere of the whole performance feel absolutely epic! Ashley Goh as Debbie really embodied that rock vibe from start to finish, especially when she sings about her feelings for Nancy in “Lookin’ For Love”. Aoife Haakenson goes from loser girl to succubus she-devil in a transformation that appears effortless. The talent was unreal as we see her change from the girl who wants love and acceptance in “I Wanna Be Someone’s Girlfriend”, a girl who is far more timid and less sure of herself, to this extraordinary demonic creature in songs like “She-Devil”, where she has much more agency over herself. Haakenson’s She-Devil felt akin to Jim Carrey in The Mask when she speaks, and it felt right, like that was exactly how she should sound. It was brilliant! 

Overall, this musical’s mad energy is fuelled by passion, fun and outrageous talent from everyone involved. It’s only at The Other Palace for a limited run, so be sure not to miss it! You’ll have a hell of a time.

This show runs at The Other Palace till 26th April. Tickets available here.

REVIEW: Interstellar

Published on by mollypavordLeave a comment

Rating: 5 out of 5.

“The Royal Albert Hall Transforms Interstellar Into a Transcendental Symphony”

Watching a cinematic masterpiece like Interstellar on the big screen is always a treat, but experiencing it at the Royal Albert Hall elevates the film into an entirely different league of entertainment. The venue’s recent film-to-live-score event offered what can only be described as one of the most profound sensory experiences available to modern audiences. This presentation of Christopher Nolan’s 2014 sci-fi epic proved that when world-class musicianship meets high-concept filmmaking, the result is nothing short of transformative, turning a standard movie night into a monumental cultural event that resonates long after the final credits roll.

For those needing a refresher on the narrative, the story follows Joseph Cooper (Matthew McConaughey), a former NASA pilot who has traded the cockpit for a struggling family farm on a dying Earth. In a desperate bid to save humanity from a global blight, Cooper is recruited for a clandestine mission to lead an expedition beyond our galaxy through a newly discovered wormhole. The film’s immense emotional weight is anchored by a powerhouse ensemble including Anne Hathaway, Jessica Chastain, and Sir Michael Caine, yet the true star of this particular evening was the live accompaniment.

The Royal Philharmonic Concert Orchestra, conducted with immense precision by Ben Palmer, performed Hans Zimmer’s legendary score in real-time. A standout element was the inclusion of acclaimed organist Roger Sayer, who commanded the hall’s iconic Grand Organ – the very instrument used in the original soundtrack recording. Seeing that massive instrument illuminated beneath the screen was an awe-inspiring sight that only deepened the immersion. The impact of the live music was sensational, capturing the cold, vast atmosphere of deep space while intensifying the high-stakes tension of the film’s most dramatic sequences. Perhaps most striking was the use of contrast; during scenes where the spacecraft floats in the silent void, the orchestra fell into a sharp, heavy stillness that made the vacuum of the cosmos feel terrifyingly real.

This production is part of the Royal Albert Hall’s prestigious “Films in Concert” series, a programme that has revolutionised how audiences interact with cinema since its inception. By stripping away the pre-recorded audio track and replacing it with a full symphony orchestra, the series highlights the technical brilliance of film scoring that often goes unnoticed in a traditional theatre. Over the years, the series has celebrated everything from the swashbuckling fanfares of Jurassic Park and Star Wars to the sweeping romanticism of Titanic, proving that the score is the true heartbeat of any great film. These events have become a staple of the Hall’s calendar, drawing in diverse crowds who might not otherwise visit a classical concert hall, thereby bridging the gap between pop culture and high art.

To appreciate the scale of this performance, one must consider the venue itself. Opened in 1871 by Queen Victoria, the Royal Albert Hall is one of the United Kingdom’s most treasured and distinctive buildings. Its world-famous stage has hosted everything from the BBC Proms to legendary rock concerts, and its unique acoustics – once a point of architectural contention – provide a literal “surround sound” experience that no modern cinema can replicate. The Grade I listed building provides a sense of occasion that makes every screening feel like a historic premiere, with its red velvet tiers and Italianate architecture providing a stark, beautiful contrast to the futuristic visuals of Nolan’s space odyssey.

The sheer scale of the sound vibrating through the historic auditorium is nothing short of breathtaking. The venue appeared to be a total full house, a fact made undeniable during the credits when the orchestra received a thunderous, well-deserved standing ovation. These performances offer a completely fresh perspective on the art of filmmaking, revealing layers of the score that are often compressed in a standard cinema setting. It is a rare treat to witness such world-class musicians in such an iconic setting.

While this specific run of Interstellar was a limited engagement held for only two nights, the Royal Albert Hall continues to host a variety of other spectacular “Films in Concert” throughout the year, including upcoming screenings of Harry Potter, Gladiator, and Avatar. Information on upcoming screenings and tickets can be found here.