42 Balloons stands out as one of the best new musicals to grace our stages in years
It is time to lift off with Jack Godfrey’s new musical, 42 Balloons. Steeped in reality, this modern musical promises to be a hit. This production stands out as one of the best new musicals to grace our stages in years, earning every bit of the excitement surrounding it.
Have you ever heard of blue sky thinking? Larry Walters (Charlie McCullagh) wanted to make his dreams a reality. With the love of his partner Carol (Evelyn Hoskins), her mother (Gillian Hardie) and his trusty friend Ron (Lejaun Sheppard) behind the camera, they embark on a journey of pushing the limits and facing the consequences that follow. It is a story that will make you laugh until it hurts and stun you into silence for all the right reasons.
The cast’s exceptional talent is the beating heart of this production. McCullagh shines in the role of Larry, bringing a dynamic energy to the stage and embodying the spirit of a dreamer. Hoskins is pitch-perfect in her delivery, infusing every scene with raw emotion. Hardie’s soulful voice adds depth to the production, with Somebody’s Story standing out as a mesmerizing highlight. Sheppard’s seamless blend of vocals and comedic timing elicited laughs across the audience. The ensemble brought energy and brilliance to the stage, effortlessly moving across multiple roles, bringing pace and excitement to the stage.
Produced by the powerhouse couple Andy and Wendy Barnes, 42 Balloons hits heights and delivers excitement similar to that of their beloved SIX. The musical numbers boast an 80s flair and melodies that echo the successes of modern theater – you will be humming the soundtrack as you leave. The creative set design brings a new dimension to the stage and compliments the show’s themes.
As the saying goes, what comes up must come down and a West End run of this show will honour the brilliance this show delivers. Fly away on this journey and book your tickets to experience 42 Balloons at The Lowry until Saturday 19th May.
This concert performance of Pippin was a dazzling and immersive night – highly recommend this show for it was a true spectacle and a night you won’t forget
Pippin – 50th Anniversary Concert at the Theatre Royal, Drury Lane was a true spectacle and a fabulous night at the theatre. The music and lyrics of Pippin are written by Stephen Schwartz and the show was both directed and choreographed by Bob Fosse, someone I have admired since I was a young girl.
Pippin is a hit musical that originally opened on broadway on 23rd October 1972. A show within a show, the story follows a cast of circus performers who are trying to find the perfect ending for their production of “Pippin”. Their story of Pippin follows the life of a young prince who ventures into the world on a personal quest for passion and adventure, whist also seeking the true meaning life, searching for his place in the world. This eclectic group of circus performers are desperate to entertain and bring the true magic to us all in our red velvet seats. With this multifaceted approach, the fourth wall is regularly broken as we are often spoken to directly by the Leading Player (Alex Newell) and are also playing the audience for their musical within the musical. Alex Newell, in her role as the Leading Player, was phenomenal. From her powerhouse vocals to her impeccable comedic timing, this woman held the audience in the palm of her hand. She brought so much comedy and fun to the entire evening with regular whimsical quips to the audience and her forceful nature towards the cast, especially poor Catherine.
To witness this performance was something quite special. The level of talent on stage was remarkable. Jac Yarrow who played the role of Pippin gave an excellent performance. He was a total natural and shared a very convincing portrayal of this main character. The same goes for Cedric Neal, playing King Charlemagne and Ryan Heenan in his role of Catherine’s son, Theo. I thoroughly enjoyed Patricia Hodge and her portrayal of Pippin’s grandmother Berthe. The audience embraced her and her quick wit. She brought the characters humorous lyrics to life in her own unique way. Patricia also had such a warmth about her on stage that I felt we as the audience all fell in love with. Lucie Jones makes an entrance like no other, Lucie played the role of a widow and a mother called Catherine. She wowed us all with her stunning vocals, her intimacy with Pippin and her purposeful amusing delivery of her character as the doting and simple house wife.
In my opinion, however, two of the cast members stole the show. I found with both Idriss Kargbo and Zizi Strallen their spectacular stage presence was unmatched.
Idriss Kargbo playing the role of Lewis, the kings other son, was captivating. I found myself drawn to watch Idriss even when he wasn’t the main focus of that particular scene. His portrayal of the role combined flamboyance and strength in an extraordinary manner, allowing him to take true ownership on the stage. He had a powerful finesse about him, despite playing the fool throughout, that made his character genuinely likeable and a joy to behold.
Zizi, the woman playing the role of Fastrada, was my absolute favourite to watch. She had all the characteristics of her role down to a T. She was sexy and feisty with a perfect balance of comedy. Her performance of “spread a little sunshine” was quite simply out of this world. Her level of talent was honestly jaw dropping. The energy and perfect pitch she maintained throughout this entire song was nothing short of masterful. If I remember correctly, after her dance break phenomenon, Zizi was then thrown into the air, lifts her head and delivers an astonishing high note that I could not believe. I let out a huge cheer in that moment. As a singer and a dancer myself I know how incredibly hard that is to pull off and she just delivered.
The female dancers were exquisite. Gleanne Purcell-Brown and Sally Frith were both incredibly strong with a balance of feminine flare throughout their entire performance. They each had a unique fire and joy within their stage personas and were an absolute pleasure to watch. Regrettably, if I’m being totally honest, the male dancers could have brought more strength and power to their performance. Witnessing such a high level production, I expected more from them in regards to strength, accuracy and dynamics throughout the choreography. However I believe they are more than capable of all the above and each of them had excellent stage presence. I also felt some of the group dance sections needed to be much tighter and cleaner. It wasn’t quite the precision I expected to see particularly from this Bob Fosse Choreography. It was not as slick as I’d have hoped, however there were moments of greatness and hopefully their next performance is filled with more precision and unity.
Last but not least the Musical Theatre Orchestra and The ArtsEd Choir were stunning and elevated the entire sound of the show. Whilst I realise this was a concert version of Pippin, and perhaps that’s why they held the entire orchestra and choir on stage, I just felt it was unnecessary for them to be placed there. If the choir and musicians facial expressions matched the scene at hand this may have had a more positive impact and given the concert style production an elevated dimension. Sadly, they looked pretty miserable for the majority of the performance, this could have been an attempt to ensure they were not pulling focus from the performers at centre stage, but this had the opposite affect for me and indeed occasionally drew my attention away from the cast.
In spite of these minor shortcomings, my overall perception of this concert performance of Pippin was that of a dazzling and immersive night at the theatre, and I’m so grateful to have experienced this. I highly recommend this show “for a climax you won’t forget”.
From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.
Outlanders at Kings Place, a remarkable show part of the Scotland Unwrapped season, unfolded as a deep exploration of Scottish cultural migration phenomenon of the 18th and 19th century, driven by the collaborative brilliance of Nico Muhly, Robyn Stapleton, Sam Amidon, and the Aurora Orchestra. The title “Outlanders” provided a fitting starting point for me before entering the auditorium to meditate on the themes of migration, cultural adjustment, and the human condition and to anticipate the motifs that appeared to endure within the collective consciousness during this traumatising transmutation process. Music served not only as a narrative tool but also as a medium through which nostalgia, trauma, and the transformative impact of cultural expression were brought back to life, dissected, and then reinvented.
Robyn Stapleton, whose ethereal vocals and commanding stage presence served as a instrument to the soul of Scotland, effortlessly transported the audience to a bygone era, infusing each song with a deep sense of reverence for tradition. She affectionately introduced Burn’s My Love is Like a Red, Red Rose as “an old friend” revisited, emphasizing her intimate connection to the material.
The symbiotic relationship between Nico Muhly and Sam Amidon was evident throughout the evening, a proof of their shared artistic vision and years of collaboration. Together, they breathed new life into traditional songs. The Only Tune, a reworking of The Two Sisters murder ballad already sang by Robyn and Sam minutes before, was in my view the star of the evening. Clocking in at an impressive 15 minutes, was a tour de force of emotion, traversing a spectrum of feelings from sorrow to terror to eventual triumph. The traditional folk ballad is deconstructed in three segments. The performance commenced with a slow, mysterious prelude, evoking a sense of foreboding. Sam resembles a storyteller struggling to compose his thoughts. As the song unfolded, it took a dark and unsettling turn, mirroring the horrifying actions of the miller, amidst a cacophony of discordant sounds. The final segment saw a dramatic shift in tone, as the music became brighter and more hopeful. Though tinged with echoes of grief and terror, there was a palpable sense of resilience in the air, a testament to the human spirit’s ability to transcend even the darkest of tragedies.
In the wake of the performance, one thing was abundantly clear: Nico Muhly’s genius was on full display, leaving an indelible impression on all who bore witness to his artistry. His ability to deconstruct and reinterpret tradition with such finesse was nothing short of revolutionary, offering a fresh perspective on age-old classics.
The Aurora orchestra, through its seamless fusion of instruments, navigated the delicate balance between tradition and innovation with precision, drawing the audience into a timeless realm where ballads became vessels for cultural expression.
There is no doubt in my mind that this was a transcendent journey through time and space, where culture served as a conduit for connection and understanding. From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.
Opulent, mesmerising and a stunning showcase of the Birmingham Royal Ballet’s incredible talent.
Birmingham Royal Ballet’s enchanting production of Sleeping Beauty that visited Sadler’s Wells is a mesmerizing journey into the heart of a timeless fairy tale. Created by the renowned Sir Peter Wright, this rendition captivates from start to finish.
The set design is nothing short of breathtaking. From decadent royal halls to the menacing thicket of jagged thorns that transform into a fortress before the castle, every scene is meticulously crafted to transport the audience into the story’s magical realm. The seamless transition between settings adds depth and richness to the narrative, immersing viewers in a world of fantasy and wonder.
The costumes are some of the most opulent I’ve seen in a ballet, capturing the essence of each character with exquisite detail. From the extravagant attire of the royal court to the ethereal grace and beauty of the fairies (both good and bad), every costume reflects the distinct personalities and time periods of the story. I particularly enjoyed the transition into different costumes as the 100 years of sleep passed and the Prince arrived from a new time period.
One cannot overlook the enchanting score by Tchaikovsky, brought to life by the impeccable Royal Ballet Sinfonia. Whether it’s the delicate strains of a waltz or the triumphant fanfare of a royal procession, the music transports audiences to this fairy tale realm and enchants throughout.
This review wouldn’t be complete without highlighting the extraordinary talent of the ensemble dancers and individual soloists who breathe life into every scene. Their precision and artistry elevate each moment, from the enchanting fairy solos to the majestic court dances. Moreover, the role of Princess Aurora, one of the most technically demanding in classical ballet, is executed with unparalleled grace and poise. The lead dancer’s portrayal of Aurora is nothing short of impeccable, particularly during Act 2’s enthusiastic and exacting duets with her suitors. The entire production is a testament to the skill and dedication of the cast, whose collective talents bring this beloved fairy tale to life with spellbinding beauty and grace.
In conclusion, Birmingham Royal Ballet’s production of Sleeping Beauty is a spellbinding spectacle that captivates both young and old alike. With its dazzling sets, sumptuous costumes, and enchanting music, it’s a theatrical experience that truly transports you to a world of magic and romance. Whether you’re a seasoned ballet aficionado or simply seeking a night of enchantment, this production is not to be missed so keep an eye out for when they tour it next!
It was a privilege to listen to the Royal Liverpool Philharmonic Orchestra, with well-loved classical masterpieces accompanied by a thrilling world premiere of current talent.
It was a privilege to listen to the Royal Liverpool Philharmonic Orchestra (RLPO) on Thursday evening. Domingo Hindoyan conducted the already well-loved classical pieces Bacchus and Ariadne, Op. 43: Suite No.2 by Albert Roussel, and Dmitri Shostakovich’s Symphony No.5 in D minor, Op. 47 as well as the exciting world premiere of Eleanor Alberga’s first piano concerto, performed by Leeds International Piano Competition 2021 winner Alim Baisembayev and the RLPO.
Alberga’s new concerto had to be the highlight of the night. Hearing a new, beautiful piece performed live for the first time by such an accomplished and exciting pianist was quite the honour. The concerto, split into four distinct movements, was commissioned especially for Baisembayev as part of the Royal Liverpool Philharmonic Society Contemporary Prize, and the crowd applauded rapturously for several long minutes as Hindoyan, Alberga and Baisembayev took their bows together before the interval. My favourite was the slow third movement, in which chimes resonated like the call of a large cathedral bell, and the piano often called to mind the sound of running water. Though there is no set narrative behind Alberga’s concerto, it was nevertheless very emotive and it was easy to let your imagination run wild while listening to create a personal narrative to the highly dynamic music.
The three pieces performed across the evening flowed well thematically and were flawlessly performed, in accordance with the RLPO’s reputation. Bacchus and Ariadne is swiftly coming to be considered a signature piece for Hindoyan after its inclusion in his critically acclaimed 2022 debut album, and was the opener of the evening. Composed in 1930 as part of the ballet Bacchus and Ariadne, The Second Suite makes up the second half of the story, where a distraught Ariadne throws herself from a cliff on the island of Naxos after being abandoned by the hero Theseus, but is caught by the god Bacchus. They fall in love, and she is eventually welcomed to Olympus as a goddess. The piece has some beautiful, romantic sections for strings that conjure up the swift, elegant rhythm of the ballet dancers even when listened to in isolation, but is as changeable and full of contrasts as the mischievous trickster god himself, with some big, bold sections interspersed. Shostakovich’s Symphony No.5 is the perfect showstopper. It was composed in 1937 after Stalin himself denounced the composer’s most recent opera. This symphony and its reception was quite literally a matter of life and death for Shostakovich, and this lingering threat can be heard throughout with a dark, menacing first ‘Moderato’ movement including ominous percussion and brass, as well as more mournful string sections in the third ‘Largo’, before finishing with triumphant fanfare. It was a rousing and moving listening experience that showed off the best of the RLPO, making a bold finale to a highly accomplished evening.
Perfectly balanced dynamic contrasts across the performance to portray this complicated tale.
Whilst the conversations that happened the night before Lady Jane Grey’s death will always be lost to history, Rosamund Gravelle manages to capture a totally realistic retelling of what occurred that night. Striking the balance between the struggles of having power, the influence of men, both past and present, and the all-important religious control of the time, Gravelle has written a script that puts the audience right in the centre of the conflict. As a history nerd myself, I knew I would likely enjoy the content of the play, but the performance was what really drew me in.
The performance felt factual in nature and not over dramatised as so many modern retellings can be. The tempered nature of the acting and natural emotion that went with the script was artfully portrayed. Huge credit should be given to the thoughtful casting, with each member of the cast capturing their character perfectly.
The performance started with a harrowing scene of what was to come, the beheading of Lady Jane Grey. This clever piece of scene setting meant that the sense of foreboding hung over the rest of the play as the characters debated Lady Jane Grey’s fate. Whilst every actor felt a natural fit for their character, Becky Black’s performance of Mary must be called out as truly outstanding. It was so easy to see and feel the turbulent emotions she was going through that night. Black portrayed well the weight of a huge decision, as well as capturing Mary’s known strength and vulnerabilities.
I was grateful for the scenes with the male characters as well, played excellently by Les Kenny-Green and Sushant Shekhar. It would have been easy to write this play about historically strong female characters without men, but the addition of these male characters added another layer of the battles that these women had to face with the men of the time trying to influence their decisions. Kenny-Green and Shekhar both sensitively embodied the different styles of influence and manipulation that these women could have been grappling with on that fateful night.
Personally, my favourite scenes were those with the three queens. Martha Crow’s stern portrayal of Lady Jane offset by the outbursts of grief at battling over her religion or her life gave depth to this intense subject. Eliza Shea’s fun but stoic Elizabeth was also brilliant, she really portrayed the many layers of this complex character. All of the women seemed to naturally slot into the complex dynamics of this family which was really engaging to watch. Again, Black as Mary showed the variety of her mood swings and turbulent emotions, and Crow and Shea complemented this perfectly. The dynamic contrasts of the characters and the different scenes across the performance were perfectly balanced to portray this complicated tale, absolutely brilliant!
An epic ballad of loss, friendship, and the search for meaning, Alan Bleasdale’s Boys From The Blackstuff is a love letter to the city and a true testament to the people of Liverpool’s past
Without spoiling anything, the 3 BAFTA award-winning TV show of the same name takes the audience back to the pre-Thatcher era of Liverpool. We join a group of 5 men who once worked as tarmac layers, hence the name blackstuff. They, along with various family members, try to find work and dodge the ‘sniffers’ from the office of employment who are trying to catch fraudulent contracts. Even before the performance started you could feel the atmosphere in the Royal, this was only increased by a glance at the program. By his admission, the Royal Court’s executive producer Kevin Fearon has been desperate to see this adaptation come to life. Even as a person in my 20’s I felt by the close that I better understood one of the darkest periods in Liverpool’s history. From a brief glance at the history of the original show, this adaption seems to weave all the stories together, gliding from moments of comedy to deep profound reflections about hopeless situations.
For those who’ve seen the TV show, no character stands quite as mighty as Yosser Hughes played by Barry Sloane. Sloane unites mania and comedy with the immortal line “Gizza job! I can do that”, with a skill that very few could surpass. Sloane presents Yosser’s mercurial temperament with power and yet also tenderness. Alongside Yosser, another standout performance was George (Philip Whitechurch). He anchored the play and provided insights that will catch you off guard and teary-eyed. Finally, regarding the cast, indulge me with a somewhat personal story. As I enjoyed my delicious pre-show meal I overheard a conversation about Jamie Peacock. He had worked on the Royal staff team during the first run of the show last year and then received a call up to take on the role of the employment office investigator Moss. This call came as such a shock that Jamie had to be repeatedly told that he was in a main role, not an understudy. This becomes personal because in December I had the joy of reviewing Jamie Peacock’s performance in a Christmas anthology called ‘Stocking Fillers’. Suffice it to say, his performance as an investigator demonstrates an understanding of the human condition that I feel will carry him well as the cast take this show on tour to the National and the West End!
The set design was dynamic, and the use of scaffolding helped illustrate the haves and have-nots in terms of employment could divide neighbourhoods. Furthermore, the projections behind key scenes really focused the dialogue, reinforcing one of George’s infamous stories about the pull of the tides. Much has been made of the links between the theme of this story and the current situation in Liverpool. To cut to the heart of this review, this relatability makes it deeply personal. Inflation in October 2022 reached 11.1%, this was the highest level since 1981, a year before our first introduction to the boys. The scenes that depict the 5 men working through the monotony of dole queues and visits to the employment office now occur over telephone lines. Whilst many aspects are different and the situation is no doubt generally better than it was for the 5, this show also cuts into deep themes such as race and alcoholism using comedy as an insight. In summary, be warned that this show will stick to you like the blackstuff long after you leave the theatre, with a fantastic cast and brilliant setting. Catch Alan Bleasdale’s Boys From The Blackstuff in the Royal Court until the 11th of May or when it sets off on tour.
Chaos that should only be invited with open tentacles
We all know the story of the Little Mermaid – Ariel yearns to explore the world beyond the sea and strikes a deal with the evil sea witch Ursula, trading her beautiful voice for human legs. Ariel spends time with the young prince Eric on land, they fall in love, blah blah blah. The plot thickens as a cunning plan to sabotage occurs, and many incidents ensue. Ultimately, Ariel achieves her happy ending and Ursula unfortunately bites the dust. It’s the classic “good guys always win and bad guys always lose” trope.
But what if, and just what if, the villains were never evil to start with?
Unfortunatepaints a new perspective on this fairytale, where our favourite sea witch Ursula (Shawna Hamic) now becomes the protagonist. Here, she comes out of the dark shadows to give us her take of what really occurred in this kooky series of events. And what is the best way to tell a story, if not by song? Designed to be a satirical parody of the Disney classic, the performances are filled with a campy atmosphere, filthy humour, and songs that are truly not age-appropriate. One of the songs is literally titled, “Where The Dicks Are”, and happens to be one of my favourite songs out of the bunch.
From the start to the end, Ursula is portrayed as misunderstood character: a queer, intelligent girl shunted by the world due to her humble upbringing and her unconventional looks as an octopus. From falling in love with the prince of Atlantis to being framed for murder of a princess, the audience begins to understand that the fall of Ursula was never the result of an inherent wicked personality; she was merely a product of circumstances beyond her control. Despite so, she grows up to be independent and ferocious; with the brains, brawns, and the curves. Never once did Ursula show any signs of weakness throughout the story, and I found myself rooting for her throughout the show.
The plot itself first touches on many key themes associated with Ursula, such as body positivity and female empowerment. It brings awareness to female representation, emphasising how a lack of this can affect women in their formative years. The self-awareness of the show makes it even more special, as it converts classic soundtracks into what can be best described as, “nostalgic sounding, but the lyrics are actually more relatable this time as a normal adult”. It completely crosses the line that Disney dare not cross as a family-friendly company, and in my opinion, makes the story so much more interesting with its twists, turns, and outright LGBTQ+ representation.
There were so many things that impressed me in this musical. From the phenomenal acting to the perfect lighting, to the set design; everything was absolutely stunning. I would like to highlight every single cast member in this show – they had their respective opportunities to be under the spotlight, and oh boy, did they shine, alright! I could think of various small scenes and quotes for every character, from the fantastic ad-libs provided by River Medway in Ariel’s jaw-dropping solo to the exceptional performances of Allie Dart as Colette and Floatsam (or was it Jetsam?). Words literally could not express how much love I have for everyone here, and they are thoroughly deserving of all the praise they get!
Despite being nearly three hours long, I could not get enough of every single moment. I truly wish I could turn back time so I could watch it for the first time once more. It is absolutely hilarious, and a must-watch if they are ever in town near you.
A blend of suspense, romance, and comedy where incredible staging and powerhouse performances bring America’s most notorious outlaws to life like never before!
“Bonnie and Clyde: The Musical” UK production takes audiences on a gripping journey through one of history’s most infamous criminal duos. From the moment the curtains rise, it’s clear that this production is something special. With an incredible use of original source material and innovative staging techniques, the audience is immediately transported to the heart of the action.
The show’s ability to captivate from the very start is unparalleled. From the opening scene, I found myself completely engrossed, unable to look away from the stage. Every moment was meticulously crafted to keep the audience on the edge of their seats, eagerly awaiting what would happen next. There were so many moments the entire theatre was silent, and I felt chills at certain points in the performance.
What truly sets this production apart is the outstanding acting and professionalism displayed by the cast. Each member of the ensemble brings their character to life with such authenticity and depth that it’s hard to believe they’re not the real characters themselves. Their chemistry on stage is electric, drawing the audience deeper into the tangled web of romance, suspense, drama, and comedy that unfolds before them.
Speaking of which, the blend of genres in this production is nothing short of masterful. One moment, you’re holding your breath during a tense standoff with the law, and the next, you’re laughing out loud at the witty banter between the characters. It’s this seamless transition between moments of high tension, lighthearted humor and mundane moments that keeps the audience fully engaged from start to finish.
As someone who has seen their fair share of theatrical productions, I can confidently say that “Bonnie and Clyde: The Musical” ranks among the best. Not only does it entertain, but it also does justice to the true story behind the legend. The creative team behind this production has succeeded in capturing the essence of Bonnie and Clyde while adding their own unique spin.
And let’s not forget the standing ovation that this show rightfully deserves. As the final notes of the last song faded away, the audience erupted into applause, a testament to the impact that this production had on everyone in attendance. It’s not often that a show leaves such a lasting impression, but “Bonnie and Clyde: The Musical” is truly something special.
In conclusion, if you have the chance to see “Bonnie and Clyde: The Musical”, don’t hesitate. It’s an experience you won’t soon forget, filled with incredible performances, captivating storytelling, and enough twists and turns to keep you guessing until the very end even for those who are aware of the story.
Tolu and the ‘Back of the Bus Queens’ take the audience on a trip filled with 90s nostalgia, commemorating the experiences of young back girls in 90s London
Tolu, Debz, Reena and Tia are the ‘Back of the Bus Queens.’ In this impressive piece, they take us on a nostalgic trip down memory lane, memorializing the experience of being a young black girl in South London in the 90s. This kaleidoscope of a play is full of song, dance, incredible athleticism, reminiscence, mind-blowing coordination, and overarchingly, astonishing performances.
Writer and director dkfash did a phenomenal job coordinating this piece. Is Dat U Yh is beyond intricate and multifaceted, layering audio-visual details into the dialogue, movement that seems so natural it is incredible to know to it to be choreographed. Is Dat U Yh subverts expectations in every way it could. At no point is it possible to know what will happen next, but rest assured, it will be wonderful. The highs and lows of the characters’ lives are highlighted, jumping between space and time, physical theatre and monologues. The set pieces were transformed into an array of distinct places: the back of the bus, a park, various points throughout the city, a bedroom, and much more. Moreover, dkfash not only created characters that were specific and unique, but were simultaneously relatable. The actors were given the room to infuse their own experiences into that of the characters’ lives.
The cast, made up of Adeola Yemitan, Antonia Layiwola, Rachael Ridley and Zakiyyah Deen, give astonishing performances. They move with lightning speed, physically exerting and exceptional amount of energy but somehow always remaining ready to launch into the next scene. The aspects physical theatre implemented were a remarkable feat to witness. They flow effortlessly between each other, zigzagging throughout the stage, not a fumble in sight. The exacting coordination of their dialogue made for scenes that moved quickly but kept you moving along with them. No matter how fast the pace, the audience was at no point left behind. The cast consistently kept us in mind, leading us down through the speedy road of 90s nostalgia.
Sound designer Xana and lighting designer Jahmiko Marshall displayed excellent skill and creativity in their respective fields. Sound and lighting are an integral part of Is Dat UYh, functioning as a piece of the narrative itself. It is sound and lighting that move the cast from one place to the next, that add colour to the stories. The minds of Tolu, Debz, Reena and Tia are rich and vibrant. Xana and Jahmiko Marshall’s work allowed for that vibrancy to be seen by all viewers.
Is Dat U Yh leaves the audience laughing, cheering, screaming in delight, and maybe tearing up just a little bit.
