REVIEW: A Letter to Lyndon B Johnson or God; Whoever Reads This First


Rating: 4.5 out of 5.

An […] hour of pure talent and dedication; and the Beatles soundtrack is just the cherry on
top.


Written, directed by, and starring the US-based actor-playwright duo Xloe Rice & Natasha Roland, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is a true gem hidden in the Soho Theatre’s current line-up. This 2-woman show is an exciting blend of storytelling, physical comedy, and clowning that draws parallels between American Boy Scouts and soldiers drafted in the Vietnam War. Walking into the room and only seeing a black truck tire lying on the floor, you don’t know what to expect – and then you are immediately captured by and hooked on these two highly energetic boy scouts jumping around on stage and blowing in their harmonicas. Over the course of 60 minutes, the actors jump from dialogues to storytelling to short monologues, sharing teenage boy scout-themed moments and stories that smartly reflect on the atmosphere in 60s America under Lyndon B Johnson’s presidency and soldiers’ war experiences.

The show does subtle but clear and well-written commentary on the idolization of influential figures, paralleling LBJ to God, religious relief and guilt, ‘good guys’ versus ‘bad guys,’ military propaganda, and how all these are consumed through the eyes of the innocent teenage mind. There is a nearly perfectly calculated balance of the ambiguity between Boy Scouts and soldiers and between bits jam-packed with energy or comedy and more grounded moments of seriousness, breath, and emotion. The flow is top-notch, fast-paced, quick
back-and-forth, but easy to follow and comprehend. Some clever dialogue and humor make this show an effortless and enjoyable watch; the energy and focus never drop. And as much as you think the profound moments emotionally prepare you, the ending still manages to hit you like a truck.


The use of props is absolutely genius. Jumping on and off that tire and rolling it around on stage looked so easy and effortless, even though it must demand incredible control. And yes – the harmonica playing is all live and absolutely brilliant. However, the true spirit of the show lies in the peak performances by both Rice and Roland. Their comedic timing and physical comedy are wonderful, and still, they manage to switch it off within seconds when needed and deliver beautiful and impactful emotion as well. There is equal focus on both characters and great dynamics, and the actors’ natural charisma makes them entertaining from the very first moment of the show. Yet the highlight above all is the simply phenomenal synchronization between the two. The choreography and blocking are fantastic and well thought-out within itself, but it’s also obviously so well rehearsed. There wasn’t a single slip, and the chemistry and connection was real and exciting to witness. I enjoyed every part of the show, but that’s what left me most impressed.


All and all, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is an entertaining and dynamic hour of pure talent and dedication, and the Beatles soundtrack is just the cherry on top—a well-made production, an impactful conversation, and a gifted duo that I undoubtedly recommend.

Written by Xloe Rice & Natasha Roland
Directed by Xloe Rice & Natasha Roland
Starring/Cast: Xloe Rice & Natasha Roland

REVIEW: 2:22 A Ghost Story

Punctuated by piercing screams with a masterful script – thrill seekers will rejoice at this modern ghost story

Rating: 4.5 out of 5.

Tense, intimate and passionate – 2:22 written by Danny Robins is the latest Ghost Story to hit the West End and has brought the genre right into the 21st century.

With an all star cast and its new venue, the beautiful underground Criterion Theatre, the show induces jumps, giggles and lots of screams.

The play predominantly takes place during a dinner party at the work-in-progress home of Sam (Tom Felton, Harry Potter) and Jenny (Mandip Gill, Dr Who). They are joined by Sam’s oldest friend, Lauren (Beatriz Romilly, Macbeth), and her new beau, Ben (Sam Swainsbury, Fishermans Friends).

The home in question, designed by Anna Fleischle, is stunning by utilising the whole stage the cross section gives the illusion of being a fly on the wall in a real home. The set is full but not cluttered complete with a functioning fridge and kettle which heighten the realism. The clever use of a movement sensor on the back porch is exploited throughout the play to increase tension.

2:22’s premise is a simple one – during the dinner Jenny reveals at 2:22 every evening, for the past week, she’s been experiencing paranormal phenomena; a piece of information imbued to the audience in a startling opening scene. The cast explore the revelation throughout multiple scenes each punctuated with an ear piercing scream and a burst of bright light and two digital clocks showing the passage of time.

The first half definitely showed signs of a new show opening with cues slightly missed and relationships not fully formed but the cast and writing settled in during act 2.

That being said Sam Swainsbury was certainly a stand out – confident, believable, with an attractive swagger ‘Ben’ seemed to be the pin solidifying the cast.

I was wondering if the casting of Tom Felton could’ve been problematic; often actors known for a specific role can prevent the audience connecting to them in a different role. Felton’s commitment to the smart-ass Sam assuages those fears and the audience easily relaxes into believing his ‘better than you’ role.

Danny Robins’ storytelling is clever, witty and easily allows the audience to understand the characters, leading the narrative creatively to a climax no-one saw coming. The natural dialogue shrewdly plays off expected tropes of the genre whilst contrasting with jokes, and comedy to temporarily relieve the constantly building tension. With a run time of 1hr40, I would query the choice to have an interval – it feels like the tension and climax could be more intense without a 20 minute break.

One of my favourite things about this production is the way lighting and sound design is used to immerse the audience. Particularly Lucy Carter’s magical use of auditorium lighting to compliment the scenes/moments throughout the play – an effect you wouldn’t get with the latest Netflix thriller. The sound design includes a sassy Alexa and a baby monitor although a slight criticism of the sound design would be the loud ‘red herring’ fox noises; used as a shock factor the audio is very intrusive and seemingly unrealistic.

So to sum up – if you’re a thrill seeker, a ghost story lover or enjoy sitting on the edge of your seat this show is definitely worth seeing. Enjoy…if you dare.