Tag: london

REVIEW: Fiddler on the Roof 

Published on by Megan FourieLeave a comment

Rating: 4.5 out of 5.

A monumental spectacle in muted browns.

Originally written as stories under the title Tevye’s Daughters, the musical centres around the life of a Jewish milkman in 19th century Russia. It focuses heavily on family, identity and, as the title refers to, the tumultuous aspect of change. Whilst there are many witty and joyful moments throughout Act 1, it is a show that inevitably ends sombrely with no final musical number, the cast collected in the corner of the stage as they are forced to turn and leave their home.

Starting out as an open-air production, this tour has definitely brought the outdoors in. From pitch blackness, The Fiddler emerges on a roof of thatch, which is reflected in the rest of the minimal set. It completely works, and the touch of the floorboards spelling Anatevka as well as the roof being lowered or raised (particularly to create the wedding canopy) is genius. For once, I was glad to be in the dress circle to have the birds’ eye view of these details. The lighting also really shone through in this production, having the warm fire of a sunrise or sunset and the dramatic silhouette of The Fiddler. I particularly loved the use of real candles, a little thing that just made it all more authentic. One thing I did find fault in was that I sort of missed the moment when Tevye’s milk cart is upturned by looking at the other side of the stage. I can’t help but feel that a better lighting or sound cue could have been used to bring attention to this important scene, even though there was still drama in the aftermath of the spreading milk puddle.

Three of the biggest songs in the show are back-to-back from the beginning, having a really strong introduction with ‘Tradition’ which is a long song but holds interest as the music builds towards the end. I wasn’t expecting Topol standards from this Tevye, but I was unconvinced until ‘If I Were a Rich Man’. And even though Matthew Woodyat was a good singer and nailed the Yiddish pronunciation, the English accent took me out of it and there was a disappointing lack of shimmy to his main song.

All of the girls had worthy voices, performing a really appealing ‘Matchmaker’. However, Natasha Jules Bernard’s Tzeitel was especially powerful, most notably during ‘The Dream’ as she took on the role of Golda’s grandmother. The ghostly white costumes and playful staging of this song were also very cleverly done. When giving credit, I have to mention The Fiddler, which is probably the peak of all actor-musician roles, and Raphael Papo was even able to play whilst lying upside down. It was a beautiful moment when Hannah Bristow joined him with an oboe on the song dedicated to her character, ‘Chavaleh’.

The main triumph of this show has got to be the choreography. Every single move was big enough for the farthest audience member to behold. It was dance heavy without feeling like too much or far-fetched. And if you need one reason to buy tickets, it would be to witness the bottle dance live. So utterly brilliant and captivating, you could feel the atmosphere in the room change.

Overall, this production succeeded in hitting all the key points you could ask for from Fiddler on the Roof. It was funny, moving and stunning to look at, whilst sticking to its original period setting. For a musical that has been around since the 1960s, now is still as good a time as any to enjoy the show that is a classic for a reason.

REVIEW: Swag Age

Published on by Mark LloydLeave a comment

Rating: 4 out of 5.

This award winning show swaggers from Korea to the UK with great success.

What do you get when you mix a celebrated Korean musical, an astonishingly talented cast, a dash of Hamilton’s hip hop influences and revolutionary spirit, and a unique blend of old and new? The answer  is Swag Age in Concert. This condensed version of the hit Korean show offers a tantalizing glimpse into a world of vibrant music, powerful performances, and dynamic choreography, which left me thoroughly entertained and eager to see a fully staged production.

The true strength of Swag Age lies in its incredible cast, who deliver a masterclass in stage presence and vocal prowess. Each member of the ensemble shines, their energy electrifying the theatre with every number. The individual performances are equally captivating, especially Kim Soo Ha as Jin who gave one of the best vocal performances I have ever seen live at the theatre. The entire cast’s full commitment to their roles makes the perfunctory plot feel far more significant than it might otherwise.

As a condensed version of the full show, the narrative of the show is, by necessity, a little rushed. Character arcs felt slightly abridged, and some of the plot points passed by quickly, leaving a sense that crucial emotional beats were missed. This is most noticeable in the second act where character motivations change drastically with little reason, and we move through the plot at a record pace with problems appearing and being solved at breakneck speed. However, what the production lacked in narrative depth, it more than made up for in its spectacular choreography. The dancing, choreographed by Kim Eun Chong, was a highlight, with the big group numbers being particularly impressive. 

While billed as being “in concert,” the production pushes the boundaries of the term. The cast is dressed in great costumes that provide a strong sense of character and setting, and the choreography is fully realized. The only element truly “in concert” is the lack of a substantial set. This, combined with the abridged script, ultimately leaves the audience wanting more. It’s a testament to the show’s potential that despite the limited staging and condensed story, I left with a feeling of anticipation rather than disappointment. I sincerely hope that this showcase serves as a stepping stone for a full production of Swag Age for a Western audience.

A final, minor note is the title. While I assume “Swag Age” might translate differently or have a different cultural connotation in Korean, to the Western ear, it sounds a little cringeworthy. Perhaps a title re-think is in order for a future full-scale run, as currently I think the title does not properly convey what the show is like and would actively put some potential audience members off seeing the show.

In summary, Swag Age in Concert is an exhilarating and promising preview. It’s a show with an amazing cast, great music, and fantastic choreography. Despite its rushed plot and minimalist staging, it demonstrates the enormous potential for this Korean hit to capture the hearts of a new audience. It’s a tantalizing tease that proves this show is ready for its moment in the Western spotlight.

Swag Age in concert was performed for one night only on the 8th September 2025.

IN CONVERSATION WITH: Nick Lane

Published on by ayoungishperspective1Leave a comment

We sat down for a quick chat with Nick Lane ahead of his latest project Sherlock Holmes: The Hunt for Moriarty.

Hello! Tell us about yourself?

Hello. My name’s Nick Lane, I am the adaptor and director of Blackeyed Theatre’s new production Sherlock Holmes: The Hunt for Moriarty which is currently in rehearsals and begins touring in early September in Winchester before travelling all around the country.

Tell us a bit about the show.

Well, The Hunt for Moriarty is a half-adapted, half-original work. We’ve crafted an overarching narrative around a number of Sir Arthur Conan Doyle’s short Holmes stories, allowing us to explore the intellectual and philosophical rivalry between the great detective himself and the character many consider to be his nemesis, Professor Moriarty.  The two previous adaptations that I’ve done for Blackeyed were both adapted from two of the full-length novels (The Sign of Four and The Valley of Fear), and they were great fun to do, but there was a sense that if the audience had read the books they’d know largely what was coming. What’s exciting about this for me is that because a fair amount of the narrative is new to all, meaning that whether audiences are coming to Holmes new (and there will be some, which is exciting), from a background of knowing the TV or film adaptations, or directly from the books, they’ll all start on an even playing field and the mystery will be fresh to all of them.

How are rehearsals going?

Tremendously! We’ve mapped the entire play in less than a week, which is great. It gives us two more weeks (and the technical rehearsal) to really add detail. Next week we have the choreographer coming in and then we’ve got a visual element being added and a sound recording session, music’s being composed as I write…  at this moment the whole thing’s like a really exciting factory. It’s all working really well.

What can you tell us about the stage set?

I can tell you that the brilliant Victoria Spearing who designs the sets for Blackeyed Theatre has done a fantastic job. It’s exactly what I wanted. I’m going to try not to give anything away with this, but something happens to Baker Street in one of the stories we’ve used, and I’ve used this particular incident as a framing device. Victoria really bought into the idea, and the set works perfectly. I know that’s cryptic but you’re just going to have to trust me – I’m staying nothing more!

Tell us a little bit about the cast.

Oh, they’re great. It’s a cast of six, five male actors, one female, and every one of them is phenomenal. I’ve worked with Gavin before (on the previous Sherlock adaptation in fact – he’s back as Moriarty) – he’s  brilliant… and Eliot’s someone I’ve known for a while and had been hoping to work with for quite some time. He’s our Mycroft. The other four I had never met before the auditions, but I genuinely couldn’t be happier. Mark is a stunning Holmes. Ben’s characterisation as Watson is really calming; he makes a perfect foil for Mark’s Sherlock. Pippa is delightful as Hudson, a force to be reckoned with as Irene and plays all the other female characters with skill, and as for Robbie, everything he’s done so far has been fantastic. It’s superlatives all over the place!

What is the most challenging thing about doing the show?

Well, I don’t have to do the show, so this might be a question for the actors more than me! From a writer or director’s point of view I guess one of the most challenging things is trying to capture Conan Doyle’s world and characters, but in a way that gives the audience some surprises.
That kind of ties into another challenge, which is putting crime fiction on stage. The nature of the crime story, by and large – and certainly for a consulting detective like Holmes – is that the action begins once the crime has already happened, so it tends to all be reported action, you know. If you’re not careful you end up with scene after scene of the detective character questioning people and looking at things which may or not be clues. It can become quite dull.

So, the challenges: find a way to keep the narrative flowing, keep everyone guessing, try and make sure it’s consistent with Doyle’s characters… and give the audience some action. So… couple of challenges there!

The best thing about touring the show?

Again, I won’t be touring it, so I guess that’ll be another one for the actors. When I did tour – I was an actor for a while – I loved all of it. Playing in different theatres and getting different reactions from different audiences was always brilliant. Chatting to them afterwards.

But I also loved going to different towns. You know, you get to travel the country, see stuff, meet people, entertain them and get paid for it!  There’s different types of touring obviously; if you’re doing one-night gigs and you’re constantly on the move, it’s harder to see much of anywhere… plus, touring’s tiring. It’s really not for everyone – but I think the tours that Blackeyed do give you a fair opportunity to experience different towns, which I always loved.

Plus, on a personal level – and do bear in mind I toured when I was younger and had a metabolism that didn’t move at the pace of a glacier – one of my other joys when travelling from town to town was pies and pasties.

I’d love getting pies and pasties from a local bakery. Seeing who had the finest crust, filling, gravy, cheese… whatever. In fact, last year when I was asked to sub in for Watson for a week, I indulged my old hobby and… wow. Let me tell you – the pies in Dundee are fantastic. Fantastic!

What have been some of the best highlights since doing the show?

We’re only a week in so it’s really hard to say, but I imagine I’ll still be listing this as a highlight in nine months’ time if you were to ask this question again… so I’m going to say that the way the company have gelled together and are working really hard for each other. That’s a highlight.

The way I’ve always worked in rehearsal, the first thing we do as a company is ‘map’ the play out. You work quickly through the play – or as quickly as you can manage – figuring out where each actor comes on in a scene, where they stand, what they bring in, what they take off, where they go next, do they move anything during a scene change… stuff like that. The feel and the detail of the characters and the scenes comes later; initially you map. So the fact that we are at where we’re at after one week, there’s some real detailed work going on. That’s terrific because it gives me real hope that an audience is going to respond to these people and the material.

What is the best reaction you have had from an audience member?

Okay, at the risk of sounding like a stuck record… because we’re still in rehearsals – ooh, well, actually I was going to say we’ve not had anyone outside of the company and leave it at that, but in truth we did have one person outside of the company watching the read-through! We’ve had one audience member! We’re rehearsing in South Hill Park in Bracknell, and South Hill Park has a ‘Friends’ scheme, so one of their contributors, as a perk, got to come along and listen to the read-through. His name was Kevin… and he loved it! And so, I can honestly, and rather proudly, say that as of this moment the audience reaction is 100% positive!

If people want to follow you on social media, where can they find you?

Me personally, I don’t have a large social media presence. That’s not me trying to sound like a Luddite; I just don’t have the time. I’m always writing and working and being busy in front of screens…by the end of the day the last thing I want to do is take a picture of my dinner and post it or video next door’s dogs getting trapped in a little tent. By contrast the Blackeyed Theatre socials are great. If you seek out their website I’m sure you’ll find everything you need.

Finally in three words why should people come to your show?

Okay, the three words I’m going to say are cracking good night. That’s what I’m hoping. If we get it right, and we’ve definitely got the team to do it, from the minute the show starts to the moment it ends that you’ll have a cracking good night.

REVIEW: Am I losing my mind or just my figure?

Published on by Victoria AshfordLeave a comment

Rating: 3 out of 5.

“A reflective piece on modern motherhood.”

TW: Pregnancy loss

The feeling of not being where you want or expect to be in life is so relevant to modern day.  The social expectations of having a stable career, relationship and home by your late  twenties, is a mindset that many people seem to be questioning.  

When Fin (courier driver, part time freelance illustrator) discovers that she is pregnant, this pivotal moment in a woman’s life is not only taken from her when she has a miscarriage,  but she soon questions the expectant motherhood narrative when she realises that she is  pregnant again. The dreaded conversation with “the parents” devout Catholics, about being unmarried and pregnant, in an on and off again relationship doesn’t help with Fin’s situation.  

What was particularly interesting about the set was the use of a projector with illustrations,  a chatGPT search and some footage, brought life to this humanised play; accompanied by a great soundtrack. With a sparse set and any scene changes being on the performer to tell  the audience in this monologue-esque nature of play, this approach added another  dimension.  

With some funny moments, though it did feel like some of the humour was lost on the  audience, the elements of audience participation added a connection, thankfully it was  only aimed at a couple of people. The piece itself was performed well with the actress  taking on numerous roles with accents and mannerisms bringing the characters to life.  

In a time where women are “doing it all” and more, this play is a very authentic piece. Not  conforming to those expectations, is not only defiant but can be seen as lonely. I think the  take from this piece is that there is joy to find in the simplicity of life. Just because  something has been done for decades, doesn’t mean that it works.  

Overall, this play was good and very relatable. Fin losing her baby was raw and emotional  and I think it is something a lot of women can sympathise with. It did feel like Fin’s on/off  boyfriend did just disappear into thin air with no explanation, which possibly made the piece feel like something was missing, but perhaps somethings don’t always need to be explained. Sometimes people don’t step up when they should and, in some respects, maybe that is reflective of where we are in society. Women have always been expected to  raise children, only this time round, women don’t need to stay in relationships because we have no other choice.

REVIEW: BBC Proms: Grieg Piano Concerto and Bliss’s The Beatitudes

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

“The live experience of Bliss’s The Beatitudes is nothing but full of awe”

On the first day of the TFL strike, Sunday 7 September 2025, this night’s BBC Proms opened with Ruth Gipps’s Death on the Pale Horse, followed by Grieg’s Piano Concerto (soloist: Lukas Sternath) and, after the interval, Sir Arthur Bliss’s The Beatitudes (soprano: Elizabeth Watts; tenor: Laurence Kilsby). Written in 1943, Gipps’s tone poem responds directly to a William Blake illustration of the Four Horsemen of the Apocalypse. The brass section takes centre stage, with the rest of the orchestra providing a responsive, and dialogical texture. In general, this rendition of *Death on the Pale Horse* feels rather pastoral and lyrical. 

Austrian pianist Lukas Sternath made his Proms debut by giving us Grieg’s Piano Concerto. What makes Grieg’s Piano Concerto so fascinating is that it feels like a connecting point within the Romantic era. It may not be the most ground-breaking, nor the summit of pianistic achievement, but rather something as becoming, one foot in the past, possibly Schumann, and another toward the future, Tchaikovsky, and Grieg his own. If I were an audience member of the 1860s, I would have been excited by such uncertainty. 

Such qualities of transition also leave ample room for wide interpretations both temporally and geographically. However, I remain uncertain where Sternath’s interpretation situates itself. His opening felt overtly dramatic, while the cadenza leaned towards the showy and self-conscious, perhaps conductor Sakari Oramo also prefers such theatrical rendition.  There was also a trait of slowness which I also recognised in his Salzburg performance of Mozart’s Piano Concerto No. 20 in 2024. Such combination, slow but dramatic, lightweight but self-aware, presented itself as both intriguing and perplexing. 

My first live experience of Bliss’s The Beatitudes is nothing but full of awe. Exceeding much of my expectation, Bliss’s music struck me as at the same time elegant yet powerful, dramatic and deeply emotional. Such conflict quality is consistently interwoven into the very fabric of this cantata. Elizabeth Watts illuminated the night as the soprano with her mellow and translucent tone delivered with a remarkable sense of ease and natural release. This quality perfectly matched the serene elegance of harp, shaping stark contrast with the voices of the mob. 

The BBC Symphony Chorus’s performance was equally striking, as they successfully mastered not only the brutality of the mob, but also the hushed harmony with restraint and transparent texture- two poles in Bliss’s writing that together architects a majestic piece with sweeping, stormy contrasts. Commissioned for the new Coventry Cathedral in 1962 together with Britten’s War Requiem, The Beatitudes offers the other side of coin that yearns for peace and prosperity. Strangely, I didn’t feel The Beatitudes that “modern”, especially compared to Britten who often uses music to reflect human psychology. Instead, The Beatitudes reminded me more of the late Romantic tradition that resonates with Vaughan Williams, teacher of Gipps. Oramo’s conducting of the BBC Symphony Orchestra felt exceptionally powerful and passionate, imbued with a trait of theatricality that heightened the drama of Bliss’s score. 

IN CONVERSATION WITH: Charlotte Ritter

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We sat down for a quick chat with Charlotte Ritter,  writer/ lead actor of Sunk Into Earth, a love story set against the violent backdrop of an unspeakable act of sisterly devotion. Ticket Link: https://www.etceteratheatrecamden.com/events/sunk-into-earth-g4p4a

Sunk Into the Earth opens with such a striking premise. Where did the seed of the idea come from, and what made you want to explore it on stage?

Years back I listened to an incredibly good and thoroughly researched podcast on femicide and was super shocked. Learning that every third day a woman is killed in this country for the sole reason of being a woman was devastating. This is happening all the time and everywhere, and it follows a pattern of abuse and often ends with the woman trying to get out and being killed for it. Since then, I wanted to tell a story that ends differently, that ends with the woman actually getting out. And then somehow found this story, that doesn’t end with getting out, but begins with it.

The play looks at domestic violence, sisterly devotion, queer love, and female friendship – all layered into one night. How did you balance these heavy themes?

By keeping it going, jumping from one scene and emotion into the next, from silliness straight into devastation, from grief back into joy. One of my favourite German directors Michael Herbig has really perfected the art of making his audience cry and then laugh in the next moment and vice versa. I aspired to do the same, because it makes the darkness more bearable and keeps the lightness grounded. And it’s also very much like real life, there’s very few moments when one emotion is drowning out all the others completely, most of the time it’s a “yes, and”.

You’re not only the writer but also the lead actor. How does wearing both hats shape the way you approach the story each night?

It really helps that I never intended to play Salome. I actually wrote another character for myself and therefore have to work a lot harder to do right by her, which leaves a lot less room for overthinking things. It also really helped that our Assistant Director took both my hands one day during rehearsal when I was spiralling and told me very sternly and lovingly to cut it out, that if I don’t like a word or a sentence, I will do what I would always do playing in somebody else’s play, which is suck it up and make it work. So, I (mostly) managed to keep the writer’s hat off until after our Camden Fringe run before starting on adjustments now based on the wonderful feedback we got.

Have you had moments in rehearsal or early performances where you’ve seen the audience react in a way that surprised you?

Absolutely! I’m still sulking that the line “well, it’s how they say, I’ve got 99 problems and your sister is a bitch” didn’t get resounding laughter every night, I thought that was hilarious! No, but in all
earnestness, I think getting an audience in and seeing how they respond is always a surprise. Especially since every audience is different. And I love it so much. When we get different laughs or gasps every night, when the absence of expected laughter suddenly lends a scene more weight. It’s always special and such a privilege to be allowed to perform for other people.

What do you hope audiences reflect on about their own relationships after seeing Sunk Into the Earth?
I’d be very honoured if Sunk Into the Earth makes people think about themselves and others. I think to show kindness is always a great start, especially when we struggle to understand the other person, and to hear people out. Also to see the difficult talks we sometimes need to have with our friends and family not just as unwanted, uncomfortable situations but as an opportunity of growth, an investment in an important relationship, that can keep and also gain us amazing people and connection in our lives.

REVIEW: The Day I Accidentally Went to War at Soho Upstairs

Published on by Tabitha JamesLeave a comment

Rating: 4 out of 5.

Raw, gripping, funny, insightful and bittersweet 75-minute one-man show.

Bill Posley wastes no time establishing himself as a commanding presence. Entering the intimate black-box studio of Soho Upstairs in full Drill Sergeant mode, he barks orders at the audience, instructing us to find our “battle buddies” nearby. It’s a bold and slightly bracing opening gambit, but it immediately warms the room, as strangers dutifully introduced themselves before settling into the story that followed. It set the tone for a night of sharp interaction, wry observation, and a seamless blend of comedy and confession.

At its core, The Day I Accidentally Went to War is a personal monologue, anchored by Posley’s considerable charisma and knack for storytelling. He charts his own life with candour: a biracial kid, overweight, raised by a strict father and a loving mother who gambles away their house and security. With few clear options ahead, a 17-year-old Posley enlisted in the National Guard reserves primarily as a way of securing college tuition. Then 9/11 happened, and his “safe” decision led to deployment in Iraq.

The show pivots between laugh-out-loud humour and raw honesty. Posley excels at self-deprecation, mining his awkward adolescence and inexperience for comedy, but he also doesn’t flinch from exploring the far less funny realities of war and the patchy support offered to returning veterans. One of the show’s strengths is this refusal to sit neatly in one box: part documentary exposé, part stand-up routine, part theatrical memoir. The addition of a simple but effective PowerPoint—equal parts comic prop and visual anchor – keeps the narrative flowing and adds unexpected punchlines.

There’s a looseness to the format, with audience interaction and gentle heckling folded in naturally. Posley handles it with ease, never losing momentum and often sharpening the comedy in the moment. It’s this combination of polished storytelling and improvisational flair that makes the 70 minutes fly by.

If there needs to be any criticism, it’s that the piece could have been tightened into a more traditional, streamlined hour. A couple of digressions risk diluting the impact, and there are moments when the rhythm slackens (one instance is the introduction of a conspiracy that Posely accidentally started to highlight false information, which was a bit of an unnecessary, albeit funny, segue). However, in all honesty, the balance of humour and heartbreak works so well that any surplus time felt like a bonus rather than an indulgence.

What lingers after the laughter is the depth of Posley’s message. He shines a light on the overlooked struggles of veterans while never allowing the piece to tip into preachiness. The audience was deeply engaged throughout – responsive, laughing, and at times palpably moved. My companion came out glowing about the show, and it was hard not to agree: this is a story that deserves a wider stage and a larger audience.

Bill Posley’s UK debut is both hilarious and humane. With The Day I Accidentally Went to War, he proves himself not just a sharp comic but also a generous storyteller, capable of making a crowd laugh hard, think deeply, and reflect on the costs of conflict – all within the space of one compelling evening.

REVIEW: Sixteen Angel of Peace at St Martin In the Field

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

Angel of Peace spans centuries and speaks of timeless human emotions

Attending The Sixteen’s Angel of Peace was undeniably nit just a concert, but an experience.  Sitting in the echoing stillness of the sacred space of St Martins in the Fields, with Harry Christophers gently leading his ensemble through centuries of music, I found myself not just listening but absorbing something deeper, something that felt timely, timeless, and quietly transformative.

Christophers’ signature warmth, both in musical phrasing and presence, continues to elevate The Sixteen far beyond technical excellence. Every voice is perfectly placed to add humanity in the sound in a way that’s unique and that can resonate with anyone willing to join the experience.   From the opening note, you feel guided, not performed to. Christophers doesn’t merely conduct. For me,  he curates a shared moment between past and present.

The programme of the concert is an exquisite interweaving of Hildegard of Bingen, Taverner, Arvo Pärt, Anna Clyne, and Will Todd,  a masterclass in subtle juxtaposition. “Angel of Peace” as a title could risk feeling lofty or vague in today’s complex world, but here, it was grounding. More than ever we need to be thinking of embracing peace and encourage meditations on endurance, resilience, and spiritual clarity.

The most striking example of this came early in the programme: the seamless coupling of Hildegard’s Ave, generosa with Arvo Pärt’s Tribute to Caesar. Christophers  held back applause between them, a decision that carried both dramatic and philosophical weight. Hildegard’s music, in its upward-lifting purity, feels like sound that aspires, like music that prays rather than speaks. By contrast, Pärt’s music, though equally sparse, emerges from a place weighed down by centuries of accumulated human complexity. One piece lifts its eyes to the heavens while the other feels like a gaze into the ache of history. The lack of applause created a kind of spiritual continuum, drawing a thread across the 1000-year gap.

Mid-programme, the focus subtly shifted inward with the two contemporary commissions: Will Todd’s I shall be an angel of peace and Anna Clyne’s Orbits. Here, the communal tone of liturgy gave way to something more introspective. These were no longer hymns of adoration but acts of personal orientation, songs about finding your own balance within chaos. Clyne’s Orbits, especially, echoed this. 

Each half closed with Taverner, a reminder of choral grandeur at its most commanding. His Gaude plurimum and O spledor gloriae are pieces that demand space, both physically and emotionally. And The Sixteen filled every inch of it with breath, colour, and astonishing control. I felt like these two pieces were almost sound offerings. 

What I also love  in Christophers’ concerts is his natural flair for the spontaneous gesture. Toward the end of one of Pärt’s quieter pieces, an ambulance siren wailed loudly through a nearby London street. Rather than break the moment, Christophers held the silence and only cued applause once the sound faded. A simple decision, but somehow it stitched the outside world into the sanctuary. Peace, after all, isn’t isolation from chaos. It’s making space within it.

Angel of Peace is a mirror held up to centuries of yearning, reminding us how much is carried by music, and how much we still need it. Whether you come for the history, the harmony, or simply to pause and listen, a Sixteen concert is something quietly essential that veryone should witness it at least once.

IN CONVERSATION WITH: Wiebke Green

Published on by Tabitha James1 Comment

We sat down Wiebke Green who returns to Arcola Theatre with a bold theatrical challenge: Tarantula and The Poltergeist by Philip Ridley, performed in rep for the first time. Tickets here.

Having directed both Tarantula and The Poltergeist before, what excited you most about reimagining them as a back-to-back theatrical experience?

Although the plays are stand-alone pieces, they both explore memory and how identity is shaped by one’s experiences in the past. They’re both highly subjective plays, told from the perspective of two young individuals, but they’re tonally very different; one a fizzy, dark comedy, the other a twisty, psychological thriller. So I think seeing them performed side-by-side will offer up a really rich, thrilling evening.

Philip Ridley’s monologues are emotionally intense and physically demanding-how do you work with actors to sustain that energy across multiple performances a week?

I encourage them to take a well-deserved rest between rehearsals and performances!
We also do check-ins throughout the week with our Stage Manager Mik, and I encourage the actors to speak up about their needs. One-person plays can feel lonely, so we like to reiterate that there’s a support network behind them!

In this double bill, what threads or contrasts between the two plays do you most want the audience to notice?

They’re inherently very different plays, but both are full of moments of joy, humour, revelation, and hope, and explore a young individual‘s response to a traumatic event in their past.

As a British-German director, do you bring any particular cross-cultural perspective to Ridley’s deeply East London-rooted stories?

I love Philip’s writing because it is so well observed. I don’t think it matters where you’re from or what your background is, there’s always something in his writing that everyone can relate to – like the nerves of a first kiss, or irritation at family gathering!

How has your creative relationship with Philip Ridley evolved across your three collaborations at the Arcola?

I guess our creative relationship has deepened in that we now have a short-hand when discussing the work. I know now that when Phil comes to see a run, the overarching note will probably be “yes, that works, but push it further!“

REVIEW:Home at Seven at Tabard Theatre

Published on by jaketurnerchanLeave a comment

Rating: 4 out of 5.

revives the play with a self-awareness which makes the show more accessible and modern

R C Sherriff’s Home at Seven was last performed in the West End in 1950. When a man comes home to find he has been missing for 24 hours, his missing memory lands him at the centre of accusations of murder and theft. With the recent war lingering in the memory of the play, it is a close but subtle examination of guilt, a portrait of a shell-shocked England. 

The script itself may be a little dated. It’s rather bloated and oftentimes repetitive, a signifier of the era it was written for. For a murder mystery, it is rather unsurprising and a little predictable. However, it’s a testament to the talent of the actors and the production team that such an enjoyable night was created out of a script slightly dry in content. Where the script lacks, the actors entirely make up for. The twee, English attitude is often lent into, making for a respectfully campy performance. This was well received by the audience, with the room often full of laughter, an unexpected feature of the night. Humour, in this production, felt inter-generational, resting on a shared recognition of a kind of white English middle class. 

Notably, Bridget Lambert went above and beyond to deliver a layered performance of Mrs Preston. Even though the script didn’t often hand it to her, with the written portrayal of Mrs Preston a little thin and dated, Lambert had us gripped from the start, entering the stage with a peculiar reserved anxiety that set the scene of the show without a word. 

Maddie Crofts also made an excellent London stage debut as Peggy Dobson. Though her presence onstage is short-lived, it provided a welcome shift of tone in act 2, deepening the social dimension of the play. 

Another excellent moment was a conversation played out between Major Watson (Karl Moffatt) and Dr Sparling (Andrew Williams) in which the Major’s assumption of Mr Preston’s guilt is scrutinised by the doctor. Here, the script holds up well, assisted even more so by Moffatt and Williams’ engagement with the material and with each other. Williams exuded a sense of genuine care for the matter, and Moffat’s characterisation of the Major in this scene alone showed the dichotomy of how accusation and guilt is experienced by a person. 

Claire Evans’ direction is wonderful. The performance maintains a good flow despite its restricted space, and there are some very thoughtful touches, such as the audience being pointed towards as Mr Preston and the Inspector discuss the Prestons’ garden of Chrysanthemums. Props must also be given to the impressive set design, with touches including R C Sherriff’s own telephone, loaned by the R C Sherriff trust. This, along with the details on the wooden desk and the textiles used on the seating, made for a set that felt critically world-building and period appropriate. 

Evans’ production of Home at Seven revives the play with a self-awareness which makes the show more accessible and modern, without patronising the audience. There’s a clear respect for R C Sherriff and his work, producing an inviting atmosphere into what is ultimately a very enjoyable piece of theatre.