Tag: oxford

REVIEW: Blood Wedding

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Rating: 5 out of 5.

A timeless love triangle pulsing with Lorca’s flame, this performance blends Oxford polish and Andalusian passion with authenticity and timely relevance

Full Moon Theatre presents a new interpretation of Federico García Lorca’s Blood Wedding, staged this week at the Oxford Playhouse. Directed by Emma Nihill Alcorta, who also delivers a vibrant new translation, this production echoes the sound and movement of Andalusia. While rooted in themes of fate, violence and longing, it’s the women’s silence, resistance, grief and defiance that shape its course. 

This adaptation wove tradition and innovation, allowing language, music and movement to fold into one another. Spanish and English drifted between each other; fragments of folklore and Lorca’s poetry surfaced naturally in the rhythm of the piece. Alcorta’s new translation felt both fresh and faithful, grounding the drama in a vivid emotional landscape that evoked the sun-soaked and tension of Andalusia.

Composer Elsa-Vass-De-Zomba’s original score was performed live by a mesmerising ensemble of violin, viola, cello, guitar, percussion and saxophone. The music wasn’t a mere accompaniment of the action, but it shaped the mood. At times lush and cinematic, at others sparse and sharp-edged, it became an essential element of the storytelling building tension, and carrying the audience through even the quietest moments with a sense of unease or tenderness.

Choreographd by Carlos Araujo and Lucy Williams, movement was used with meaning and gave shape to moments of ritual, memory or confrontation, particularly in the taut physicality between the bridegroom and the lover. 

The set featured two wooden structures framing the space, each with a raised balcony. Beneath one, the live band became a constant, visible rhythm behind the story. The balconies served as liminal spaces used by characters who were not central to the immediate action but whose presence loomed inlcuding The Moon, The Sister-in-Law, The Wife and The Spinners playing with yarn. These elevated perspectives reinforced the play’s themes of fate, surveillance and inevitability.

Costumes in this production were richly evocative without feeling overstated. The Bride’s shift from soft blue to a striking white lace gown was subtly yet impactful, embodying both innocence and newfound vulnerability. Opposite her, the Bridegroom’s black suit offered a steady, somber counterpoint, grounding their shared moments with a quiet intensity. The Wife’s green dress added an eerie undercurrent, while the ensemble’s palette of black and red, with flamenco flourishes and lacy textures, gave the whole piece a distinctly Andalusian feel. The visual design echoed Lorca’s symbolism, carried with quiet elegance.

The cast delivered a powerful and tightly unified performance, each actor attuned to the play’s emotional undercurrents. At the heart of the production was the Bride (Thalia Kermisch), who captured the intricate struggle of a woman caught between duty and desire, shaped by expectation yet striving for freedom. She carried the burdens of honour, tradition and longing, grounding the role with authenticity and avoiding cliché. Her performance remained true to Lorca’s vision of women not as symbols, but as complex individuals navigating a world where love is fraught and choices carry heavy consequences.

At its core, Blood Wedding is a timeless love triangle: the ‘good on paper’ choice versus true love, an emotional conflict as relatable now as it is to Carrie Bradshaw. In cultures where fate, honour and family ties run deep like in 1930s southern Spain, such stories are destined for tragedy. Honour-based violence and rigid gender roles still affect many women today, alongside the rise of right-wing ideologies and ongoing debates over women’s bodily autonomy, Blood Wedding feels pressing and gripping. This fresh adaptation doesn’t just revisit a classic; it makes it heartbreakingly relevant.

REVIEW: Little Women

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Rating: 3.5 out of 5.

A thoughtful, character-driven production that’s not flawless, but full of charm and worth seeing

Last night, I caught Anne-Marie Casey’s adaptation of Little Women at the Oxford Playhouse (running Tuesday 27 – Saturday 31 May), and overall, it was a really enjoyable night at the theatre. The script keeps the heart of Louisa May Alcott’s classic alive, while trimming and adapting the plot into a production that feels both familiar and fresh.

The dynamic among the March sisters was authentic, believable, and full of warmth. You really felt their sibling bond, from the small gestures to the bigger emotional moments. The set design helped sell this too: it had a cozy, homey vibe, with simple but clever elements like movable bookcases and curtain dividers that shifted the scenes without breaking the flow. Visually, it felt like you were sitting right in the March family’s living room, which made the emotional beats hit harder.

That said, there were a few bumps. The small cast and the show’s runtime meant that energy dipped at times. Some scenes felt a little sluggish, and there were moments where the pacing could have used a jolt. An extra cast member wouldn’t have gone amiss, especially with characters like Mr. March being completely absent. His return could’ve offered an emotional anchor near the end and given the production one more layer of resolution. Jack Ashton handled multiple roles (John Brooke, Professor Bhaer) well, but it still left the show feeling slightly underpopulated. A few more bodies on stage might’ve added more dynamic movement and kept things snappier.

Performance-wise, the standout for me was Belinda Lang as Aunt March. She had razor-sharp comedic timing and owned every scene she was in, easily a crowd favourite. Ellie Pawsey, stepping in as Marmee, was also brilliant. She brought a quiet strength and warmth to the role that really grounded the family and gave emotional weight to the more reflective scenes.

As someone new to Little Women, I found it accessible and easy to follow, even if some of the accents were a bit jarring or hard to catch in places. The emotional high point for me was the confrontation between Jo and Amy early on. It started slowly but built into something raw and powerful that clearly hit the audience hard.

Overall, this is a solid, heartfelt production with plenty of charm. Not flawless, but definitely worth seeing, especially if you’re after something thoughtful, character-driven, and beautifully staged.

IN CONVERSATION WITH: Emma Nihill Alcorta

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Adored by audiences around the world, Blood Wedding navigates the devastating tension between tradition and desire, uncovering hidden yearnings that make a close-knit community fall apart. Featuring a live, original score inspired by Flamenco, Full Moon Theatre presents a razor-sharp adaptation of a Spanish masterpiece that demands to be staged again and again. We sat down with Director and Translator Emma Nihill Alcorta to discuss their approach to Blood Wedding.

What drew you to creating a new translation of Blood Wedding?

In 2024, I played Ophelia in a production of Hamlet that toured around Europe and Costa Rica. For our performance at the Teatro Nacional de Costa Rica, our partner production company in San José developed Spanish subtitles that were projected onto the proscenium arch throughout the show. Watching my colleagues perform under the subtitles during various tech runs I just thought, this is really special. I’ve always loved the act of translation for its ability to forge cross-cultural dialogue. In my professional life, translation has brought people together by being live, active, and shaped by the community which it serves. There are many beautiful translations of Blood Wedding, but I was hungry to develop one that spoke directly to the unique blend of Hispanophone and Anglophone perspectives in our ensemble and creative team. I wanted to make a Blood Wedding that celebrates the melding of twentieth-century Andalucía with twenty-first century Oxford, preserving sections of Lorca’s original Spanish whilst radically reimagining certain characters and sections of dialogue. Rather than doggedly imitating the original, I was also determined to make the English text sing on its own terms with its own voice.

How did you balance remaining faithful to Lorca’s poetic language while making it resonate with a contemporary English-speaking audience?

My first draft of the translation was a meticulous mimicry of the Spanish which stayed as close as possible to Lorca’s text and the rhythms of his verse. I had Bodas de Sangre next to me as I revised each scene, constantly cross-checking. From this process I was convinced that moments of Spanish poetry had to remain – it felt too beautiful to remove entirely. When I was confident that I had the skeleton of the script, I put Lorca away and treated the text almost as a piece of new writing. I considered character motivation, structure, and tonal arc, and heavily adapted particular scenes to make the journey of the characters feel urgent and relevant in an Anglophone context. I hope the result is something like St Jerome’s translation technique of “sense for sense”, rather than “word for word” – adapting the language in order to capture the burning soul of Lorca’s drama for a new cultural context.

How did your dual role as both translator and director shape the vision of this production?

Lorca’s imagery is so rich that if you just listen to the text, a whole world is built in your mind. Everything I’ve imagined for the production has come from my conversation with Lorca’s writing. In this way, translation and direction are both inextricably linked to the vivid vision I have for Blood Wedding. With my thorough grounding in the Spanish text and my sheer love for the story, I am striving to create a clear foundation onto which our wonderful cast and crew can build a powerful piece of theatre.

Can you describe the collaborative process with the Full Moon Theatre team? How do you encourage student actors to bring their best to a production as intense as Blood Wedding?

This production very simply would not exist without our extraordinary creative and directorial team. We started Full Moon Theatre with the conviction that collaboration creates the best work. This belief has been borne out in rehearsal after rehearsal where the jigsaw puzzles of music, dance, fight choreography and costume design have come together to create utter magic. It’s been a really exciting process of matching draft score to draft choreography, feeling the aural and visual world of Blood Wedding come to life as we continue to rehearse the text.

I am very lucky to have drama school training and three years of touring experience. I do my best to bring this into the rehearsal room and provide the kind of directorial support I would have responded to as a younger actor. I’m drawing from fundamental principles that I learned at Arts Ed and on the road, providing enough of the scaffold to let the talent of the ensemble shine through, whilst also allowing for plenty of freedom to explore and play. I’m also astonished by the generosity and dedication of our actors and am learning so much from them. Perhaps counterintuitively, I think that the key to rehearsing a tragedy is to have fun, be silly, be curious, and build trust. From this foundation, we’ve been able to tap into some of the deepest miseries of the human experience from a place of active empathy and love. 

Were there any discoveries – personal, cultural, or artistic – you made during this process that surprised you?

There have been several! I’ve been so thrilled by the amount of enthusiasm I’ve encountered for bilingual, cross-cultural theatre here in Oxford. When I hear English and Spanish intermingled in rehearsals and meetings, or listen to drafts of Elsa Vass-de-Zomba’s Flamenco-inspired score, I’m overjoyed that this kind of storytelling is not only possible, but emphatically welcomed by so many people.

Our brilliant Language and Culture Advisor, Laura del Alisal, has also helped me understand how integral Lorca’s musical training was to his youth and his writing. As I was translating, the intrinsic musicality of Lorca’s language repeatedly astonished me and fundamentally shaped the rhythms and syntax of my own adaptation. 

If you could ask Lorca one question about Blood Wedding, what would it be?

Si fueras la novia, ¿habrías huido, o te habrías quedado? (If you were the Bride, would you have run away, or would you have stayed?)

Blood Wedding plays at the Oxford Playhouse 4 – 7th June. Tickets are available here.

IN CONVERSATION WITH: Josephine Burton

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We sat down with Josephine Burton, theatre director, playwright, dramaturg, and Artistic Director of Dash Arts. Burton is the director of the world premiere of The Reckoning, a vivid and powerful new play about war, survival, and the fragile trust between those who uncovered the truth and those who most live it.

The Reckoning draws from verified witness testimonies of the war in Ukraine. What were some of the biggest challenges and responsibilities you faced as a co-writer and director in shaping these real stories into a theatrical form?

Working with real testimonies is a privilege and a huge responsibility. These are not just stories—they’re lived experiences of people who have endured immense trauma. Anastasiia and I felt a deep duty to be truthful, sensitive, and respectful in how we brought them to the stage. One of the hardest things was selecting what to include and what to leave out—so much was powerful, but we had to shape something dramatically coherent. Another challenge was emotional: reading, absorbing, and then re-telling these accounts took a toll, which is why we worked with a brilliant therapist to help us process what we were reading. Theatre can’t recreate war, but it can create empathy—and we held on to that as our guiding light.

The production includes live cooking on stage alongside movement and music. What inspired this multi-sensory approach, and how does it enhance the audience’s emotional connection to the characters?

The stories we’re sharing are heavy and sometimes harrowing, and theatre needs balance—light with dark, warmth with grief. Food, music and movement bring in that contrast. They allow us to connect on a more instinctive, human level. The smell of fresh dill, some lyrical music, the touch of a hand—all these help the audience stay present. We’re not just telling a story, we’re inviting people into a lived space. Food in particular holds such power—it brings comfort, memory and home. It helps us to sit with the difficult truths on stage without shutting down.

You’ve directed and developed over 80 cross-artform productions. How does The Reckoning reflect your broader artistic vision for Dash Arts and its mission to “bridge cultures, communities and languages”?

The Reckoning is probably one of the clearest expressions of Dash’s mission—bringing people, stories, and artforms together across borders. We’re telling a Ukrainian story on a London stage, in two languages, through a mix of documentary, fiction, food and music. It’s both intimate and international. The work we do at Dash has always been about building empathy and breaking down barriers. I think if we can create moments on stage that feel deeply human—whether someone’s from Kyiv or Kent—then we’re doing our job. This show, in that sense, weaves together many threads from the past 20 years.

The journalist in The Reckoning is both observer and participant. How did you and Anastasiia Kosodii navigate the power dynamics between those who witness and those who testify?

That relationship was at the heart of our writing process. As we spoke to the journalists involved in The Reckoning Project, we realised they weren’t just note-takers. They created a space—a kind of sanctuary—for people to share their stories. And in doing so, they were profoundly affected too. We wanted to reflect that complexity. The journalist in our play doesn’t just gather stories; she carries them. There’s a quiet power shift when someone chooses to tell their truth, and we wanted to honour that. It’s not a one-way exchange—it’s a meeting of lives.

Each performance ends with Food for Thought, a dialogue featuring leading voices from law, journalism, and human rights. How did you envision the role of these reflections in shaping public understanding beyond the theatre?

The stories we share don’t end with the curtain. They continue in the world. Food for Thought is a way to acknowledge that. Rather than ending on applause, we shift into conversation—gently, intentionally. We’ve invited brilliant guests—journalists, lawyers, cooks, aid workers—people who are living these questions. It’s not about lecturing the audience; it’s about giving space for reflection and connection. If people walk away thinking a little differently, feeling a bit more engaged, or even just having a conversation on the way home, then we’ve succeeded.

As Dash Arts celebrates 20 years, The Reckoning feels like a culmination of its values – political, poetic, and deeply human. What does this piece mean to you personally at this moment in Dash’s journey?

This piece brings together so much of what I care about, and Dash has focused on – telling untold stories, creating space for empathy, and using theatre as a bridge between worlds. The Reckoning is political, yes, but it’s also full of intimacy and humanity. That’s what Dash has always aimed for. To make work that stirs something deep and real. I feel incredibly proud—and humbled—that this is the project we’re sharing as we mark 20 years. It feels like both a culmination and a beginning.

Grab your tickets for The Reckoning from Thursdsay May 29 to Saturday June 28 at Arcola Theatre here.

REVIEW: Kim’s Convenience

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Rating: 3.5 out of 5.

You leave the theatre feeling like you’ve just spent an hour inside someone’s real life, not just a sitcom set. That’s no small feat.

This week at the Oxford Playhouse has seen the warmth and wit of Kim’s Convenience, a play that’s been charming audiences from Toronto to TV screens and is now making its UK tour debut. Written by Ins Choi and directed by Esther Jun, the production is centred around Appa Kim’s small Toronto corner shop—and the family tensions, generational divides, and immigrant experiences that simmer behind the fluorescent lights.

The set was very cleverly used throughout. Mona Camille’s design was impressively detailed—a fully kitted-out convenience store, from stacks of ramen to the ding-dongs that reminded me of entering a konbini in Japan (although don’t let Mr Kim hear me say that). It created a genuine sense of place that the actors moved through naturally, adding texture and realism without ever pulling focus from the performances.

Despite a relatively small cast, each actor brought a lot of personality to their roles. James Yi was instantly lovable as Appa, balancing blustering dad energy with real emotional depth. Daniel Phung’s Jung and Candace Leung’s Umma shared some of the more emotionally resonant moments. Caroline Donica played the exasperated daughter Janet with a convincing blend of frustration, tenderness, and comic timing, grounding the family with a sense of reality and heart. Andrew Gichigi also stood out, deftly juggling four different roles—Alex, Rich, Mr Lee, and Mike—each with distinct personality and delivery. His ability to switch gears so seamlessly added sharp comic value and kept the pace fresh.

There were times when characters switched into Korean for conversations and became a little difficult to follow. This was then not helped by the lack of microphones which in theory helps keep the performance natural and grounded, but in practice meant that some lines—especially in quieter scenes like the church—were lost if you weren’t sitting near the front. A few key exchanges between characters were barely audible, which felt like a missed opportunity to connect more deeply with the material. That being said, even without understanding every word, the emotional gist always landed, giving the audience a more intimate glimpse into the family’s dynamic.

Still, these issues were minor compared to the overall strength of the performances. The cast clicked together with easy chemistry, and the dialogue, even when lost in moments, was full of warmth and razor-sharp timing. 

The show doesn’t overreach—it’s simple, sweet, and often quietly moving. It’s a comfort watch, but not a shallow one. You leave the theatre feeling like you’ve just spent an hour inside someone’s real life, not just a sitcom set. That’s no small feat.

(c) Alex Brenner. No use without credit.

REVIEW: Macbeth

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Rating: 4.5 out of 5.

A Maelstrom of Murder, Madness, Chaos & Comedy

Buckle up for this eighty-minute performance of Macbeth, because there are no breaks on this murder train.

This rendition of Shakespeare’s Macbeth is performed by Out of Chaos, and I could not think of a more apt company name for this show. With only two actors playing every role in this abridged interpretation, I was certainly set to expect utter chaos. But, to their credit, the team had clearly prepared for easing the audience into this dynamic.

Entering the theatre, we are greeted by a single red light casting an eerie glow on stage, with ‘Tudor’ style music playing. Though the prelude is at odds with the rest of the more modern sounding underscore. The play starts with a jolt and instantly onstage are the three (two) witches, the use of reverb and crackling through the speakers greatly assisting the macabre prologue. We are introduced from the get-go on how we will keep track of characters, with the actors announcing “Enter (character name)” and showing where that character is stood on stage or a specific mannerism. After the first few of these, you quickly accept this choice and find it does not pull focus from the show. This certainly gives us the tangibility needed in scenes, as things can move at maddening speeds throughout.

Hannah Barrie was a beautiful ball of insanity and spontaneity to watch, her frantic and fraught Lady Macbeth balancing well with Paul Mahony’s stoic and grim Macbeth. Their push/pull, of fighting/supporting each other, justifies their accelerating spiral out of control. The paranoia of Macbeth is explored with excellence and is furthered with ‘The Murderer’. Keeping him in shadow and mimicking Macbeth’s movements, it gave the impression our protagonist was talking to his own reflection rather than another person. This presented his descent into madness in a more subtle and intriguing manner to the more overt sections. Their performance of Donalbain and Malcom was an adorable duo to watch, though this made it a challenge to portray their more war like mentality in the climax of the play. The pair’s transitions between characters were a joy if absurd to watch, especially when one actor would end up having a conversation with themselves.

What was a fresh take for this show, was a deeper exploration of comedy within the performance. Tongue in cheek asides and audience participation were a frequent occurrence that left me chuckling each time. Though this causes a dissonance with the darker themes of the play, it certainly gives the audience a nice momentary pause between scenes. The play is a quickly building storm and with only a short time to cover it all, these moments gave us time to breath. Hannah’s portrayal of Seyton, being an amalgamation of multiple roles, took on The Porter. Traditionally one of the few moments of comic relief, their departure from the text for this scene felt disconnected from the rest of the true-to-script show. This may be due to the traditional humour not landing with a modern audience.

The only real issue with a shorter version of the play and so many roles covered by two actors, is that there isn’t time to explore the characters in-depth. Macduff felt stilted, having portrayed a perfectly heartrending moment hearing the death of his family to when we see him next, where he is oddly level-headed against Macbeth.

Overall, the show successfully retold the beloved play and held strong to the themes of darkness, horror and mysticism, sprinkling in light-hearted moments and some excellent deathly silences. There are so many more things I would love to comment on, but in summary; I was impressed with the show and would thoroughly recommend any and all to go, though if you don’t like being picked on by actors, avoid the front few rows.

REVIEW: The Rocky Horror Show

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Rating: 5 out of 5.

Sexy, slick and silly; an all-round success!

The auditorium shivered with antici…pation as the cast of The Rocky Horror Show tour 2024/25 took to the stage of Oxford’s New Theatre. From the first spotlight beam on Natasha Hoeberig, the audience was rapt. Hoeberig gave her all to every second, tackling a tricky dual-role as Usherette and Magenta, as did every member of the company throughout this boundlessly energetic production. This energy saturated all aspects of production, from the excellent set to the dynamic lighting choices and the consistent skill of the band (sat visibly above the stage). 

We were swept into the world of Transsexual by a dazzling Adam Strong, performing the role of Dr Frankenfurter with an inspired originality. Tim Curry’s definitive original performance in this iconic role has held back many a ‘Frank’ from reaching such heights. Many moments had the audience a-giggle; Rocky (Morgan Jackson) embodied his role with a unique playfulness and the central couple, Brad and Janet (Connor Carson and Lauren Chia), conquered stereotypical characters with an eye-catching charm. They drew the audience’s attention throughout, an impressive feat when viewed beside many flashier characters. The vocal and physical stamina of the whole cast was spectacular, and very well received by the teeming crowd. Audience members were hot on the call-outs, which were cleverly received and rebutted by Jackie Clune’s narrator, stunning us with eloquent ad-libs and risky references.

Christopher Luscombe made some fabulous directorial choices; entrances and exits were endlessly surprising and staging effortlessly slick. Nathan Wright’s choreography was outstanding, masterfully pinpointing the focus of every moment and filling the room with spirit. The second act held us just as suspended as the first, and we were all too ready to jump on our feet and dance at every opportunity. A charming Joyce-lee Zanoncelli, playing Columbia, brought a cutesy elegance to her role, with endless energy and some very impressive moves. Every performer inhabited their role with accuracy, focus and pizzazz from their first entrances to their final poses. Job Greuter’s Riff Raff was an instant hit, glowing from a window ‘over in the Frankenstein place’. Both he and Hoeberig, the sibling duo, shone even from the sidelines in every scene. 

Such an iconic musical is inevitably difficult to attack with such imagination and yet this performance is hard to fault! It was an all-round success and an undoubtedly fantastic night out for the glam rockers of Oxford who had all turned up in their best lingerie!

Pic copyright Phil Tragen 2023

IN CONVERSATION WITH: Mike Tweddle

Published on by Ke MengLeave a comment

Next week, Oxford Playhouse and Out of Chaos bring a bold new of Macbeth to the
stage, featuring just two award-winning actors who play over twenty roles.
 
The production is directed by Mike Tweddle, the Artistic Director and CEO of Oxford
Playhouse, who co-founded Out of Chaos seventeen years ago. Before the production’s
run at The Playhouse, we spoke with Mike, who told us more about what to expect from this fresh take on Shakespeare’s tragedy.

Macbeth comes to Oxford Playhouse from Tuesday 29 April to Thursday 1 May. What can you tell us about the show? 

It’s a unique version of Macbeth, with only two actors energetically playing 20 roles! However, I believe it’s also a faithful rendition of what is – in my opinion – Shakespeare’s most dramatic play. 

What can you tell us about the inception and development process of this particular production of Macbeth?

We wanted to find a way to tour a great Shakespeare text to theatres and audiences of all sizes, in a very portable way. Hence there are just two actors, two props and no set in this production! All of the settings and atmospheres that we create are achieved through inventive performance, lighting and sound. In my view, one of the best things about theatre is that it can happen anywhere, and we wanted to create something that embraced this. 

What makes this production of Macbeth different from previous versions of Shakespeare’s iconic tragedy? 

A key desire for us was to really include the audience in the action. This is essential with only two performers on stage, so the actors are constantly talking to the audience and giving them a range of identities throughout the play. This, I hope, invites the audience into a deeper understanding and experience of the story. 

How did you approach the challenge of having just two actors portray multiple of Shakespeare’s characters? 

The actors work very hard at this sometimes! There is one scene in particular, after King Duncan has been murdered when ten characters all converge on the same scene in a flurry of panic and suspicion. Paul and Hannah, our incredible actors, train for this scene as if they’re preparing for a 10k run! Given there is no time for costume changes in this production, we use character names and other verbal signposting, as well as vocal and physical distinctions, to ensure that the audience can follow who’s being who at all times! 

It looks like this production strays from the typical setting of Macbeth, what can you tell us about the design of the show? 

We have worked closely with lighting designer Ashley Bale and Sound Designer/Composer Matt Eaton to create landscapes and environments for each scene, full of atmosphere and energy, using only lighting and sound on an otherwise bare stage. This has enabled us to tour the show internationally and to adapt to an enormous range of performance spaces. 

Macbeth has been touring the country and has entertained thousands of young people so far, why is reaching this audience so significant? 

Macbeth is a heightened exploration of the dilemmas we all face in our lives, and young people are no exception. Is it right to remain loyal to someone, even if you believe you might create a better world by betraying that loyalty? Should we follow our superstitions or beliefs, even when they lead us down a dangerous path? Should we take the time to think and consider all options, before we make a life-changing decision? Shakespeare explores such questions with great insight and power, and yet his language is inaccessible when you see it on the page. We hope to be able to improve familiarity and confidence towards Shakespeare for young people who see this piece.  

What do you hope the audience will take away from this performance of Macbeth? 

The brilliance of this play is that you can interpret many messages from it, depending on who you are and what you’re working through in your life. So I don’t want to second guess its message for anyone! However, I hope that audiences will take away a sense of excitement about the potential of Shakespeare’s language, and of theatre as an artform, to thrill and shed new light. 

For tickets and info, please visit https://www.oxfordplayhouse.com/events/macbeth

Credit: Hannah Veale Photography

REVIEW:Everybody’s Talking About Jamie

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Rating: 4 out of 5.

If you’re looking for a feel-good, toe-tapping night out with heart, MYCO’s Everybody’s Talking About Jamie is well worth talking about.

Musical Youth Company of Oxford (MYCO) has once again lived up to its reputation with a vibrant, heartfelt, and thoroughly entertaining production of Everybody’s Talking About Jamie. With slick choreography, infectious energy, and a cast full of talent, this was a classic MYCO show—confident, youthful, and bursting with passion.

From the moment the curtain rose, the energy from the ensemble was electric. Catie Marie Simpson’s choreography was outstanding: sharp, dynamic, and impressively precise for such a large youth cast. The group numbers were a joy to watch—full of movement, colour, and sound—with ensemble vocals that brought real vitality to Dan Gillespie Sells’ catchy pop score.

At the centre of it all was Caleb Gill as Jamie. He balanced the bold sass and sparkle of a would-be drag queen with the uncertainty of a teenager trying to find his place in the world. His performance was charismatic and touching, bringing real emotional depth to the role. Hannah Peel delivered a moving portrayal of Jamie’s mother, Margaret, full of quiet warmth and maternal strength, especially in her tender solo moments. Giacomo Ruffmann wowed as protective Hugo and his glamorous alter ego Loco Chanelle, bringing both wisdom and campy flair to the stage. His performance had just the right mix of grit, heart, and fabulousness, making his scenes some of the most memorable of the night.

However, the standout for me was Chanice Whealy as Pritti. Her clear, strong vocals and calm strength gave the character real presence. She embodied the best-friend role perfectly, offering both support and inspiration without ever fading into the background.

The band, led by Ali Kane, played with real flair, driving the show forward with pace and energy. However, at times the balance between the band and the cast was off, especially during ensemble numbers where lyrics were lost. Mic issues on opening night didn’t help, but hopefully these are quickly resolved in future performances.

A few elements slowed the pace: set changes were often clunky, relying heavily on blackouts and stage crew rather than cast-led transitions, which added time to an already lengthy show. And while the raised stage was used effectively in places, from my seat near the front of the stalls, action taking place upstage was often obscured during full-cast scenes.

Still, the spirit and sheer commitment of the cast made this a joyous celebration of identity, community, and courage. If you’re looking for a feel-good, toe-tapping night out with heart, MYCO’s Everybody’s Talking About Jamie is well worth talking about.

REVIEW: PYGMALION

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Rating: 3.5 out of 5.

“Oxford Theatre Guild’s Pygmalion is a must-see, reminding us all that transformation is as much about inner strength as outward refinement.”

Few plays have endured in the public imagination quite like George Bernard Shaw’s Pygmalion. A masterful blend of wit, social critique, and character development, it remains as relevant today as when it premiered in 1913. The Oxford Theatre Guild’s latest production breathes fresh life into Shaw’s beloved work, making for a compelling and thought-provoking theatrical experience.

Set in early 20th-century London, Pygmalion follows Eliza Doolittle, a Cockney flower girl with aspirations beyond her station. She meets Professor Henry Higgins, an arrogant linguist who wagers that he can transform her into a proper lady by refining her speech. However, both soon realise that identity and self-worth go far beyond language and social status.

The Oxford Theatre Guild’s production captures these themes while maintaining the play’s signature humour and biting social commentary. The contrast between Higgins’ arrogance and Eliza’s fiery resilience is delivered with precision, ensuring the play’s emotional depth is never lost amidst its comedic moments. 

Visually, the production is a delight. The sets impress, from Higgins’ book-cluttered house to Mrs Higgins’ grand home. Costumes enhance the characters’ development, reinforcing their transformations. The attention to period detail immerses the audience in the world of Edwardian London, bringing authenticity to the storytelling.

The three leads truly carried the show. Eleanor Schofield’s Eliza was a joy to watch, from her confident bravado at the start to her vulnerable, uncertain self at the end. Vaughan Pierce’s brash Higgins was wonderfully frustrating, making you want to join Eliza in throwing his slippers at him. Paul Clifford’s standout performance as Colonel Pickering provided a calm, kind counterbalance to the more intense moments. Their interactions created a dynamic interplay of personalities that enriched the production.

The second act felt slower-paced and at times cumbersome, but despite this, the production remained engaging, delivering a humour-filled and enjoyable evening. The witty dialogue and well-timed comedic beats ensured the audience remained entertained throughout.Marking the Oxford Theatre Guild’s 70th anniversary, this production is both a celebration of Pygmalion’s legacy and a fresh take that speaks to contemporary audiences. For those familiar with My Fair Lady, this play offers a chance to revisit its sharp-witted, thought-provoking origins. With compelling performances, striking visuals, and thoughtful direction, Oxford Theatre Guild’s Pygmalion is a must-see, reminding us all that transformation is as much about inner strength as outward refinement.