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REVIEW: Hamlet Hail To The Thief

Published on May 9, 2025May 9, 2025 by ayoungishperspective11 Comment

Hamlet and Hail To The Thief converge strikingly in feverent new adaptation

‘Hamlet Hail to the Thief’ is a co-production between the Royal Shakespeare Company and Factory International, running at Aviva Studios Home of Factory International, Manchester until 18 May before transferring to the Royal Shakespeare Theatre, Stratford Upon Avon from 4 June – 28 June.

Whilst Shakespeare’s play in this adaptation is abridged, with a running time of 1 hour 45 minutes, it feels anything but limited, illuminated by Radiohead’s album and poignant physical theatre sequences. Both of these aspects deliver the plot just as well as the full length play, if not with more vigour and emotion. The live band are positioned onstage, and therefore watch the action of the play unfold throughout. Their constant watch adds to the paranoia Hamlet feels as he becomes governed by madness. It also sets the precedent that the music is inseparable from the narrative. The instrumentation and dialogue don’t take turns in this adaptation, but rather they feast off of each other.

Samuel Blenkin’s portrayal of Hamlet leaves little to be desired. Whilst he captures his madness undeniably, with his erratic physicality and shrill outbursts, what I enjoyed most was the sass he injects into the character. Be it with the odd physical jest or sarcastic tone, Samuel knows how to modernise Hamlet’s wit.

The influence of a female director is evident with the portrayal of Ophelia. The first time we see a character, rather than a musician, sing on stage is when Ophelia is about to die. Being the first character to sing inherently gives her status, and places value on her voice. Ami Tredrea sings a chilling rendition of Sail To The Moon, which was a standout moment for me. As she sings, the characters follow her around the stage, and are swept away with one motion of her hand – which again, reiterates her agency. She is anything but docile in this production.

All of the physical theatre in this production facilitates powerful storytelling. The Frantic Assembly influence from co-director Steven Hoggett is undoubtedly present. One of my favorite moments is the iconic play within a play scene, told entirely through the macabre movements of three actors. Another is the final fight scene, which captures the desperation of Hamlet as he fights gradually more and more unmethodically.

The set by AMP featuring Sadra Tehrani is nothing groundbreaking – a black castle backdrop with two levels – however, anything more may have felt obnoxious amidst so much going on. It is, however, interacted with beautifully. Particularly with the opening of an illuminated trap that Ophelia pauses to stare at hauntingly, before falling into. My favourite use of the set was the thrilling choice to have the ghost of Hamlet’s father displayed through a projection against the large back wall. Utilising the vast scale of the Warehouse to project an incredibly sizeable ghost, with a booming voice and distorted face, allowed us to join Hamlet in his terror. He is so unnerving, but therefore exciting to behold. Lighting wise, the only strobe sequence is saved for the final scene and lasts roughly two minutes. This wait allowed the ending to be as climactic and intense as needed. Very satisfying!

Hamlet Hail To The Thief is an eerie, yet explosive production. It runs until 18th May at Aviva Studios, definitely catch it if you can!

Review by Lauren Lees

London, UK. 01.05.2025. Make It Shimmy Productions, presents FAYGELE, by Shimmy Braun, at the Marylebone theatre, London. The cast is: Ilan Galkoff (Ari Freed), Ben Caplan (Dr Freed), Clara Francis (Mrs Freed), Andrew Paul (Rabbi Lev), Yiftach Mizrahi (Sammy Stein). Directed by Hannah Chissick, with set & costume design by David Shields, and lighting design by Nic Farman. Photograph © Jane Hobson.

REVIEW: Faygele

Published on May 9, 2025May 9, 2025 by Savinay SoodLeave a comment

Heartbreaking and Profound

SPOILERS AHEAD

At a time where LGBTQ+ rights are being threatened, Shimmy Braun’s Faygele is timely. The show follows the adolescence and death of Ari Freed as he navigates homophobia within an Orthodox Jewish community. The story is a tragedy, and Braun is uninterested in attaching a fairy tale ending onto the story. There are debates to be had about the sensitive depiction of teen suicide, but Faygele is effective at depicting the devastating consequences of homophobia.

The cast are all truly excellent which reflects well on Hannah Chissick’s ability as a director. Ilan Galkof who plays Ari is a revelation. The show simply would not work without him. Compelling and expressive, the character is three dimensional. He is funny and likeable without being perfect. He feels real, and that is the central reason the show works. Clara Francis’ portrayal of his mother, unable to help her son, is simply heartbreaking.

The complex relationship between faith and identity has long fuelled queer theatre. What Braun is able to do is to capture the nuances highly effectively in the show. He is not content to villainise faith, Rabbi Lev (Andrew Paul) is portrayed sympathetically, he is doing his best with the resources and the knowledge that he has available. Braun was a member of an Orthodox Jewish community until his adulthood, and the show comes from a place of knowledge and empathy. Braun created a show that was inspired in part by his own experiences, and in part on the experiences of a teenager who committed suicide. The show is grounded and based on real experience. It is not sensationalist.

The show is well designed, the Marylebone is not the largest theatre but set and costume designer David Shields makes use of simple and effective wooden furniture to create a range of spaces. This helps the show flow through a range of times and spaces as we move through Ari’s adolescence.

Faygele reminds us to be angry. It reminds us why fighting for a kinder, more accepting world is important. Nobody should die the way Ari does.

REVIEW: Southern Light: Jesus Christ Superstar

Published on May 8, 2025May 9, 2025 by iatkinson0290b6110b9fLeave a comment

“An ambitious take on Lloyd-Weber’s classic and chaotic rock-opera“

As soon as the iconic opening riff of Jesus Christ Superstar rang out in the Festival Theatre on Wednesday night the auditorium settled into a chilling quiet. The sole guitar held the audience on the edge of its seat until the lights came up to reveal the poised cast, just shy of 100, and a stripped back, imposing set. The first note I took during the performance: oh, what an opening!.

Southern Light’s 2025 production has taken the Festival Theatre stage by storm, filling the space with a huge and talented cast, taking on such a legendary and complicated score with confidence.

Direction from Fraser Grant fashions Southern Light’s large ensemble into a chorus reminiscent of more traditional operas, looming in the background throughout. This presence is imposing, as the ensemble are always observing, filming, and whispering in the shadows, but it did become a distraction at other points in the show. During crucial, emotional moments in the production, such as Gethsemane and Damned For All Time, the chorus’ torch-lit presence felt a little too intrusive, perhaps not as impactful as intended. Directing such a large cast on such a vast stage is commendable, though, and Grant clearly has a knack for it, there were just moments where a pause from the oratorio staging and ever-present chorus would have been welcomed. Also part of the set design team alongside James Gow, Grant’s vision for the production was original, blending the abstract and realistic together. There were a lot of elements to the set beyond what was physically on stage, with camera crews, shrouds, spray paint and phones used throughout to place us in a more modern era, exploring ‘Christ as Celebrity’. Overall, this paid off, it was definitely an inventive vision for the opera. At times there were perhaps too many things all at once, but then again this was conducive to the sense of chaos that characterises much of the production. Gow’s lighting design also had this sense of over-ambition in places, lagging spotlights were particularly distracting.

Musical director Fraser Hume, assisted by Evie Alberti, has done a great justice to such an iconic score. Holding the 11-strong orchestra with confidence, Hume’s conducting was incredibly effective and supported the cast throughout to create a truly polished sound. When combined with choreography from Louise Williamson, this production really found itself in the larger, more upbeat numbers such as King Herod’s Song. A real standout moment of the whole production was Simon Zealotes/Poor Jerusalem. Led by Gigi Guyot as Simon, this energetic dance number filled the stage with conviction and skill. The incorporation of gymnastics, a little Fosse influence in Herod’s number, and several featured dancers felt very well placed, allowing everyone to have a moment to shine and add to these more vibrant numbers. The 12 apostles contributed to this sense of energy, moving as an obviously close-knit and engaged group. Throughout, Lara Kidd’s captivating Mary could be found with this group. Kidd’s apparent return to theatre is a great success, her characterisation appears extremely professional and considered, holding both the audience and her cast-mates on her every word. Kidd gives Mary a playful edge, interacting earnestly with Peter, poking fun at Judas, and ever supportive of Jesus, there was a real humanity to go alongside some stunning vocals.

Colin Sutherland (Jesus) and Ethan Baird (Judas) maintain a believable and affective battle from start to finish, both in characterisation and powerful vocal performances. From his first entrance, Baird is unwavering in his commitment to Judas’ demanding numbers, giving a practiced blend of belt and breakdown. Mostly mirroring this energy, Sutherland’s Jesus is confident and commanding, with vocals to match. A little variation in volume and emotion would’ve developed this performance even more, but such an accomplished role has here been performed admirably.

Other notable performances from classically-pompous Herod (Stephen Boyd) and some Matrix-esque Priests (led by Nathan Auerbach’s Caiaphas) rounded this production’s sense of imposition and action well. A special mention must be given to Darren Johnson’s Pilate, an extremely well measured performance that balanced an immense amount of detailed emotion both physically and vocally. Trial Before Pilate is long and notoriously difficult to keep engaging, but Johnson’s performance was acted tremendously, there was surely not an unengaged eye in the room. Overall, Southern Light has produced an energetic, confidently-led iteration of a famously demanding show. Standout performances blended with a confident ensemble makes this a very engaging night at the theatre.

Jesus Christ Superstar runs until the 10th of May at the Festival Theatre. Tickets are available here.

REVIEW: Feminal

Published on May 8, 2025May 8, 2025 by jaybinghamLeave a comment

“An intense, captivating exploration of femininity and sensuality”

Feminal is an eye-opening portrayal of womanhood. Through the medium of dance, with singing included in the latter part of the show, performer Becca Hoback conveys a story of repression and revelation. We see Hoback’s physicality, skilled yet folded in on itself, become more fluid and elongated as she realises the lengths to which she is allowed to go – that is, she breaks free from the notion of ‘what is allowed’. Her femininity, fighting to be seen, shines through on her face as well as in her body.

Feminal contains two stories. The first is ‘Initial Dissent’, choreographed by Hoback. Inspired by her strict religious upbringing, we watch Hoback’s transformation as her mind begins to divorce itself from its ideas of purity. The piece is suspenseful, gripping as a thriller would be; haunting, in a way. The experiences of women and girls have been explored in so many wonderful ways over the years, but Initial Dissent truly feels refreshing. It is exciting to watch the phenomenon of ‘seeing the light’ being conveyed by Hoback in such a visceral way.

The second story in Feminal is ‘A Girl’, choreographed by Roy Assaf in collaboration with Ariel Freedman. Where ‘Initial Dissent’ contained much smoother movements, ‘A Girl’ is rather sharp and bizarre. Hoback goes from singing to slapping parts of her body to kissing the air – all the carefree ways of a girl before her mind and body are tested in the most frightening ways. This piece is incredibly insightful, with touches of nostalgia; the more we learn about the world, the more we realise there is much to be sad about. Hoback screams the line “Girls just wanna have fun” until it becomes eerie and distressing. ‘A Girl’ is such a strong piece, so different from ‘Initial Dissent’ and yet a necessary accompaniment.

The lighting and sound design are stunning, every mark being hit to perfection! The dimming of the lights, the complete darkness, the colours, the echoes – everything is just as integral to Feminal as Hoback’s work is. Feminal is a ‘cool’ play, a social commentary that is not just gorgeous to watch for its technicalities, but genuinely interesting and worth recommending to all people. The choices of music and presence on the stage are incredibly well thought out by Hoback, and the Space Theatre technician Ally (whom I was pleasantly surprised to find out was only a student!) worked so well to bring Hoback’s story to life.

We had the privilege of being able to speak with Hoback after the show. She provided many fantastic insights that enhanced our interpretation and overall experience of Feminal. She spoke about the restrictions she has faced throughout her life – her conservative upbringing, the strict prestige of ballet, and the insecure need as a six-foot-tall woman to make herself smaller. Feminal is both unique and relatable. Hoback’s display of breaking free from the shackles of patriarchy is reminiscent of the realisations that all women have gone through. The stories are dark and yet enlightening. They are significant, very much worthy of being platformed.

I absolutely recommend Feminal to everyone, it is a fantastic show. Kudos to all involved! Feminal runs until 10th May at The Space Theatre. Tickets are available here.

REVIEW: The Gang of Three

Published on May 8, 2025May 8, 2025 by Mark LloydLeave a comment

“A well written and performed play that any fan of 1970s/80s Labour politics will love.”

The Gang of Three is the newest play written by duo Robert Khan and Tom Salinksy, and details the tumultuous professional relationship between three leading members of the Labour party as they jockey for power in the 1970s/80s. This follows previous successful runs of politics themed shows written by the duo including Brexit and Coalition, but on this occasion we are looking back in time to the previous century where the decisions made and not made have ramifications that can be seen across the decades.

I will admit now to not being familiar at all with Roy Jenkins, Denis Healey and Tony Crosland, the three Labour politicians that feature in this show played by Hywel Morgan, Colin Tierney, and Alan Cox respectably, and so I am unable to comment on how well their likeness or mannerisms are presented on the stage. I can say however that all 3 actors gave strong performances. The script can most definitely be described as verbose, as one would imagine is typical of how 3 Oxford graduates from the 1900s would speak, and all 3 actors bring a lightness and great variety to their portrayals. Colin Tierney as Denis Healey is a stand-out and ups the energy once he appears in the second scene, and the scenes that involved him always felt fresher and more exciting than those that did not.

There is no real getting around the fact that if you are not already familiar with Labour party politics of the 1970s/80s, then there will definitely be jokes and references that you will miss. I only know that I was missing these instances by the laughs of others in the room who had greater knowledge of this period. With a less forgiving or involved audience this could lead to some of the lines falling flat and seeming out of place, as if you don’t know that they are referencing something then the lines just come off a bit clunky. Any lack of knowledge of this period of history however, does not mean that you won’t be able to follow the plot. The show makes good use of newscaster voice overs to provide details and context for the conversations taking place, so there is no pre-reading required to be able to understand.

The script is most certainly witty with clever and funny lines smattered throughout and is in-keeping of the classic genre of play with smart men talking in rooms and setting the world to rights. Each scene is given suitable time to breathe with peaks and troughs that keep you on your toes. One slightly puzzling scene however takes us back in time to 1940 with 2 of the characters at university where we explore their surprising romantic history. This gave interesting extra context and intrigue for the previous scenes, and added greater emotional death to one of the later scenes, but it did feel ever so slightly out of place. This could have been expanded upon further with more scenes showing the earlier relationships between these men and how this impacted their political decision making in the future, but just having one scene that does this felt incongruous.

While this play is set in the 20th century, it was written and is being performed in the 21st century, and I am unsure what it has to offer to a modern audience. If this is something you lived through it is an opportunity to look back at a dramatic retelling of possible behind the curtain events. This show felt like it was striving for a greater point but I don’t think it ever actually got there and at times the characters all just come across as tone deaf and deeply unlikeable. This is perhaps intentional, but if so I struggle to find what it is that the audience is meant to grab onto or take away from this show.

In conclusion, this is a well written and well performed play, but unless you are already familiar with the subject matter you will feel like there is something deeper being said that you are missing out on.

The Gang of Three is playing at the Kings Head Theatre until 1st June. Tickets are available here.

REVIEW: An Oak Tree

Published on May 8, 2025May 8, 2025 by Jason ShowdieLeave a comment

“A captivating, blurry, thought-provoking trip through grief from one of the best”

Tim Crouch is known for creating divisive, interesting, influential work, and An Oak Tree is no exception. First staged in 2005, this 20th anniversary production at the Young Vic feels fresh as ever. The story is simple: a father loses his daughter in a car accident. The driver of the car that killed her is a stage hypnotist. The two men meet for the first time when the father volunteers for the hypnotist’s act. The twist? At each performance, Crouch is joined by a different guest artist who has neither seen nor read a single word of the play.

What follows is something funny, remarkable, captivating, and moving, all with the air of a magician showing us how he’s doing the trick. Crouch guides his guest, in our case the wonderful Jessie Buckley, through each moment like a kind yet uncanny parent. Or puppeteer. There are instructions Crouch delivers to Buckley that the audience can hear, and those he delivers via a mic and headphones to Buckley alone. There are purely scripted moments, and times where Buckley is encouraged to play. It’s a spellbinding thing, to watch a talented performer journey through each scene with the naivety of a willing child–or a grieving father.

To narrow down what the show is about beyond stock themes feels unfair to the endeavour. Sure, it’s about grief and loss and what those things make us do – but it’s also about the leverage of belief, perspective versus reality, the illusion of control, the impact of contrivance. It’s a show about theatre, about the relationship the audience has with those onstage. Of course there are times we don’t accept that Jessie Buckley is a 6ft 2 grieving father in his 40s, but then there are times we do. The character thinks she has turned her dead daughter into a tree. Unbelievable? Sure. But aren’t we turning Buckley into something else?

While the show inevitably contains jeopardy (who knows how our performer might react?), in Crouch’s experienced hands the show feels strangely secure and its plot surprisingly watertight. There are many writers out there who wish they were as good as Tim Crouch.

The show also serves as a pleasant reminder of what talented theatremakers can do with merely a handful of chairs and a mixing desk. No need for the glitzy distractions of Gatsby here, only simple, well-employed sound effects and masterful writing which dips and dives from lyrical poeticism to uncomfortable bluntness, from self-deprecating jabs to heart-hitting misdirections. There are many worse versions of this play being created in a world without Crouch.

On our night, Jessie Buckley was a joy to watch–equal parts heartwarming and compelling. Was her cackling a character choice or her embarrassment escaping? The genius is that either works in this show involving grief; there’s a ridiculousness in the sadness. Buckley was as happy to play the joke (even tongue-playing a piano at one stage) as she was to scream at the audience if the moment suggested it. It is easy to imagine how each actor could bring something new to this work, even things they might not realise, such as Buckley’s pregnant belly which added a new angle to her character’s loss. One thing’s for sure; we’re safe with Crouch at the wheel.

It’s hard to put a number on a show like this. What I can say is that I’ve been telling everyone about it. About how it has made me think about control and theatre and belief and the role of the audience as contributors. Mostly about grief and the way its inevitability can lead to both deep connection and strong detachment.

It’s a great night out. You just have to say yes.

An Oak Tree runs until 24th May at the Young Vic. Tickets are available here.

REVIEW: Goner

Published on May 8, 2025May 7, 2025 by chelseajinaLeave a comment

The element of surprise is alive and well in Goner, a horror-infused choreographic piece that scintillates and fascinates with frightful dexterity

Marikiscrycrycry’s choreographic piece graces Battersea Arts Centre this May, joining a host of other gory shows that have made their way to this venue in recent months. An exciting cacophony of snapshots into this ill-fated character’s life, Marikiscrycrycry takes on a character that is unmistakably doomed. The piece begins with 20 minutes of non-stop dancing, repeated sequences that morph as they explore space and duration. Marikiscrycrycry draws the audience in, his back to us for what feels like an agonising amount of time, bringing identity, or lack thereof, and thus questions as to its relevance, into viewers’ mind from the onset. In an excellent nod to shock-horror and jump scares that horror fans will most certainly be aware of, the piece snaps to its next segment. This truly sets the production into motion; blood is splattered, props emerge, the gore and shock-value is ramped up, and the audience is left well and truly electrified.

While the production is best consumed without searching for narrative for it transcends conventional storytelling, a particular tale comes to light. It is both funny and horrifying, a cognitive dissonance excellently utilised throughout the production. Things were pretty dark before, but the story of the Goner signals it’s time to strap in, because it’s about to get a whole lot darker.

Inspired by the lost causes of the horror genre, Goner utilises social context to extrapolate how we create monsters out of marginalised groups. It considers alienation and marginalisation with a hard-hitting, conscientious perspective. Marikiscrycrycry drums up questions of who do we perceive to be a hopeless case, and why? Do we just blame fate, that people, most often those of marginalized groups, are bound to live out a life of horror, or do we fence people in, manufacturing these conditions, and then blame the individual for living out the seemingly only life they were left to choose?

Malik Nashad Sharpe’s (aka Marikiscrycrycry) choreography is a phenomenal amalgamation of style and gesture. Waacking and whining meet contemporary dance and a lot of booty shaking, carried out by Marikiscrycrycry with genuinely mind-boggling skill. A performer of note, Marikiscrycrycry is thrilling to watch. Tabitha Thorlu-Bangura’s musical direction and Luke Blair’s sound design create an auditory spectacle that is unwaveringly intricate and physical. The sound moves through you, the many surprises that await you shocking you seemingly from within.

Goner is an embodied experience, possibly unlike anything else you will ever see. Don’t miss it at Battersea Arts Centre this May – runs until 10th May before transferring to Canada.

REVIEW: For the Love of Trees

Published on May 7, 2025May 7, 2025 by Claire McArthurLeave a comment

arboreal and musical storytelling

May 5th saw the show at Edinburgh TradFest split in two halves – a set from avant folk vocalist and composer Fiona Soe Paing, followed by this year’s special commission “For The Love of Trees” created by harpist, singer and composer Mary Macmaster.

Set in the darkness of the Traverse Theatre, Fiona Soe Paing’s set took us through songs from her audio-visual show, “SAND, SILT, FLINT“, tying folklore from the North East of Scotland with alt-folk electronica ballads, against an arresting audiovisual backdrop.

Over seven songs from her album, Fiona projected an ethereal performance, with her haunting vocals supplemented by archive sound recordings, and backing track. At times, this track felt close to to overwhelming her voice, blurring the lines between what was live and what was recorded, which could have been off-putting in other hands but added to the other-worldly air. The underlying almost industrial synthesising adding extra texture, and almost disconcerting emotion.

Behind her, we were gliding over locations on an old map of Aberdeenshire, before being overlaid by swooping drone footage over various landscapes, ruins, castles, coastlines and hills, befitting the particular song. The involvement of the audio-visual element added an extra dimension, but at times was almost too bewitching, distracting from the performance in front of us. Personal favourites of the songs included the darker stories – “Forvie” the tale of a village swallowed by a nine-day sandstorm, after being cursed by three daughters, and the ill-fated romance of “Tifty’s Annie”. I’d have loved to have heard more about the underlying folklore for all of these tales, had time permitted.

Following a short break, we moved on Mary Macmaster’s commission piece, “For The Love Of Trees”, with a 10 song set combining traditional tunes with modern compositions, all on the subject of trees, and their link to the Celtic cultures of Scotland and Ireland.

In the accompanying programme, and in short interludes for tuning breaks, we learned more about the inspiration for some of the songs – particularly those inspired by recent cultural events, such as the felling of the tallest tree in Edinburgh’s Botanic Gardens due to Storm Éowyn, and the trial of the Sycamore cut down at Hadrian’s Wall.

On stage with Mary (who played electric harp, clàrsach, and sang) were a band comprising of Pete Harvey (cello), Amy Macdougall (vocals), Mairearad Green (accordion and bagpipes), Ciaran Ryan (guitar, fiddle and banjo) and Donald Hay (percussion, including bird and wood recordings).

The performances from the band were excellent, and the melding of instruments worked well together. Having the pipes as the first song is a bold choice (and it’s always bold to have pipes played indoors, such is the volume produced!) but the way the melodies built over time, adding layers to the harp gave a harmonious air. However, at times the vocal performances felt a little out of sync, which is maybe a natural reaction to not having sung together much before.

The electric harp is fabulous instrument in Mary’s hands, but the effect of the clàrsach in the penultimate tune “Cumha Crann nan Teud: Lament for the Tree of Strings” was exceptional.

The songs were accompanied by high resolution images of trees, from interesting perspectives (for example, close-up shots of lichen, tree knots, and branching elements) but in contrast to the high drama of Fiona Soe Paing’s AV, this felt a little flat in comparison. The images were of amazing quality, but were on a long-ish loop, so there was a sense of deja vu as the set progressed, and images reappeared. It might have invoked a stronger emotional connection if the images were tied more closely to the songs and their lyrics – it felt a little strange on the dying notes of “Rowan” to have holly leaves shown. Similarly, I was expecting to see the evocative broken Cedar tree in “The Cedar, Silent” and the now-felled Sycamore from “Sycamore Gap”.

With a rousing rendition of Pulp’s “The Trees”, the evening drew to a close, and to warm appreciation from the crowd. Taken as a whole, the evening was a pleasurable insight into how non-traditional traditional music can be, with the two performances complementing each other well with their differences as well as their similarities.

Edinburgh TradFest runs from 2nd – 12th May 2025. For more details, please see: https://edinburghtradfest.com/

REVIEW: ASMF with Bomsori Kim

Published on May 7, 2025May 7, 2025 by Antonia ConstantinLeave a comment

A remarkable evening of music with ASMF and Bomsori Kim, where clarity, grace, and musical depth came together in perfect harmony.

On Monday afternoon, once again, I found myself in the historic home of the Academy of St Martin in the Fields. I’ve said it before, and I will say it again: this is my favourite orchestra. Reviewing their concerts never really feels like “reviewing” in the traditional sense. It’s more like telling another story from the ASMF universe, a new chapter featuring another remarkable guest. And let’s be honest: I already know I will be giving it five stars.

What I have always loved about ASMF is how effortlessly human they feel. There’s a certain humility in how they play: no grandstanding, no ego, just deep musical intelligence and generosity of spirit. It is the kind of brilliance that doesn’t shout but radiates. If I were to sum up how music should be shared in the 21st century, it would be this: world-class talent, with zero pretence.

Originally, the concert was to feature the wonderful Augustin Hadelich, but due to health issues, he had to withdraw. Wishing him a full recovery. Luckily, as violist Robert Smissen shared with us from the stage, the stars aligned: Bomsori Kim, violinist extraordinaire, happened to be on holiday in Paris and agreed to step in. He described the evening with a smile as “an ASMF sandwich,” but by the end of the night, I’m convinced we were all served a caviar tartine of the highest order.

What struck me most about Bomsori was not just her technical command – which is, without question, extraordinary – but how seamlessly she blended into the ASMF world. There was no showy guest soloist energy. Instead, there was mutual respect and attentiveness, a feeling that everyone on stage was breathing in sync. Yet, even in that collaborative spirit, she stood out with elegance. Her expressive phrasing and exquisite dynamic control meant you didn’t just hear the music. You felt it unfolding in real time.

Sitting near the front, I could hear the slight breath she drew in before each demanding passage. It reminded me of a diver surfacing, lungs filling before plunging again into the ocean depths. This was not just breathing to perform, but as a mark of total immersion. Her playing didn’t power the music; it seemed fuelled by something more elemental.

The programme opened with Mozart’s bright and elegant Divertimento in D Major, a perfect appetizer. Then came Mendelssohn’s Violin Concerto in D minor, where Bomsori’s touch struck a fine balance between romantic charm and classical clarity. Post-interval, her flair was on full display in Wieniawski’s Faust Fantasy, a work built for storytelling and theatrical sparkle, both of which she delivered with joy.

And then came Tchaikovsky’s Serenade for Strings, a piece that always feels like it could float into the rafters. The ASMF played it with warmth, precision, and a tenderness that held the audience rapt. When it ended, we didn’t want to let go. The applause was unrelenting. It was not just polite appreciation, but a genuine outpouring of joy.

If you are looking for proof that classical music still lives and breathes in the most vibrant, human way, this was it. We missed Augustin, of course, but Bomsori brought something truly unforgettable in his place. I’m already looking forward to returning on 26 June for the next ASMF performance, this time with viola soloist Timothy Ridout.

Image from Q the Music Show's Facebook page

REVIEW: Q the Music – James Bond Concert Spectacular

Published on May 7, 2025May 6, 2025 by zhangxidan0324Leave a comment

A stylish, sonically superb tribute to 007 that proves the music of Bond is as timeless as the man himself.

There are few soundtracks as unmistakably iconic as those that accompany James Bond. From the bold brass of “Goldfinger” to the smoky elegance of “Skyfall,” the music of 007 has become almost as defining as the secret agent himself. On a crisp evening at Fairfield Halls, Croydon, Q The Music delivered a pitch-perfect tribute to this legacy — a two-hour concert experience that dazzled from start to finish.

Hosted by the effortlessly charming Caroline Bliss — known to Bond aficionados as Miss Moneypenny from The Living Daylights and Licence to Kill — the evening struck a perfect balance between musical nostalgia and behind-the-scenes intrigue. Bliss acted not just as compère but as a storyteller, weaving in delightful anecdotes about her time on the Bond set, the shifting styles of the franchise, and especially fond recollections of Sean Connery, the original and arguably most iconic Bond. Her tribute to Connery was heartfelt and intimate, painting a portrait of a man whose on-screen presence matched his off-screen charisma. These stories grounded the show in a real sense of history, drawing a straight line between the franchise’s cinematic glamour and the very human personalities who shaped it.

Musically, the performance was a triumph. The vocalists, particularly Sulene Fleming and Matt Walker, were exceptional. Fleming brought a sultry, commanding energy to “Diamonds Are Forever” and “License to Kill,” her voice rich with pathos and power. Walker’s rendition of “Writing’s on the Wall” was hauntingly good, capturing the emotional tension of the original while making it his own. Both singers demonstrated extraordinary control and range, navigating the stylistic shifts between decades with ease and flair.

The 13-piece band was no less accomplished. Under the baton of musical director Warren Ringham, every note was executed with cinematic precision. From the jazzy undertones of “You Only Live Twice” to the thunderous urgency of “Live and Let Die,” the orchestra brought an astonishing breadth of tone and dynamism to each number. Particularly notable was their take on “No Time to Die” — a recent addition to the Bond songbook — which stood out as one of the highlights of the evening. With its brooding piano intro and soaring climaxes, the performance underscored how Billie Eilish’s modern ballad fits seamlessly into the Bond canon, bridging the gap between classic elegance and contemporary melancholy.

The show did not simply trot out the obvious hits but paid homage to instrumental scores and less mainstream entries in the Bond repertoire. These selections showcased the depth of musical talent onstage and reflected a genuine reverence for the franchise as a whole. Enthusiasts will have been thrilled to hear pieces like “Bond 77” and John Barry’s atmospheric incidental music, often overlooked in favour of the chart-toppers.

Q The Music is not merely a concert — it’s an immersive celebration of a cultural phenomenon. From the moment the first trumpet blasts through the Bond theme to the final applause, it holds its audience in a grip of suave nostalgia and high-octane showmanship.