review – Page 112 – A Young(ish) Perspective

REVIEW: SNAP!: A New Musical

Published on May 12, 2025 by Mark LloydLeave a comment

Not a show that is worth taking a picture of.

As the title suggests, “SNAP!: A New Musical” is a new musical which centres around a conniving photographer and his studio as he pursues his unfinished business. Book, music, and lyrics are all by David O’Brien, and it is directed by Jack Storm.

I usually like to start a review by highlighting the more positive aspects, however with this show there is little positive to highlight. Most of the issues seem to stem from the script. The entire conceit of the show, a machiavellian photographer manipulating the people around him in order to sleep with one of them, is threadbare and ill-thought out. The mastermind behind this whole thing is not responsible even slightly for his plan working, as it all comes down to an autocorrect error in a text which he had nothing to do with. Beyond this plot issue, the script is full of cliches and caricatures with no character having any proper depth to them, and a lot of the dialogue is unnatural and at times nonsensical. The funniest part of the script is when you have one of the characters posing for the camera in their underwear while holding a teapot, but this visual gag is not enough to sustain a show. With such a poor script it is difficult for any other aspects of the show to shine.

The cast themselves give some mixed performances, but you can see most of them working incredibly hard to try and make the words they are saying seem like they make logical sense, and trying to bring some emotional depth and humanity to their characters. The strongest performance is from Justine Marie Mead playing Sheila, the photographer’s assistant. This character seems to be the most well developed within the script and is given an emotional arc and pay-off, but she does also out of nowhere sing a song about desperately wanting to have a baby, which is never mentioned again either before or after the song. Hayley Maybury as Angela, the object of the photographers desires, gives a strong vocal performance alongside Mead, and their duet is the best performed song of the show.

The songs themselves had clunky and uninspired lyrics. One attempt at a clever song, with the names of cocktails being sung and being given different meanings, goes on for far too long and names more and more obscure cocktails and just ends up being a bit baffling. There is also an over reliance on polyphony, with the performers singing different lines and melodies at the same time. It is an effective tool if used sparingly, but it is used far too early in the show and far too often, so that it just becomes a confusing cacophony of noise.

Unfortunately, the directing of this show failed to seemingly even make an attempt to improve things. On multiple occasions, actors are left on stage with nothing to do while they wait for the next part of the song. The actors themselves are desperately trying to give something during these moments, but when they have obviously been directed to just wait on the stage, there is limited scope for them to save these moments. There is also a particularly egregious moment towards the end of the play where one character walks off the stage for no reason, other than to not look awkward while two other characters sing a duet to each other, before coming back on once they stop singing.

In conclusion, this show has a number of issues and faults and despite the best efforts and obvious talents of some of the performers, there is not much that can be done to save it.

REVIEW: TradFest – Bog Standard

Published on May 11, 2025May 11, 2025 by Claire McArthur1 Comment

Evocative storytelling

The tale of “Bog Standard” is anything but bog standard. Written and narrated by journalist and story-teller Rachel Pugh, and directed by Marion Kenny, it is the true story of how Rachel unwittingly uncovered one of the most important archaeological finds of the 20th Century – Lindow Man.

On a simply set stage, with seven standees depicting a boggy landscape, Rachel took us back to around 2000 years ago, during the Roman occupation of the British isles. Accompanying her on stage was harpist Lucy Nolan, with atmospheric harp and sounds from the natural world to set the scene.

Under a greenish light, we were transported to Lindow Moss, in the North West of England, and reverentially told the tale of a young prince of the Brigantes (no, me neither, but worth reading about!), naked except for a fur armband, who is due to to be sacrificed by his priests to make peace with the Romans, and secure future harvests.

With a change to pink-ish lighting, and we’re whipped to 1984, and a lovely harp version of Blondie’s Heart of Glass, as Rachel regales us of her life as a newly graduated reporter, working for the dizzying heights of the Wilmslow World. Armed with a tip-off of a foot being found in Lindow Moss, and her red racing bike, Rachel sped off hoping to uncover the secret of a modern murder mystery – that of Malika Reyn-Bardt, whose husband had been convicted of her murder, but no body found. Instead, she finds herself recruiting the county archaeologist and our young prince “Pete Marsh” is uncovered, dated to circa 60 AD, and ending up in the British museum.

The story has a lovely balance of humour against the facts of that week in 1984. The insights into Rachel’s thoughts at 23 (and the fate of her white suede shoes) and pinpricks of Northern humour provide a brightness that could easily have been lost to the dark subject matter. Together with some imaginative imagery, the scenes of the peat processing plant were brought to life in front of us in sharp relief. This is a short performance, but is the type of story you could easily see being a feature length performance, or a podcast series, and there were areas where I felt I wanted warranted more detail, and there were hints from Rachel herself that there were other stories to tell here.

The Netherbow Theatre in the Scottish Storytelling Centre is a cosy, comfy venue and well suited for this type of confessional storytelling. The house lights may have been a touch too high for my preference, but the sound and lighting changes were perfectly suited for this event. The changing lighting colours were an elegant way to demarcate the different timelines. Lucy Nolan’s harp playing and soundboard were an excellent match to the narrative, adding layers of depth and emotion, particularly in the climax of the story.

The intriguing subject matter and musical collaboration mean that this story would appeal to a wide range audience, especially the lightness of touch bringing a humanity to what could be a bog standard true-crime story, but proves to be much more.

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

REVIEW: A Festival of Korean Dance: Jungle

Published on May 11, 2025May 11, 2025 by Antonia ConstantinLeave a comment

Jungle is not a narrative dance, but an ecosystem of gestures and rhythms

It’s not often that a performance truly resists being captured in words, but Jungle, choreographed by Sung-yong Kim for the Korea National Contemporary Dance Company (KNCDC), does just that. It almost dares you to try and describe it, while at the same time insisting you simply experience it. Sung-yong Kim, whose philosophy centres on the belief that “dance is a movement that cannot be described in words,” stays completely true to that ethos. Watching Jungle is like witnessing a living organism evolve in real time, vast, elusive, and pulsing with life.

The performance opened with the 16 dancers walking in a slow, perfect circle beneath a shaft of vertical light. It was immediately ritualistic, the kind of image that calls something ancient into the room. The overhead lighting created the feeling of sunlight filtering through dense foliage of a deep jungle. One by one, dancers broke from the circle, stepping into the light and unleashing sequences of movement that were strikingly agile, yet almost non-human. At times, they seemed like creatures part organic, part mechanical, automatons with an animal’s grace.

There is a fascinating tension in Sung-yong Kim’s work between discipline and instinct, reminiscent in some ways of Merce Cunningham. Like Cunningham, Sung-yong Kim creates work that pairs classical precision with contemporary unpredictability. You feel the deep-rooted training of the dancers, but the forms they embody seem utterly new. Jungle is not a narrative dance, but an ecosystem of gestures and rhythms.

At one breathtaking moment, the entire group found verticality together in a rare pause in the fragmented energy and moved as one, swaying like a field of tall grass responding to wind. Then, in a flash, the structure dissolved again, returning to the asynchronous energy of solo and group exploration.

Light and music were essential collaborators in this work. The lighting design ranged from the ceremonial to the symbolic, at times evoking danger, at others simply the pure joy of being bathed in light. The music, never quite matching the movement but constantly responding to it, felt like a dialogue rather than a soundtrack. Throughout most of the piece, a low, steady beat thrummed beneath the choreography like a heartbeat of the jungle, quiet but insistent, ancient and alive.

Costumes were understated in earthy, neutral tones, allowing the focus to remain entirely on the bodies, the shapes they created, and the space they inhabited. The lack of ornamentation felt deliberate; in this world, it was the movement itself that carried meaning.

As part of The Korean Dance Festival at The Place, Jungle stands out as both a highlight and a statement of intent. This festival continues to introduce London audiences to the richness, diversity, and innovation of contemporary Korean dance, and Jungle was a powerful reminder of just how essential that conversation is.

REVIEW: ThePillow, The Sun and The Dinosaur

Published on May 10, 2025May 11, 2025 by Ke MengLeave a comment

A warm and genuine recount of Alzheimer’s

Alzheimer’s is a neurotic disorder that radically challenges how love is experienced, expressed, and recognised. Written and directed by Baihan Liao, The Pillow, The Sun, and The Dinosaur, gently attempts to navigate that challenge. The play circles around the tenderness between a granddaughter BOBO and her loving grandmother whose memories are gradually fading. However, for all its heartfelt intentions and visual beauty, the production often struggles to anchor its emotional and thematic weight.

The play is set on a large patchwork back wall with stitched sheets (Zidi Wu), with duvets and patch pillow on the ground, surrounded by light bulbs. It embeds a warm and nostalgic atmosphere that feels inhabited by memory and intimacy. It may also suggest the non-linear feature of memory itself which can be gently enclosed by the patch pillow.

There are many beautiful vignettes and moments happening in this space. For instance, there are several dancing sequences between Bobo (Chen Xu) and her granny (Bessie Wang) that move with silent, molecular tenderness. Another moment of raw emotional outburst comes from Bobo, where she feels emotionally overwhelmed by her unsuccessful artistic career, expressing how much she loves and misses her granny. Unfortunately, such emotional hallmark is downplayed by directorial blandness – no shift in lighting, no change of soundscape, no breath given, nor any kind of emphasis that could mark this moment. The production just let it go easily.

On a wider sense, the play is ambitious on many themes, ADHD and Alzheimer’s, the contrast between familial love bonds and career aspirations, school bully, first love and romance…but none are properly interweaved into a story, but rather scattered in a quite chopped-up presence, lacking either dramatic or narrative structure.

For instance, The figure of the dinosaur (Jie Liu) leaves rather vague. Perhaps inspired by A Monster Calls, it holds symbolic metaphors for fear, ego and forgotten memory, but its appearance is random and unfocused. In fact, it could’ve been served as a storytelling vehicle for unbound imagination in that “pillow” world.

The play’s decision for a naturalistic acting style may also jar with its own surrealistic impulse. The very stereotyped “Granny” may clash with the show’s potential fluidity and dreamlike quality. As the other two actors are already playing multiple roles, why not instead adopt a more symbolic ensemble approach where multiple players play multiple roles? After all, Alzheimer’s is deeply entangled with the notion of body.

Who has the right to define love? Is love dependent on memory? Who validates love under cognitive decline? The Pillow, The Sun, and The Dinosaur hints at these questions and vaguely points out that memory isn’t fixed, but a dynamic set for continuous creation. Unfortunately, it doesn’t articulate them properly enough, either through emotional resonance, or a profound invitation of thought-provocation.

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.