Tag: review

The Globe Theatre’s Hansel and Gretel, adapted by Poet Laureate Simon Armitage and directed by Nick Bagnall, offers a visually imaginative and occasionally witty take on the classic tale. With its pantomime-inspired humour and modernized undertones, it promises something for all ages. However, this attempt to cater to both children and adults leaves the production struggling to find a clear identity, ultimately resulting in a charming but uneven experience.

The narrative retains its core elements but incorporates contemporary themes like war, grief, and survival, lending a sense of relevance to the familiar story. Yet, these elements often feel tentative, as though unsure of their place in the production. The show walks a delicate line between playful whimsy and earnest commentary yet fails to fully embrace either. This indecision prevents the deeper ideas from resonating while tempering the joyful exuberance that could make it a true delight for younger audiences.

Visually, the production is a feast for the eyes. Designer Rae Smith’s inventive staging transforms the Globe into a vibrant woodland, with bold textures and colours creating a magical backdrop. The candy-laden witch’s house is a standout, its vivid, cartoon-like quality dazzling the audience while cleverly highlighting the excess and temptation central to the story. These strong design choices enhance the show’s charm, even as its tone falters.

The performances are lively and engaging, with Ned Costello and Yasemin Özdemir shining as the titular siblings. Their playful chemistry and sibling squabbles bring warmth and humour to the production, anchoring the narrative in relatable moments of familial love. Beverly Rudd, as both the Mum and the Witch, delivers an energetic performance, but her portrayal leans too far into caricature, missing the opportunity to fully explore the darker, more menacing aspects of the antagonist.

For younger viewers, the production’s vibrant visuals and accessible humour will likely entertain. However, the lack of focus makes it harder to engage fully with either the lighter or darker elements of the story. Adults may find themselves longing for a bolder approach—one that either doubles down on playful absurdity or leans more heavily into the cautionary, symbolic nature of the tale. Instead, by attempting to strike a balance, the production feels restrained, avoiding risks that could have made it truly memorable.

Hansel and Gretel is a colourful and creative retelling that strives to appeal to all ages. Its moments of brilliance, particularly in its design and humour, shine through, but its reluctance to fully commit to a singular tone or vision ultimately holds it back. 

Running until 5th December, get your tickets here

Noel Streatfeild’s Ballet Shoes has been reimagined with flair by Kendall Feaver in this lively new adaptation at the National Theatre, directed by Katy Rudd (The Ocean at the End of the Lane). The result is a joyous, moving production that balances whimsical charm with heartfelt sincerity.

The eclectic and versatile set by Frankie Bradshaw is a true showstopper. Towering walls lined with fossils and books evoke the chaotic yet nurturing home of the Fossil sisters, while clever staging – including a beautifully choreographed motor car scene – adds theatrical magic at every turn. Ellen Kane’s choreography deserves special mention; while not pure ballet, movement inspired by its grace and poise is woven seamlessly throughout, enhancing the storytelling (which has ballet firmly set at its center) without overshadowing it.

The story, centred on the three adopted sisters Pauline, Petrova, and Posy Fossil, shines with a message that no matter how talented you are, kindness, humility and hard work is essential to forging your path. Feaver’s adaptation stays true to the novel’s core themes, while thoughtfully updating elements, including a diverse casting approach that subtly underscores the sisters’ individuality and breathes life and modernity into the supporting cast.

Yanexi Enriquez as Petrova delivers a delightful tomboyish enthusiasm, while Daisy Sequerra captures Posy’s precocious confidence, balancing her impertinence with an undeniable charm. Grace Saif’s Pauline is compelling, though her character’s development feels slightly underexplored by the script. However, Pauline’s moments of friendship with Sonya Cullingford’s Winifred offer some depth and provide a touching subplot that highlights the importance of resilience and kindness.

The supporting cast is equally engaging. Pearl Mackie’s Sylvia (Garnie) brings warmth and determination as the Fossils’ guardian, while Sid Sagar’s Jai Saran adds a touch of romance and humour. Jenny Galloway as Nana is a masterclass in comic timing, while Nadine Higgin’s Theo Dane and Helena Lymbery’s Doctor Jakes deliver nuanced performances that celebrate independence and creativity. Justin Salinger delights in dual roles as the larger-than-life Great Uncle Matthew (GUM) and the formidable Madame Fidolia, whose poignant duet with her past self (Xolisweh Ana Richards) cut through the frivolity and humour of the play, tugging on heartstrings and sparking much-needed growth from the three Fossils.

If there’s one minor critique, it’s the slightly generic soundtrack, which, while executed flawlessly, leaves you wishing for a more distinct musical signature to complement the production’s otherwise rich tapestry.

Ultimately, Ballet Shoes is a charming celebration of ambition, family, and the power of chosen connections. Whether you’re revisiting a childhood favourite or discovering it for the first time, this production offers something for everyone. Here’s hoping it becomes a Christmas tradition – I know I’ll be at the first at the door for a revival.

Ballet Shoes runs at the Olivier Theatre until the 22nd February.

Tealight is a one man show starring Josh Maughan, written by Maughan and Katie Bourne, and directed by Tobias Abbott and Saskia Mollard. It tells the story of Lucas, a young queer man navigating being single in a world seemingly filled with couples, while also working in the complaints department of Grindr, the infamous gay “dating” app. The show is a blend of comedy and tragedy but leans hardest on the serious and dramatic as the main crux of the show.

Maughan gives a good performance as Lucas and is able to make him feel very much like a real person with a strong exterior but vulnerability and anxiety hiding only just below the surface. Lucas is the character that feels most natural, with some of the brief glimpses of other characters that we get, feeling far more like 2D caricatures rather than real people in this world. The voiceover moments, where other characters are heard but not heard, work well with strong timing making these moments very slick and not interrupting the momentum of the show.

The lighting and sound was well done throughout. There was the almost ubiquitous strobe light effect to simulate a nightclub, and some other more subtle lighting, all of which worked well. The show was also well directed and made good use of the space and also the audience. The set is minimal, consisting of a single white office chair, but I did not feel that anything more was needed and any more elaborate staging would have felt superfluous. 

On a technical basis, this was a well done show with some well written dialogue, a good performance, and solid directing, and yet the actual thrust and messaging of the show I feel needed more work. In its short 70 minute run time this show is perhaps too unfocused with a few too many moments and scenes happening which seemed to have little consequence to the show as a whole. The extended scene between Lucas and his mother, while entertaining and providing us an insight into why Lucas is the way he is, I did not feel that this added much to the show, and very little if anything from this conversation actually seemed connected to the main narrative thrust. The show has an interesting premise and character, but these felt underexplored and underutilised. 

There were also some bizarre, almost offensive moments of the show. All of the female characters in the show are described in not the nicest of terms and this never came back as part of the narrative. Similarly, a line about queerness and blurring the boundaries of consent being inextricably linked is thrown out and then never explored, justified, or even mentioned again.

In conclusion, this show is well put together and does keep you engaged throughout, but I did leave the theatre wondering what purpose certain sections served. I would recommend this show to a young queer group of friends and encourage them to plan in time after the show to thoroughly discuss and dissect it, as I certainly left wanting to talk about it.

Tealight is playing at the Hope Theatre from the 4th – 7th December