Tag: whats on

FEATURE: Reaching New Heights: The Genesis by Copenhagen Collective

Published on by Tabitha JamesLeave a comment

This September, Sadler’s Wells’ Peacock Theatre welcomes Copenhagen Collective with The Genesis (3–6 September, 7.30pm), a breathtaking celebration of human connection and world-class acrobatics.

Fresh from its UK premiere at the Edinburgh Fringe Festival as part of The Danish Showcase, The Genesis brings together 16 international artists from across the globe — including Denmark, Australia, Peru, Canada, Uruguay, Chile, Portugal, USA, Germany, Ireland, France, and the UK — in a show that is as uplifting as it is visually spectacular.

A Global Gathering of Strength and Storytelling

At its heart, The Genesis is about the power of collaboration. Through daring feats of balance, flight, and strength, the performers create a living landscape of trust, conflict, and resolution. The work is not just about physical spectacle — it is a heartfelt exploration of what it means to rely on one another, celebrating difference as strength and interdependence as resilience.

“Bodies meeting become the living proof of the strength of human connection,” says the company, and it is this belief that drives the hour-long journey.

Acrobatic Theatre Reimagined

Performed on a stage transformed by ethereal lighting design from Stefan Goldbaum Tarabini and an original score by composer Leif Jordansson, The Genesis shifts seamlessly between the atmosphere of a cathedral and the pulsing energy of nightlife. The soundtrack, blending classical violin and piano with jazz, blues, and club-inspired beats, envelops the audience in a world both mystical and deeply human.

From stacked towers of performers to gravity-defying tumbles, the show layers storytelling with jaw-dropping physical artistry, drawing audiences of all ages into a world where cooperation triumphs over division.

From Copenhagen to the World

The Genesis premiered at Baltoppen LIVE in Copenhagen in 2024 and has already toured internationally to acclaim, with appearances at Festival Mueca (Spain), Stora Teatern (Sweden), Festival Montréal Complètement Cirque (Canada), and Riga Cirks (Latvia). London now has its chance to witness this extraordinary company as they continue their journey across Europe and beyond.

An Experience for All Generations

Moving, joyous, and filled with awe-inspiring physicality, The Genesis is suitable for audiences aged 6 and up, making it an inspiring evening for families as well as theatre lovers seeking a fresh take on contemporary circus.

📍 Copenhagen Collective: The Genesis
Peacock Theatre, London
Wednesday 3 – Saturday 6 September 2025, 7.30pm
Press Night: Wednesday 3 September

⏱ Running Time: 60 minutes
👤 Age Recommendation: 6+ (contains strobe lighting and haze)

For tickets and further information, visit: thegenesis.dk

REVIEW: Keli

Published on by Iona GoodallLeave a comment

Rating: 3 out of 5.

A soaring soundscape meets a down-to-earth story

If, after reading the programme, you’re thinking “this show sounds a bit like a Scottish version of Brassed Off”, you’d be half right. It’s also about a brass band based in a historical mining town, and the community created around it, but with a very different tone and sensibility.

The protagonist Keli is a teenager under pressure – from her mother’s mental instability, from college and work, and from the relentless drive of the brass band leader to encourage Keli’s full potential as a tenor horn player, as the town brass band makes national finals for the first time in 75 years. However as the pressure builds, and the big night goes sideways, Keli has to retrace her steps in order to find her path forward.

This is done through a mystical older man who she meets down a coal mine, somewhere between her own sleep-deprived mind and an actual abandoned mine shaft, who she must explain herself to in order to find her truth. It’s an odd framing device, and doesn’t really ring true for the spirit of the story. Brass band is about community, and Keli’s revelation is that she wants to be a part of that community and her town – so why is so much time spent on her one-on-one conversation with a figment of her own imagination?

The actual story Keli tells is strong enough to stand alone – Liberty Black makes Keli bold, vulnerable, and proud, although constantly hampered by a quota of one F-bomb per line throughout the show, which quickly loses its impact. Particularly powerful are her scenes with her struggling mother, portrayed by Karen Fishwick, the pair carefully threading the needle between love, anger, blame and fear. Olivia Hematti also shines in a fantastic dual role as both Scottish coworker without any desire past the next Dragon Soop, and London nightlife girlie whose zest for life can overcome the worst night.

Really the star of the show is the music, composed by writer Martin Green and led by on-stage MD Louis Abbott. It is masterfully worked in throughout the show, as natural as air, blending the mystical with the heartbreaking and the final triumph, when at last we get to see the entire brass band on-stage along with the performers. The swell of the music is so beautiful it makes you mad that we haven’t had them on-stage the entire time, especially in a show whose entire thesis is the power in community and communal musical effort.

For a show that’s so convoluted, it’s a simple message, one that’s effectively pulled off through the talent of the cast, the humour of the script, and the beauty of the music. If the rest of the muddle could be pared back, there’s a star of a show there.

REVIEW: Copla: A Spanish Cabaret

Published on by Victoria AshfordLeave a comment

Rating: 4.5 out of 5.

A fun, interactive performance unleashing the inner diva in all of us.

From queer migrant performer, Alejandro Postigo, we are taken on a cultural and political journey through the years: how Copla was born, whatits definition is, the importance of it in the Spanish culture and how it adapted under Franco’s dictatorship.

This is the first English translation of its kind, in which Alenjandro draws on his own personal experiences to help us to understand Copla. With clips of notable Spanish films and tv, he brings the essence alive with his alter ego La Gitana, casually slipping into different diva’s by simply taking a new costume hung up on the wall. We are drawn into the character and to what the song that being performed is about.

With a talented pianist and a violinist, Copla in all its glory is brough to life. Alejandro goes deeper, explaining how Copla was a tool for resistance, with women, ethnic minorities and queer people seeking solace from the regime through song and the impact that ideologies have had on Spanish society, almost questioning issues of identity, social norms, sexual identity and of place where you feel like you are living an in-between life.

With humour brimming, Alejandro really does engage with the audience, bringing a playfulness that I get the impression comes with Copla song. His audience interaction in this lecture-come-cabaret-come-singalong adds a fun element to an otherwise deep and meaningful performance. Simplistic staging-costume and props, brightly coloured against a black background and dramatic lighting for those diva moments, just help to place us in a Spanish bar, where I could imagine such songs being sung. Alejandro does a wonderful job of making the audience feel welcome: it feels like you are talking to a friend reminiscing about their life and the audience interaction, with himself and audience to audience, helps us to understand the connection that Spanish people have with their home when singing Copla.

Copla is an interesting piece. Not only does it introduce the audience to something that perhaps a lot of people haven’t been exposed to- but it is also in some ways, a history lecture full of humorous moments. Despite its cultural significance, there weren’t many times I felt out of place or felt like I wasn’t included in the joke, despite being from a different country and often not knowing the tv show or film being spoke about, which, I think if you boil Copla down to, is what it is all about.

REVIEW: Łukasz Twarkowski: The Employees

Published on by Ke MengLeave a comment

Rating: 3 out of 5.

A hardcore tech and aesthetic art installation experience absent of something exciting and new.

Adapted from Olga Ravn’s 2021 Booker-shortlisted sci-fi novel, The Employees marks Polish theatre director Łukasz Twarkowski’s UK debut. Little doubt, featuring hallmarks of European theatre, such immense slow-motion, live camera avant-garde design, and extra loud music, The Employees is indeed a theatrical awe, but unwrapped as bland and banal at its core.

Set aboard a spaceship workplace staffed by both humans and their humanoid clones (brilliantly played a cast of seven, probably signalling at the seven deadly sins), the show is told through fragmented witness statements. It endeavours to explore workplace ethics alongside human–humanoid relationships. As the humanoids become increasingly odd and rebellious, the corporation decides to terminate the spaceship, discarding their bodies while uploading their memories elsewhere.

A massive cuboid stands onstage, with four tik-tok style vertical screens fitted its four outside-walls, and four live-screens on top of the entire cuboid. The audience can walk around and peer into the cuboid anytime during the performance, ostensibly choosing which live moments to observe (no doubt for the night I attend, it’s the sex scene between two female humanoids). There are also three “mini-intervals”, each for three minutes, where the audiences are encouraged to move, to change seats, and to dance. However, the cuboid is almost conspicuously concealed from our views as it is all covered by colourful strips, making it rather hard for the audience to follow the live action.

As a result, audience participation becomes purely superficial formality. To follow the “narrative”, you must rely on the topped live-screen, and I’m still not convinced of the point of attending a theatrical event if the entire experience is spent watching screens. In fact, for most of the time, I feel I’m watching European art movies. There is a meta-theatrical moment I find amusing, where the spotlights and the corporate AI voice becomes self-aware. It is a witty annotation to the show’s theme, but to better understand the nature of human-object relationships, a standard humanoid-awakening plot is far behind.

Twarkowski unreservedly shows his muscles in the last termination part with a true sense of intensity. Twarkowski layers live slow-motion, live video (Jakub Lech) on the top screens, and delayed live video on vertical screens to amplify the termination of the humanoids, creating an astounding, apocalyptic mise-en-scène with some references to religious paintings such as Dürer’s Adam and Eve and Michelangelo’s Pietà. It’s a pure triumph both in hardcore technology and aesthetics, though some of the slo-mo stretches drag on. In fact, the whole production runs too long, exacerbated by drawn-out scene changes where nothing seems to change.

During the Q&A, a historian asked about non-human agency: What does it mean to say “I love you” to a stone that can’t respond? How does that shape our network of relationships, and ultimately, humanity? Like her, I was drawn to the promise of examining human–nonhuman dynamics, only to find the disappointing narrative fall back on the familiar trope of humanoid awakening and rebellion.

In an episode of Yes, Prime Minister, the BBC producer advises Jim to wear a dark suit against a traditional wooden background with leather portraits if he’s announcing something exciting and new, but a modern suit against a colourful background with abstract paintings and high-tech furniture if his speech is absent of creativity and originality. The Employees ultimately feels like the latter, I’m afraid.

REVIEW: Much Ado About Nothing

Published on by Antonia ConstantinLeave a comment

Rating: 4 out of 5.

The East London Shakespeare Festival’s “Much Ado About Nothing” at Crystal Palace offered a vibrant, community-centric experience with its modern, witty adaptation, immersive audience interaction, and charming performances set against a picturesque backdrop.

The East London Shakespeare Festival (ELSF) has once again proven their dedication to bringing joy and culture to the community with their vibrant production of “Much Ado About Nothing.” Founded with the mission to make Shakespeare accessible and enjoyable for all, the ELSF has made a significant impact on the local community, infusing neighbourhoods with the timeless charm and wit of the Bard.

I had the pleasure of seeing their performance at Crystal Palace on an exceptional sunny day. The picturesque setting, with a little lake behind the stage made Shakespeare feel at home in the park rather than on the grand stages of London. This idyllic backdrop added a magical touch to the afternoon, creating a perfect blend of nature and theatre.

The ELSF’s modern take on “Much Ado About Nothing” was both refreshing and delightful. The production was full of witty and super funny moments that had the audience engaged from start to finish. The boundaries between stage and audience were almost non-existent, fostering a sense of inclusivity and participation that is rare in traditional theatre. Audience members were directly addressed by the cast and had their biscuits eaten.  A unique pre-show mask-making workshop had everyone donning their handmade masks during the performance, adding an extra layer of fun and engagement.

Directed by Rosie Ward, this modern take on “Much Ado About Nothing” begins with Beatrice catching a flight from Luton to Messina, fleeing a broken heart and downing a few brightly coloured cocktails. Messina is portrayed as a lively party town, setting the tone for a production heavier on merriment than melancholy. This modern twist was reminiscent of the 90s romantic comedies, filled with charm and clever humour. The production captured the playful spirit and light-hearted characteristics of rom coms.  The clever use of modern-day references and scenarios added an extra layer of enjoyment, appealing to both longtime Shakespeare enthusiasts and those new to his work.

The production brimmed with excellent acting and undeniable charm. The two couples in the play had palpable chemistry, making their romantic entanglements believable and captivating. Their performances were energetic and heartfelt, drawing the audience into their world. Ursula Early’s incredibly funny and energetic Beatrice and Kieran Garland’s warm-hearted Benedick reconnected in scenes teeming with suppressed passion and witty exchanges. Their playful interactions frequently extended into the audience, fostering connections that blurred the boundaries between performers and spectators. I was especially impressed with Londiwe Mthembu’s Hero and Isambard Rawbone’s Claudio, but also with their acting as a team of rap-loving valets ensuring justice is done with a little help from the audience once again. 

Andrew Hollingworth’s ingeniously designed set, featuring painted panels and boxes, maintained a brisk pace and created the perfect backdrop for this cheerfully imaginative and captivating production.  Patrick Rufey’s  playlist, which that had everyone ready to party,   included Busted, Dua Lipa, Irma Thomas, Jackie Wilson, and Sophia Loren, as well as his original music. 

In summary, the East London Shakespeare Festival’s “Much Ado About Nothing” was a joyous and unforgettable experience. The beautiful outdoor setting, modern interpretation, and interactive elements created a truly unique theatrical event. ELSF continues to unite the community through the magic of Shakespeare, and I eagerly anticipate their future performances. Meanwhile you can still catch them:

  • 18-21 July at Clissold Park, N16
  • 25-26 July at Valentines Park, IG1
  • 27-28 July at Springfield Park, E5
  • 31st July at Langthorne Park Amphitheatre, E11
  • 3rd August at Wanstead Park, E11