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REVIEW: GUSH

Published on by dougalthomson94Leave a comment

Rating: 4 out of 5.

A powerful and incredibly well-acted show

As the audience funnels in, we see a clinical white stage which is centred with a knitted box, filled with pillows. Then, in a flash, we are instantly introduced to Jess Harwick’s heavily pregnant Ally. From the offset, she blurts out her annoyances and frustrations surrounding her life and circumstances before taking us through a story of overcoming the barriers that have stopped her from embracing her innermost desires.

Harwick is remarkable in the play. She slickly gets you on the side of her character and brings life to this world we are brought into. She seamlessly embodies not just Ali, but a host of other characters in this story. Whether it is the well-meaning, neurotic and slightly useless husband, the seductive and mysterious muse or the distanced childhood friend, Harwick brings a true sense of life to them all.

Harwick’s performance is only heightened by the level of the writing, which is superb. Jess Brodie does an amazing job in taking us through the story with a deft hand. The exploration of pregnancy and sexuality is beautifully crafted, honest and does not shy away from the bleak moments that are true of all things in life. This is a journey, and you want to join it through to its somewhat haunting ending.

The production as a whole was not without some issues, and while they did not take away from the story, they almost limited it. The staging design was striking, but the clinical white surrounds left very little for the actor to work with beyond the cushioned pit at the centre. Becky Minto does create an image on the stage that stays in the memory, but in doing so, leaves little for the actor to play with. 

Lighting was well used by Renny Robertson for the most part and really added to the world, however there were moments of time passing, when the stage went dark, that pulled you out of the play. The powerful message almost became lost in those moments. Becky Hope-Palmer did very well in crafting this world out, but was burdened to a minimalist space, with repetitive movements almost showing the limitations that held the show back.

In saying this, the show was overall fantastic, and with some finetuning could become a tour-de-force. There are lasting images from this that will live in the heads of the audience for a long time once the house lights come back on.

Really, I just want to know what happens next.

GUSH runs until the 25th April at The Traverse Theatre in Edinburgh.

IN CONVERSATION WITH: Philippe Lafeuille

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with the French choreographer, Philippe Lafeuille to talk about his show Tutu.

TUTU runs from 11 – 14 February Sadler’s Wells East London.  For more information and to book tickets please click here https://www.sadlerswells.com

TUTU playfully mocks ballet while clearly demanding exceptional technical precision—how do you choreographically balance parody with respect for the form?

 The essence of the show is choreographic, therefore demanding. I’ve danced all my life and I still have that same high standard, even though I’m now directing. I respect this art form more than anything in the world; it’s my passion, so dance comes first, followed by theater and clowning and gags. For the classical dance portion of the show, for example, the dancer is on pointe in a tutu, and I wanted the audience to be immersed in a truly classical ballet, with perfectly executed classical technique. I’m playing with the codes, because I know them. A technically rigorous interpretation is essential for credibility.

The show features an all-male cast inhabiting more than 40 characters, often through traditionally gendered imagery. How conscious were you of gender politics in shaping the movement language, and where does humour allow you to go further?

For me, there’s no question of gender in dance: dance is genderless. A dancer always plays with masculine and feminine. I didn’t think about gender at all when I created the show. With this show, I mainly want to demonstrate that with our bodies we can be multifaceted. Humor is a powerful tool for seduction, allowing us to make people laugh but also to convey messages. Humor is quite rare in dance; I’m simply trying to demystify it, because sometimes it takes itself too seriously. Thanks to the humor I weave into the show, it also makes dance more accessible to the audience.

TUTU makes Danse laugh…

After a decade of international touring, what aspects of TUTU have evolved most through audience response rather than initial choreographic intention?

I haven’t changed a thing about TUTU since its creation. You don’t change a winning formula. We’re about to celebrate the 800th performance in London, and I’m the first to be surprised by the show’s success. I often wonder what it is that makes TUTU such a success, transcending time and borders. I also like that it remains a mystery. 

You reference London audiences as “curious” and “ready to laugh and be moved.” Does performing in the UK change how timing, rhythm, or physical comedy lands onstage?

I’m not changing anything about the show for London. The show is the same in Paris, Taiwan, or Montreal. However, I feel that the London audience is a discerning audience, with a certain dance culture. There’s a huge range of shows in London, so you can tell the audience is eager for them. TUTU is very close to this Anglo-Saxon concept of entertainment. 

The work spans classical ballet, contemporary dance, hip-hop, and popular culture references—how do you ensure stylistic clarity without the piece becoming a collage of jokes?

The stylistic clarity comes from my fabulous performers, who are multifaceted and capable of offering different dance styles with their own specific techniques and codes. When it’s tango, they dance tango; when it’s ballet, they dance ballet, etc. There aren’t only jokes in TUTU; there are also moments of beauty and poetry. Everything in TUTU is choreographed; the love of dance is the essence of TUTU. 

TUTU is often described as “family-friendly,” yet it includes partial nudity and sharp satire. What does accessibility mean to you in dance, and where do you draw the line between inclusion and provocation?

There is no nudity in the show; the dancers always wear costumes that correspond to the situation or the story I want to tell. I don’t like provocation; it has never been part of my work. When I created TUTU, I wanted to make a dance show for a very wide audience, and especially for those who say that dance isn’t for them because they don’t understand the codes. I specifically wanted TUTU to give as many people as possible access to dance. Because my project is to bring dance everywhere; dance is my whole life, my passion. I’m a utopian who believes that if the world danced, the world would be a much better place. So let’s dance! 

REVIEW: Carols at the Royal Albert Hall

Published on by annieyezhoua29f00172fLeave a comment

Rating: 5 out of 5.

The most magical and festive performance in London  

By now, Carols at the Royal Albert Hall has firmly established itself as a Christmas staple, with the tradition stretching back more than a century. The performance brought together an impressive lineup: the Royal Choral Society, the National Youth Choir, the British Imperial Military Band and the Royal Philharmonic Orchestra, whose combined sound filled the hall with warmth and joy. On the evening I attended, the concert was conducted by Richard Cooke, with Josie d’Arby acting as presenter, and a standout performance from the soloist Kyra.

Let’s begin by setting the scene. This was, without question, the most festive I’ve felt in London all winter. From the moment you step inside the Royal Albert Hall, you’re immersed in the Christmas spirit with children and adults alike dressed in their finest festive outfits. But the most spectacular sight is the stage itself. It’s difficult to do it justice in words. Framed by two enormous, beautifully decorated Christmas trees, and crowned with a glowing Christmas at the Royal Albert Hall sign at its centre, the whole scene feels truly magical. The festive atmosphere spills beyond the stage too, with shimmering tinsel draped along the front of the balcony seating, catching the light and wrapping the hall in warmth. If there was a standout moment, it came at the start of the second half, when the performers re-entered in an array of playful costumes. The audience particularly loved seeing the Christmas trees get up and dance during Kyra’s beautiful rendition of “Rockin’ Around the Christmas Tree.”

The choirs took turns leading the programme, which was interwoven with moments for the soloists to shine. Each ensemble performed beautifully, their harmonies rich and clear, while the orchestra provided a generous sound that underpinned the evening with warmth. Much-loved traditional carols featured prominently such as “O Come, All Ye Faithful” and “Away in a Manger” before the concert reached its conclusion with the all time favourite “Hark! The Herald Angels Sing”. Alongside these classics, the audience was also treated to a selection of modern favourites, delivered by Kyra. I thoroughly enjoyed Josie d’Arby as a presenter; she had a very welcoming presence and provided really interesting insights on each of the pieces while also encouraging the audience to partake in the singalongs. 

It is impossible not to feel the Christmas spirit at an event like this. Between the joyous sing-alongs, the festive decorations and the warm moments of audience interaction, you’re all but bound to leave the hall feeling uplifted, festive and with a big smile on your face!

REVIEW: Beyond Broadway

Published on by ruthiooLeave a comment

Rating: 4 out of 5.

Beyond Broadway’s Footloose Delivers Twirls, Tunes… and Teen Tension

The Beyond Broadway Experience’s Footloose bursts onto the Festival Theatre stage with youthful energy and striking polish. With performers aged 8 to 25, this ambitious production showcases the next generation of musical theatre talent under the expert guidance of a professional creative team.

Directed by Murray Grant, Drew Gowland, and Malcolm J. Burnett, the show is fast-paced and full of life. Grant, alongside Laura Proudfoot, Sarah Kerr, Kieran Walsh, and Frazer Beckles, also leads a strong choreography team. The large ensemble handles intricate movement with confidence and synchronicity — not a toe out of time. While overuse of canon and triangle formations can feel a little formulaic, the choreography remains engaging, allowing for more advanced dancers to shine and some truly jaw-dropping moments.

Musically, the production impresses. Under Linda Stewart and Greg Davidson’s direction, the vocals are mostly tight and tuneful, with powerful ensemble numbers and well-balanced harmonies. A true highlight is Learning to Be Silent, beautifully performed by the mother figure characters Vi(Kirsty Montgomery), Ethel(Eve Houldcroft), and daughter Ariel(Rhianne McAllister) — a haunting and heartfelt moment exploring the suppression of women’s voices.

Rhianne McAllister gives a bold performance as Ariel Moore, bringing energy, physicality, and vocal strength to the rebellious preacher’s daughter. At times, her portrayal edges into overtly sexy territory — which may feel slightly jarring given the actor’s age — though it aligns with the provocative nature of the character. Bobby Duncan brings charisma and stamina to Ren McCormack, tackling the demanding dance role with confidence and delivering strong vocals, despite a few stumbles – though who among us could be pitch perfect after an acrobatic dance routine ending in a jumping split?!

Individually, both leads impress — but together, they lack genuine chemistry. Their interactions feel somewhat rehearsed rather than emotionally connected, making their romance seem more functional than heartfelt.

Harry Aspinall and Kirsty Montgomery stand out as Reverend Shaw and Vi Moore, delivering mature, nuanced performances that anchor the show’s emotional arc. Millie Wilson is a true delight as Rusty, radiating energy and belting joyfully through her numbers, while Huck Whittle’s Willard offers endearing comic relief. Their will-they-won’t-they relationship really captures the awkward glances and blushes of a high school crush!

The production occasionally overwhelms visually, with large scenes feeling cluttered and the use of projections sometimes more distracting than helpful, especially when the screen transitions seem to fall behind at times. It is perhaps a result of this constant visual busyness that the quieter moments on stage oddly feel too empty — the contrast makes them feel underpopulated or emotionally flat, even when the performances are strong.

Another notable point is the heavy makeup worn by many young cast members, which at times feels at odds with their age – a reminder of the challenges in balancing stage tradition with audience perception.

Despite these small drawbacks, Footloose is a vibrant, high-energy production that showcases the talent, discipline, and passion of a large and enthusiastic young cast. Beyond Broadway Experience delivers on its promise of a professional-standard platform for youth theatre and it’s a testament to their skilled team and passionate members that such a huge production has come together at this standard and with so little rehearsal time! There are sure to be a few faces in this cast we will see again!

IN CONVERSATION WITH: Alex Tay

Published on by Tabitha JamesLeave a comment

We sat down with Alex Tay who has curated a concert at Wigmore Hall, London, on the 22nd February. Featuring pioneering ensembles EXAUDI and GSBR Duo, anyone attending will hear cutting-edge music about frostbitten giants, manic delusion, and ethereal lighthouses, composed by Alex and some of today’s most exciting experimental artists – Joe Bates, Cassie Kinoshi, and Linda Catlin Smith. Tickets here

Your upcoming concert explores themes like frostbitten giants, botany of the mind, manic delusion, and ethereal lighthouses. What drew you to these vivid, abstract concepts, and how do they shape the emotional landscape of the music?

The concepts have come from each composer taking part in the concert – it was more exciting to see what the lineup inspired in each of us! If I can expand on each image given a little, my piece draws from the life and death of Tony Hsieh, venture capitalist and ex CEO of Zappos, who believed he was turning into a crystal towards the end of his life and made nitrous oxide a regular habit. His death by fire (it’s unclear whether it was suicide) is a tragic irony considering he was the author of Delivering Happiness. I probably wouldn’t have noticed the news story if Hsieh didn’t have Taiwanese heritage – skin deep but my mum’s from Taiwan so it struck me. I kept reading and thought about everyone lost in my life, the isolation of feeling culturally or socially other and the need to self-validate by being the most successful (in Hsieh’s case money seemed to have been the validating factor, hence the title of the piece money & yes) but also the deep intoxicating desire for acceptance and communal love and this inner contradiction forcing out explosive, violent escapism. Oh and the piece is dedicated to my m8 and incredible violinist Enyuan Khong, shoutout 2 https://www.instagram.com/khongenyuan?igsh=NWw2cm96eXMwb254 .

Alterity is a theme in Joe’s piece too, which augments Exaudi’s voices with live electronic wizardry. His piece draws on passages of Rabbelais’s Gargantua and Pantagruel, 2 titular giants. In the novel, shouts, cries and other battle sonorities are thrown up in the sky and frozen as shouts and this metaphysical psychedelia is totally infused through Joe’s fantastical sonic conjuring of the text.

The front of our programme is another literarily informed piece, written by the true headliner of our gig, Linda Catlin Smith. The Lighthouse draws on Virginia Woolf’s, To the Lighthouse (it’s just come into public domain!), which evokes the vibrancy and glory of everyday life, the stillness and decay in tragedy and sudden loss. We’re so lucky that Linda’s been able to gift us her beautiful rendering of such an influential text.

The collaboration between EXAUDI and GBSR Duo brings together two dynamic ensembles. How did you approach composing for such a unique pairing, and what do you hope their combined sound will bring to the performance?

It’s almost too perfect a combo! The attack of piano/percussion, the sustain of voices, who can deny that fantastic colour, proved in Stravinsky’s Les Noces! And then there’s the character of the ensembles themselves: both Exaudi and GBSR bring such a focus and intensity to performance, the presence on stage is going to be electric. What both ensembles have achieved individually in the realm of new music is so inspiring, they’re fans of each other! Precision, virtuosity, conviction, they have it all! It’s just so dreamy.

You’ve included works by experimental composers Joe Bates, Cassie Kinoshi, and Linda Catlin Smith alongside your own. How did you choose these collaborators, and what connects their music to the themes of your concert?

I’m fans of all their work! And honestly just riding the coattails of their clout. I saw Joe put on a concert in St Martin-in-the-Fields with Sansara, 8 voices, live electronics, microtones, mesmerising. Cassie’s a pure musician, musicality’s popping off out of every neuron in that brain. Kind of just wanted a chance to see what I can learn from her. Oh, and we met when we were both writing for the LSO so I’ve been following all strands of her work ever since! And then Linda what else can you say about such an experimental music titan? I know both Exaudi and GBSR are fans of her stuff, so why not put people who really want to work together together?

I also picked really contrasting vibes! I have a really short attention span and find gigs which do one thing (often really amazingly) just aren’t quite my cup of tea. There’ll be at least one minute of music for everyone! Or 30 seconds? Whatever is cooler.

Anyway tl;dr im a fan 

Your piece, described as a ‘meditation on the mania of solitude,’ seems deeply introspective. Could you share how personal experience or broader societal themes influenced this work?

Well you know contrary to popular belief I’m a pretty sad guy, I listen to caroline polachek I go on short walks I make eye contact with cats I drink soy milk. Just kidding, if I can be real for a second (mews), we’re never alone and always alone nowadays blah blah phones social media etc. So much art nowadays talks about the commonly transitory, illusive, immaterial (shoutout 2 Sophie) nature of self-image. Not since the invention of the mirror have we had such a clear grasp on (in a very specific sense) what we are/what we think we are/what we’d like to be. It’s too real, too much, and too honest I have to run away. And now there’s a hall of mirrors too dizzying to fully comprehend ourselves, so we have to outsource to others: validate me by giving me a like or follow please! It’s not original to point this out and its not even original to feel this way. AND YET it’s all I can think about, either directly or indirectly. It would be so great to be anything other than this utterly unoriginal homunculus, can I just have one original thought i my life PLEASE?! Anyway come see our gig on Feb 22 13:00 Wigmore thanks.

Promoting contemporary classical music to new and young audiences is central to this concert’s mission. What do you think makes experimental music accessible, and how do you hope this performance will resonate with younger listeners?

YES, IF YOU ARE NEW AND YOUNG BE THERE PLEASE. There’s £5 for under 35s! If you’re under 35 you’re officially new and young! Seize your youth! Seize the cash discount! Be young and have money! (Just if the discount doesn’t seem to be applying log out and back in again).

I just want to say things to people who might get them and I want to say things which are relevant to people’s lives. Like a conversation! That’s not to say old things can’t be relevant, the Roman Empire lives on through Paul Mescal. But I want to make/curate things that people can see themselves in because you have to step into something to be transformed.

I don’t know if this concert is accessible! I’ll be surprised if everyone tells me it is. But I do know that I and every other artist involved in this concert is bursting at the seams. We have so much to give! Don’t you want to hear it?

REVIEW: A Good House

Published on by Ben BreenLeave a comment

Rating: 4 out of 5.

A fascinating kitchen-sink drama interrogating race, class, and assimilation

In the aspirational neighbourhood of Stillwater, a mysterious shack has sprung up, clashing with the cul-de-sac’s uniform new-builds. Its owners are nowhere to be seen, and the neighbours want it removed.

This premise anchors A Good House, taking the audience into the living rooms of three Stillwater couples. The shack looms at Andew and Jess through the front window of the house they’ve just moved into; Lynette and Chris are trying to start a community action group to petition for eviction; and Shihle and Bonolo are the couple everyone else wants onside. Of course, there’s also the shack’s living room conjured from the residents’ imaginations: masses of people crammed around an open-coal fire belching smoke.

But this isn’t really about the shack, it’s about the fears it comes to represent: of being defined by a single characteristic; being confined in the social pecking order; not knowing what you can and can’t say any more; and the happened in “the next town over”. These deeper issues underpin the simmering drama which makes A Good House compelling, with every conversation about the shack morphing into a wider discussion of identity. Sihle (Sifiso Mazibuko) has struggled to overcome being seen as “another black guy”, whilst his wife Bonolo (Mimi M Khayisa) worries her privileged experiences make her “not black enough”. Meanwhile, Andrew (Kai Luke Brummer) and Jess (Robyn Rainsford) are concerned that everyone can see they don’t belong, and Lynette (Olivia Darnley) and Chris (Scott Sparrow) fear the judgement of not taking “the PC line”.

This claustrophobic atmosphere ratchets up the drama one conversation at a time, gradually building tension as the shack becomes a totem for each couple’s worries. A Good House is at its strongest when these tensions boil over, especially in a gripping clash between Sihle and Bonolo about whether the shack dwellers deserve eviction. And – really – whether they connect more with the “insiders” or “outsiders” in their community.

Skillful writing ensures the debate remains nuanced throughout, with each couple forced to explore their own prejudices. Amy Jephta’s rapid dialogue and believable characterisation means there’s no obvious “good side” to root for, and as the characters’ positions evolve over the course of the play, so do those of the audience.

A Good House’s comedy is equally slow-burn, relying more on character and situation than punchlines. A slow start ramps up in laughs as the audience gets to know each couple, encouraged by well-placed callbacks to earlier conversations. Sparrow’s physical comedy and Brummer’s rapidly cycling emotions also provide some laughs, but the reliance on uncomfortable silences and middle-class awkwardness feels overplayed by the end. Instead, it’s when A Good House eschews this comedy and commits to the drama it’s at its best, with Mazibuko and Khayisa’s evocative, powerful performances stealing the show.

The production itself is put together with confidence, as set design and lighting amplify a building sense of unease. The shack is an omnipresent menace at the back of the stage, but often obscured by the walls of each couple’s living room. A touch of folk-horror emerges as Andrew becomes convinced the shack morphs between scenes, but the script misses an opportunity to explore this intriguing idea. In group conversations, spotlights crash to Sihle and Bonolo, amplifyig the intimacy of their relationship even in disagreement.

A Good House treats its audience to both kitchen-sink drama – the concerns of middle-class suburbia – and a much wider exploration of class, race and what it means to “fit in”. Told with sensitivity and nuance, this is a story both thought-provoking and entertaining. Whilst its comedy occasionally gets in the way of the drama, what drama it is!

A Good House plays at The Royal Court until 8th February, with Thursday and Saturday matinees. Tickets can be purchased here.

REVIEW: Come From Away

Published on by rosagatleyLeave a comment

Rating: 5 out of 5.

“A life-affirming musical about the importance of community.”

Somehow ‘Come From Away’ has managed to evade me since it opened on Broadway in 2017, despite me being a massive musical theatre fan. Hearing only positive things from others who had seen it, I was thrilled to be reviewing the show for its Manchester debut at the Lowry Lyric theatre.

I am pleased to say that it exceeded every one of my expectations. Set in the wake of the events of 9/11, ‘Come From Away’ tells the story of the remote Canadian island of Gander, and the community that banded together to welcome thirty eight grounded planes after the closing of the American airspace — around 7000 people from around the world. It is a vital exploration of community spirit and kindness; the idea that everyone has a story, and what a tragedy it is when those stories are cut short. It’s the ultimate Christmas show you didn’t know you needed.

What is most impressive writers about Irene Sankoff and David Hein’s production is its ensemble cast, portraying both the grounded ‘plane people’ and the Gander residents. At times it felt as though there were at least thirty actors onstage, where in reality there were only twelve, working together seamlessly throughout. It is simultaneously casual and slick, with the cast driving the story forward from the minute the lights go down. There is no wasted time. You forget that you’re watching a musical, and the preconceptions that comes alongside that are pushed aside. Instead, it’s a story told with music, where the music is vital and interwoven — there is little time for applause after numbers. This is truly an ensemble piece, reflecting the theme of community of the show, with each character brought to life with the utmost care and respect.

Amanda Henderson is a warm and energetic Beulah, whilst Daniel Crowder and Kirsty Hoiles portray the awkward and immediately loveable Nick and Diane. Sara Poyzer gives a fantastic rendition of ‘Me And The Sky’. But really every cast member has their moment, each inviting you to invest in the story a little bit more. The cast are just as welcoming as the residents of Gander were to the ‘plane people’ over 23 years ago. Strikingly, the actual events of 9/11 are sidelined, perhaps reflecting the lack of information many people had without phones in 2001, but also placing emphasis on the millions of stories that occurred around it. The timeline of the tragedy as we all know it lingers menacingly in the background, a sobering reminder that what we are seeing is all based on reality. But alongside it we are offered stories of warmth and survival, and these were real too. There are still beginnings amongst thousands of endings — the sparks of a new relationship, or a rare bonobo chimpanzee having a baby. These are the glimpses of hope we must remember when the world feels a continuously dark and overwhelming place.

‘Come From Away’ is perhaps the warmest thing I have seen this year. Instantly loveable, with a crucial message to share, it is a vital piece of theatre that needs to be seen. In the words of Claude Elliott, real life Mayor of Gander in 2001brought onstage at the end alongside other original Gander residents and plane people — “Come and see this show to see what love and kindness can do.”

REVIEW: The Wondrous Conveyance of Stella Estrella

Published on by ayoungishperspective1Leave a comment

Rating: 4 out of 5.

“The most vivid gallery of dead characters.”

Co-written by the Irish theatre maker Hannah O’Reilly and American actor Kylie Brady, The Wondrous Conveyance of Stella Estrella is an immersive comedy show taking the form of a séance with a certified medium who specializes in mediating communication between the living and the after-life. Throughout the show, the medium will be the vessel for various spirits and an opportunity for them to deliver their message to the living. And God knows this woman takes the job seriously: “eight souls at least or your séance is free”. For an hour, this piece will take the audience for a ride and flirt with the ideas of death and legacy with both vulnerability and a great sense of humor.

First thing first: the concept of the show is great. Whatever we believe in regarding what happens in the afterlife, mediums, just like astrology or wizardry, have always been a constant source of fascination, and once again it doesn’t miss. With a simple circle of salt, a skull, a couple of books and an old chair, the cozy space that is the Et Cetera Theatre is immediately transformed into a mystical sanctuary. No questions asked, we’re there, let the magic happen.

We can read on the program that this project is the product of two artists’ instant connection in an improv class and it shows. The show jumps from one register to the other with the freedom that only improv-based devising can create. The characters that will take possession of Stella Estrella are all colorful, bigger than life. Seeing the show, you can sense the complicity of Brady and O’Reilly as the performance and the direction feed each other. As weird as it can get, as a whole, it just flows

The immersive aspect of the show really helps build this world. From the get go, Kylie Brady frontally addresses the audience as her customers, there’s no fourth wall in such places. The audience has therefore no other choice than accepting the terms of the contract and jumping on board. Considering that the play is going to explore our relation to death for an hour, this genre could be tricky. To avoid that, Brady embodies this very warm and, although very obviously flawed, funny and relatable character and holds the room brilliantly. She creates just the right distance to make sure we remain safe while being very much engaged. The sobriety of the aesthetic makes it easy to stay in as well. The light and sound subtly support the action without catching our attention. The performance is at the heart of this project.

Performance wise, Kylie Brady really does a great job. All the characters are very defined, very different and all very believable. She jumps from big comedy to intimate confessions beautifully. She uses her passion for movement to fully realize the characters physically, it’s pretty impressive. It’s a full gallery of characters that are coming in and out in an hour.

My only issue with the show, is that maybe this gallery of characters is too large. In an hour, Stella Estrella gets the visit of 8 souls, and it might be a bit too much. As it goes on, we get used to the concept and it gets difficult for them to keep being surprising, and speeding up the transitions make us struggle to see the impact that all these visits have on Stella. The form itself can also be a bit tricky for them at times. The direct address to the audience works very well most of the time, and it’s great to keep the audience in this safe place where they don’t have to interact. However, the show is handled so well that it’s hard to believe that she’s actually talking to us live, which can put the audience in a passive position at times.

That being said, the show as a whole is really worth it. Kylie Brady and Hannah O’Reilly deliver a fun, colourful and warm show that will make you appreciate the medium séance, whether you believe in it or not.

REVIEW: If All Else Fails

Published on by Ke MengLeave a comment

Rating: 1.5 out of 5.

“Your most horrifying experience of direct address for 85 minutes”

Devised and performed by Cathy Naden and Seke Chimutengwende and directed by Tim Etchells, If All Else Fails brings the curtain down on Forced Entertainment’s 40th anniversary celebrations. Having enjoyed and relished the brilliance of L’Addition, If All Else Fails comes across like an unexpected car crash, chaotic and jarring, shattering my mind into miserable and disjointed fragments.

“Fragments of a language lesson.” Says the programme. It is indeed a lesson, as the performance duo directly talks to the audience with repeated stuff like “You are bad people. We are good people”. The language starts to variate when more adjectives are added, but the mode remains unchanged. When it comes to a certain point where the duo pretends to ask the audience to make a choice, you cannot help but sneer disdainfully: not only because it is out-dated, but also because of its apparent insincerity.

To be honest, there might be some conceptual underpinnings worth our reflections: gradually and vaguely, you may sense that those repeated pronouns “you” and “we” clearly denote the performers and the audiences, and in those repetitions, the show awkwardly attempts to explore their relationships, as well as the nature of performance. Till the very end of the show, they finally point out the significance of feeling. However, what they have claimed is exactly what they fail to present. Strangely, you cannot “feel” anything throughout the performance, because there’s no genuine engagement even in the moments of direct address.

While we all know Forced Entertainment demonstrates expertise in repetition and endurance, this could be executed in many ways other than enforced preaching. Why don’t I just go to the church? The lack of directorial staging has further exacerbated the issue.  For most time in the 85 minutes, the duo remains standing still. When one of them starts to move around, it feels rather perplexing and unnecessary.

Given show’s nature of direct address, Jim Harrison’s lighting mostly remains natural shared light with a set of Source Four and Fresnel lights. At the beginning of the show, the shattered Source Four lights, together with the soft wash of the Fresnel lights, creating a fragmented effect on the stage that embeds a poetic montage. To some extent, it is the lighting design, combined with Tim Etchells and John Avery’s soundscape, that burdens all the theatricality of the show, mending up the performance’s dull, mechanic repetition.

If All Else Fails bills itself as a lesson and a test. But how can a lesson or test able to ignite emotions or feelings? Ultimately, this is a show that contradicts its own claim, leaving its audience disengaged and its message unfulfilled.

REVIEW: Nine Sixteenths

Published on by Miles MorganLeave a comment

Rating: 4 out of 5.

“Nine Sixteenths is a fast, fun multimedia look at iconic black female role models.”

At the Superbowl half time show in 2004, 19-year-old Justin Timberlake exposed 37-year-old Janet Jackson’s breast and nipple to a huge live TV audience for nine sixteenths of a second. This brief ‘wardrobe malfunction’ was seen by 150 million viewers and it derailed Jackson’s career for many years, while Timberlake’s thrived.

The incident caused a furore that impacted heavily on Jackson and undoubtably damaged her career. Her music was blacklisted by numerous TV and radio outlets and her 2004 Grammy Awards invitation was revoked. The controversy halted plans for Jackson to star in a Hollywood film and overshadowed the promotion and of her album Damita Jo. Conversely Timberlake was welcomed at the Grammy’s and suffered little negative backlash.

Was it a publicity stunt? Who was invested in the backlash? Who joked over her humiliation? How have all those involved profited since? What does all this have to say about the demographics of who controls the media, and the ways in which black women are scrutinised in the public eye?

Nine Sixteenths is a fast, fun multimedia look at iconic black female role models. It is created by artist and theatre-maker Paula Varjack and unpacks the media rise, fall and rise again of Janet Jackson, and what this has to say about how black women are treated by the media. The show premiered at the Pleasance Theatre this week, neatly coinciding with the US Presidential election which expectedly received a timely reference.

Joining  Varjack are Pauline Mayers, Julienne Doko, Endy McKay and Livia Kojo Alour. Together they go on a thought-provoking journey exploring themes of representation and pop culture with a wave of nostalgia for the early noughties, along with the hopes and dreams of these black female performers, all through a visual variety of devised theatre, dance and lip sync.

The show explores coming of age in the 1990s and how hugely influential Jackson was, especially for young black women. It is fast-paced, witty in the right places and serious when it needs to be. The venue and audience are transported to a world of stadium concerts and TV studios which amplifies the pivotal role Jackson played in modern popular culture, paving the way for Britney Spears, Beyoncé, and Rhianna amongst others. 

Varjack says: “Janet Jackson was a tremendous icon to me at a time when I had relatively few black female artists to look to. She was a game changer in so many ways – and did it on her terms. After her ‘wardrobe malfunction’ the music industry let her down, in ways so effective that many thought her career faded away. Yet she kept working, making music and films and now, finally, the injustice of what happened is being recognised. In the end, it’s the art that matters. As an iconic role model for many black women, and an outspoken ally for the LGBTQL+ community she made great art. The show also looks at why role models matter and the lack of older female role models of colour and the role that (largely) white male media executives play in deciding who thrives in mainstream pop culture.”

The show has a runtime of 75 minutes which is just about right. There are many productions in arts venues across the land which are 2+ hours long, which is fine if the content is interesting and entertaining enough to maintain your attention and enthusiasm. But if it does not maintain these then a night out at the theatre can turn into a chore when it should be a treat. 75 minutes is not too short but not too long either, and the old adage less is more is often very true.

The show continues at the Pleasance Theatre from 6th – 16th November before further London dates and a UK tour in 2025.