Categories
Theatre News

THEATRE NEWS: Ugly Sisters transfers to New Diorama Theatre post Edinburgh Fringe Festival 2024

The multi-award-winning Ugly Sisters transfers directly from their acclaimed Edinburgh Festival Fringe run.  

WINNER: Untapped Award 2024

WINNER: Binge Fringe’s Queer Performer’s Award 2024

WINNER: The Brighton Fringe Award 2024

On the day The Female Eunuch is issued in America, a transgender woman in flapping draperies rushes up to Germaine Greer and says: thank you – thank you so much for all you’ve done for us girls.

Ugly Sisters is an operatic, heretic, parasitic and hallucinatory retelling of this very moment, of sisterhood, of all feminist history, returns to New Diorama Theatre after a run at Edinburgh Fringe.

Ugly Sisters is the latest offering from multi-award-winning  company piss / CARNATION, following their critically acclaimed debut at Soho Theatre 52 Monologues for Young Transsexuals .

PEOPLE

Writer/Performer – Laurie Ward

Writer/Performer – Charli Cowgill

Director – Joanna Pidcock

Movement Director – Naissa Bjørn

Set Designer – Cara Evans

Lighting Designer – Edward De’ath

Stage Manager – Daze Corder

Producer – Bronagh Leneghan

LISTINGS

Show: Ugly Sisters

Venue: New Diorama Theatre

15 – 16 Triton Street, Regent’s Place, London, NW1 3BF

Dates: 6 – 20 September 2024

Times: Mon – Sat 7.30pm

Tickets: £17

https://newdiorama.com/whats-on/ugly-sisters

Categories
Theatre Reviews

REVIEW: ⭐️⭐️⭐️ Evening Conversations, 📍Tara Theatre

A conversation with the Tamasha
co-founder proves to be a long-winded road circling endless (and repeated) discussions with family in this meandering fourth-wall breaking monologue: 

By Hamza Jahanzeb, 08.09.2024

Leaving Earlsfield station, and one turn to the right meant I found myself confronted with a tall building in a row of terraced buildings emblazoned with the words ‘Tara Theatre’. It is here that the Tara Theatre is housed. Founded originally in Battersea in 1977 (by a group of co-founders including Jatinder Varma MBE), it has a history of being a theatre that puts on politically charged plays – through a South Asian lens – given it was set up in the response to the racist murder of 17-year-old Gurdip Singh Chaggar.

Tonight was the time for me to go along to my first event staged in this space, and what a mighty space it is with an auditorium of 100 seats (a exposed London brick and oak wood wall lay bare) with a static set consisting of a chair, yoga mat/bricks and a suitcase. It features frank and open dialogue with her sons, which I had hoped had a more interesting nature of being included as opposed to impressions of each person.

The piece is titled Evening Conversations – a one-person play by Sudha Bhuchar (EXPATs, Mary Poppins Returns). Written by Bhuchar herself, the piece is directed by Kristine Landon-Smith and the music that engulfs you as you enter is by Arun Ghosh, which she gleefully states upon entering. It seemed to me like a promising premise: one of a mother, a wife and an actor-writer who wants to share her own experiences of navigating life (I liked how the writer’s parents fled two countries, and that was communicated in a rather profoundly moving way). Despite a few odd lines  (including one where she’s ‘crack[ing] open a cold one’), but the crowd aren’t in a pub – nor are the ‘call and response’ making it feel like it was cabaret-inspired, either. It’s a kind of humour which didn’t explore the funniness of diaspora plights. I feel, it didn’t land as fully on the night I went. There’s no explanation except the odd ramble, nor is there a journey to finding out about the characters in the Bhuchar family.

The millennial/gen z sons don’t appear to given enough nuance, and instead feel like a plot device to further the next ‘scene’. To me, there’s a missed opportunity given that there could have been some brilliant conversations, but this piece felt dated in 2024 (it’d had an outing a few years prior, with it being mounted at Soho Theatre and the Edinburgh Fringe in 2023), some re-working towards a tight(er) piece could have been beneficial to this piece’s trajectory.

For the entirety of this piece (around 70 minutes), the fourth wall is broken and we’re invited into Bhuchar’s leafy Wimbledon home. What’s jarring is the talk of austerity against the backdrop of a rather affluent area. People’s first-hand experience of ageing are always welcomed and I’m open to hearing them out, though this piece had me slightly confused. It was a bold move to begin a a show by applying make-up: the audience are invited to choose the lipstick to be applied, and whilst we weren’t in a concert nor had we a warm up act, this was audience participation bordering on cringe. Watching someone transform or touch up their make-up for the stage is inviting the audience to their world. One of constant appearances, I suppose. I do, however, wish the chronology of this piece started with some linearity and had greater focus.

The poetic nature of the script does mean that it picks a bit of a pace, though the need to understand two sons of mixed heritage turn to a rather banal mode of storytelling. The lines are littered with Punjabi authenticity – such as the word for girl i.e. kudhi (girl). I’d loved more of the double migration story of Bhuchar’s parents, for that was what lit up the room and wish more was investigated given the conversational tone of the piece.

Overall, this piece is suited for the diaspora or those wanting an insight into an interesting life lived, though I found it hard to engage in its fullness – the mocking accent of an Indian-accented parent felt like it was pandering comedic laughter to a certain audience. It felt to me like there was a missing piece of a jigsaw, that made it a show with a scatter-gun approach but one that I am quite glad exists given its bold topics. The title of this was ‘Evening Conversations’, and perhaps the show would have been more impactful were it a conversation between Sudha and her parents.

** N.B  Full disclosure: This review was written with the writer’s original thoughts  devoid of any external influence of the stakeholders involved from the production company, in exchange for a gratis complimentary ticket **


LISTING INFORMATION:

🗓️September 6, 5pm & 8pm

📍Tara Theatre, 356 Garratt Lane London SW18 4ES

www.taaratheatre.com

Tickets £15 (£12)

Age Guidance 14+

Running time: Approx. 70 mins

 

Categories
Theatre Casting News Theatre News

CASTING NEWS: New play by Bhatia and Bhattacharyya ‘King Troll (The Fawn)’ announced – starring Zainab Hasan, Ayesha Darker and more

Finalist for the 2023 Women’s Prize for Playwriting, King Troll (The Fawn) is a dark and otherworldly thriller about two South Asian sisters, desperate to escape the border regime without losing their humanity.

Is that even possible on this island?

A dystopian exploration of migrant experiences in all their complexity. This world premiere production stars Diyar Bozkurt (The Turkish Detective), Ayesha Dharker (Coronation Street), Zainab Hasan (Antigone, Regent’s Park Open Air Theatre), Dominic Holmes (Black Superhero, Royal Court) and Safiyya Ingar (The Witcher).

This play is Sonali Bhattacharyya and Milli Bhatia’s third collaboration as writer and director, following Chasing Hares and Liberation Squares. The duo first worked together on a Kali workshop and reading of King Troll (The Fawn) in 2021 and are delighted to be able to share a full production with audiences this Halloween season.

Riya and Nikita navigate the increasingly authoritarian island where they live in wildly different ways. Insecure, stateless, both desperate for somewhere to call ‘home’. Riya is offered the chance to create an advocate in the form of a homunculus, or fawn, and sees a chance to elevate herself above the cruelty meted out to others. Nikita tries to keep her saviour complex in check as she negotiates the challenges and hypocrisy of the third sector, where she supports migrant teenagers. Her deep connection with one client forces her to confront the limitations of her work. King Troll is about the troll that lives within all of us – whispering ‘me, not us’, and definitely ‘me’ first.

Speaking about the production, Sonali Bhattacharyya says “For the first few drafts, I tried to reflect the increasingly racist and authoritarian changes to immigration legislation in the story of Riya and Nikita, but each time I came to a rewrite, things had grown worse than I could have imagined. So I decided to push the story beyond day to day reality and fully embrace the horror. That’s when the fawn, the king of all trolls, was born.”

King Troll (the Fawn) is brought to NDT by Kali Theatre, who have been developing and presenting thought provoking contemporary theatre by women writers of South Asian descent for over 30 years.

PEOPLE

Writer: Sonali Bhattacharyya

Director: Milli Bhatia

Starring: Diyar Bozkurt, Ayesha Dharker, Zainab Hasan ,

Dominic Holmes & Safiyya Ingar

Designer – Rajha Shakiry

Associate Designer – Yimei Zhao

Lighting Designer – Elliot Griggs

Sound Designer – XANA

Movement Director – Iskandar Sharazuddin

Fight Director – Bret Yount

Casting Director – Arthur Carrington

Assistant Director – Neetu Singh

Production Manager – Chris Burr

Stage Manager – Alexandra Kataigida

Co-commissioned by New Diorama Theatre

LISTINGS

Show: King Troll (The Fawn)

Venue: New Diorama Theatre 15 – 16 Triton Street, Regent’s Place, London, NW1 3BF

Dates: 4 Oct – 2 Nov 2024

Times: Mon – Sat 7.30pm, Sat mat 3pm

Tickets: £22 full price (Previews £16, £3 unemployed/on strike)

https://newdiorama.com/whatson/king-troll-the-fawn

Captioned: Thur 24 Oct, 7:30pm

Relaxed: Thur 31 Oct, 7:30pm

Babes-in-Arms: Thur 31 Oct, 2pm

Categories
Restaurant Openings

New Restaurant Opening: Sael, 1 St. James Market, SW1Y 4QQ, London

Jason and Irha Atherton Debut Sael: A New British Dining Experience in St. James’s Market

Sael Offers a Fresh Take on British Cuisine, Featuring All British and Modern Culinary Innovation

London, August 2024: Irha and Chef Jason Atherton,
co-founders of global restaurant group The Social Company, will unveil Sael in St James’ Market this September. This eagerly anticipated 85 cover brasserie is Atherton’s homage to the diverse heritage of the British Isles, blending traditional flavours with global influences. Sael will exclusively feature ingredients sourced from the British Isles, showcasing a menu that is accessible and hyper-seasonal, with interiors that exude the energy and swagger of the Cool Britannia era.

Atherton has assembled the entire team from his now closed Pollen Street Social restaurant to bring their renowned quality and innovative approach to cooking to this new venture.

At the helm of the kitchen is Executive Chef Dale Bainbridge, formerly Pollen Street Social’s Head Chef for ten years. Dale said of the new opening: “Sael will depart from the traditional and constrained three-course meal structure and feature a diverse array of small and large dishes, showcasing modern culinary innovation at affordable prices. Sael will pride itself on sourcing the finest local meat and fish, ensuring every dish reflects the quality and authenticity of our regional ingredients, with a particular focus on woodfire cooking.”

Sael will feature a dynamic menu where guests can choose their base ingredient—whether vegetable or protein – cooked on the wood-fire grill—and then customise their meal with a variety of sides. The menu highlights include Orkney scallops, Cumbrian lamb, Carlingford oysters and Highland wagyu. Each dish focuses on ingredients exclusively sourced from the British Isles, inviting both Londoners and visitors to savour the finest British flavours and charcuterie from Chef Brett Graham’s farm.

The brasserie will also offer inventive dishes such as a mixed grill featuring a variety of British meats, a hearty Cumbrian lamb hotpot, and a unique hundred-layer heritage snail and ox cheek lasagne. For those with a sweet tooth, Sael’s dessert menu will bring back beloved classics from Pollen Street Social, including a comforting jam roly poly with Jersey milk and a creative twist on bread and butter pudding.

Jason and Irha Atherton, Co-directors of Sael said: “With Sael, we set out to create the ultimate destination in London for anyone seeking the best British food in a relaxed and vibrant setting. Opening a quintessentially British-style brasserie has been a long-held dream of ours, and we’re thrilled to finally bring it to life. We can’t wait to welcome guests to experience our unique and innovative dining experience, all at accessible prices.” Dinner will be £85 per head, a set lunch menu for £35, and a pre-theatre option at £35 for three courses and two courses for £30.

“We are thrilled to bring over the brilliant team from Pollen Street Social, whose talent and dedication have been integral to our success. Dale Bainbridge, who joined Pollen Street Social as sous chef in 2013 and rose to head chef in 2015, will be joined by the exceptional Sam Mills and Giacomo Della Brutta at Sael, serving as Head Chef and Restaurant Manager respectively. Their wealth of experience and creative prowess will ensure our guests enjoy the same exceptional quality and innovation that have defined our culinary journey.”

Sael’s beverage programme will be carefully curated, featuring a wine list with prices starting from £50 and under, £150 and under, £250 and under. House wine will also be available by the glass and poured by tap. The selection has a strong focus on wines from the British Isles such as Renegade and Busi Jacobsohn, complemented by modern world and classic premium varieties. The bar will also offer a range of Britain’s finest beers and ciders, including Guinness, IPA and local brews on tap.

Designed by Rosendale, the restaurant’s interiors feature intimate lighting, natural materials, and rich dark hues, creating a warm and inviting ambiance, with a Union Jack greeting guests on arrival. Central to the décor is a hand-drawn mural by British artist Kay Harwood, depicting the four seasons, alongside walls adorned with photographs of British icons.

Above Sael is Apples & Pears, a bar offering an edgy, understated aesthetic where art and attitude intersect. The venue, decorated with works from the Young British Artists (YBA) movement, features a DJ booth for late-night entertainment, making it the perfect spot for exclusive after-parties.

The food offering at Apples & Pears will feature snacks from Sael complemented by an evolving cocktail list crafted with inventive flair and fresh, locally-sourced ingredients, offering a fusion of flavours that change throughout the year. A specialty cocktail inspired by the current season will also always feature on the menu.

Bookings open mid August. For more details, visit @saellondon. Sael will be open 7 days a week for all-day dining, with live DJs on Thursday and Friday.

If you’re going to try this restaurant, do let me know!

Categories
Theatre Reviews

REVIEW: Peanut Butter & Blueberries ⭐️⭐️⭐️⭐️📍Kiln Theatre


The plight of regional British Muslims studying at university in the capital is charmingly portrayed in Suhaiymah Manzoor-Khan’s politically charged rom-com.

Humera Syed and Usaamah Ibraheem Hussain as Hafsah and Bilal                  Photo Credit: Oluwatosin Daniju

Bathed in a deep blue light, audiences enter a Kiln Theatre blasting out music fellow Muslims would recognise: the humble naat. Almost immediately there’s a wide grin on my face as I find my seat in the Kiln Theatre auditorium. I see a show that I believe will speak to me. And speak to me, it truly does. Firstly, as someone who is not only of Muslim heritage, but also Potohari (Pahari / Pothwari) – shout out to those who have family roots in Matore village of the Potohar Plateau – it feels so right that this play exists, and for me to have seen this kind of representation on stage at the humble age of 30-years-old.

BILAL./ This is what I’m saying man !

We’re from that specific square of land

and land shapes everything – the work ya do, food ya eat,

dialect ya speak

that’s the we I’m talking about
– From p.18 of Peanut Butter & Blueberries 
Suhaiymah Manzoor-Khan (Nick Hern Books, 2024)

Beginning the play with the prayer ‘Bismillah ir-Rahman ir-Rahim‘ (In the name of Allah, the most merciful, the most kind) was a subtle introduction and felt calming to me. It was a feeling of familiarity and my mind felt at ease being presented with two  characters of Muslim heritage: Bilal and Hafsah (played authentically by Usaamah Ibraheem Hussain and Humera Syed). Bilal (or ‘Billy’ as Hafsah imagines him to be called by his white friends) is from the northern city of Bradford, and is studying South Asian studies. Hafsah, on the other hand, is studying gender studies. Her friends Hani and Mythri – who we don’t see but get great impressions of – provide ample laughs amongst audience members. These girlfriends prove a vital plot point to assist her with her potential choices in suitable men, but it’s the sweet saccharine love she professes for this ‘proper pkstaani Brummie’ and his ‘Doc Martens’ that grabs her attention. 

We come to appreciate that the two bond over Islamic architecture – namely the Alhambra Palace in Spain – as Hafsah is writing a novella, with the goal to finish it in New York City. Whilst the main plot isn’t about this goal  (it could well have been), but the writer’s programme is something she applies to – and whether or not she gets in offers some serious consequences for the duo. The ending took me by surprise, and I enjoyed it as it felt satisfying (though I remain tight-lipped on that!), it was an enjoyable evening of entertainment in North London. 

The set (by Khadija Raza) is mostly bare, as the piece beginning with two chairs to replicate a bench. As a revolve stage, it’s two rings that move in circular motions. The movement direction seems effective and highlights how the traditional British Muslim experience bars any physical touch, but the romance still spills into audiences’ hearts. The set changes – with desks and a lamp to replicate a library scene) with stage hands causing a minor break from the captivating stage presence we get used to being fixated upon. Sameena Hussain’s direction is peppy, and gives the two central characters the believability required to make this flow with ease. It can be hard when addressing the audience, but this is done in a seamless manner given the talented actor. The Bradford accent is done well, and the inclusion of Muslim in-jokes and phrases (a favourite of mine was ‘Yaarra’) made this a really sweet and funny show. It helps that the writer, Manzoor-Khan, is from the north of England herself. I did, however, think that the Brummie accent did leave a little bit more to be desired, but instead slipped into a generic UK British S. Asian male accent. Minor grumbles, one could say.

I truly hope this show’s lucid writing will provide a window to the British Muslims that live and breathe in our towns and cities. In 2024, and the #raceriots showing that the Muslim communities need our support, it’s come at a rather timely place – as noted by Manzoor-Khan just this week in the UK press – in our British history in the 21st century. As someone who has enjoyed Indhu Rubasingham’s tenure at the Kiln over the years     (an adaptation of Zadie Smith’s White Teeth was what lured me to this producing house for the very first time back in 2018), Peanut Butter & Blueberries is a feel-good and stunning departure for the outgoing Kiln Artistic Director. A seed has been planted  for what taking over the reigns (or captain armband, as was displayed at this year’s Olivier Awards) of Rupert Norris’ Royal National Theatre may look like.

Humera Syed and Usaamah Ibraheem Hussain as Hafsah and Bilal                       Photo credit: Oluwatosin Daniju

📅: Until 31 August 2024 only.

🎟️: https://kilntheatre.com/whats-on/peanut-butter-blueberries/

IMPORTANT INFORMATION

For content advice, click here.

During the run of Peanut Butter & Blueberries, there will be prayer space available on the Kiln Theatre premises for our audiences to use. The show is expected to end before 8.30pm throughout the run and we will facilitate audience members, who need to pray the sunset prayer, in doing so immediately after the show. Please speak with a member of staff and they will happily direct you to the space. Additionally, there are two mosques at a short distance from the theatre: the Kilburn Islamic Centre (292-294 Kilburn High Rd) just across the street (400 feet) and the Kilburn & Hampstead Masjid (239 Kilburn High Rd) a 1-minute walk away.

Alcohol-free Performances: 12 Aug, 7.00pm and 22 Aug, 7.00pm. Please note: only soft drinks and snacks will be served and there will be no alcohol drinking on site.
Post show Q&A:
20 Aug, 7.00pm

ACCESS PERFORMANCES

Captioned Performance: 22 Aug, 7.00pm
Relaxed Performance: 28 Aug, 2.30pm
Touch Tour: 29 Aug, 5.30pm
Audio Described Performance: 29 Aug, 7.00pm

Click here for Access information. If you have any questions about any of our services or need assistance in arranging your visit please get in touch: 020 7328 1000 or Access@KilnTheatre.com.

** N.B. This review was a gifted ticket in exchange of an honest review of the content and material showcased on the stage. **

Categories
Theatre News

Devyani Saltzman appointed Barbican’s Director for Arts and Participation

The Barbican announced that Devyani Saltzman has been appointed its new Director for Arts and Participation. Saltzman is a Canadian writer, curator, public thinker, and cultural leader with over fifteen years of experience in cultural institutions, at the intersection between art, ideas, and social change. She took up the role in July 2024. 

The news followed an extensive international recruitment campaign, which launched in autumn 2023, to appoint exceptional individual to lead the Barbican’s Arts and Participation team, with the skills and vision to steer the Barbican towards its next creative chapter. This appointment completes the Barbican’s search for engaged and experienced Directors to drive the organisation’s ongoing transformation: to grow and diversify its audiences, better serve its public, and fulfil its commitment to inspire, create connections, provoke debate, and reflect the world we live in. 

Working with Barbican’s Heads of artforms – across Cinema, Creative Collaboration, Immersive, Music, Theatre & Dance, and Visual Arts – Devyani Saltzman aims to develop an inspiring, distinctive, and forward-looking arts and participation programme. She is the venue’s key champion across the industry, and connecting within and outside the organisation. Working with partners across the Square Mile, she will also play an important role in delivering Destination City, the City of London Corporation’s flagship programme which sets out a vision for the Square Mile to become a world-leading leisure destination for UK and international visitors, workers, and residents to enjoy. The City Corporation is the founder and principal funder of the Barbican. 

Saltzman was most recently Director of Public Programming at the Art Gallery of Ontario, North America’s fourth largest museum, where she worked with the programming team to shape the museum as a forum for discourse, reflecting all communities and the narratives of Torontonians. She was previously the Director of Literary Arts at the Banff Centre, a leading arts and creativity incubator, as well as a founding Curator at Luminato, Toronto’s international multi-arts festival. She is a published author and her work has appeared in The Globe and Mail, The National Post, the Atlantic, Room Magazine and Tehelka, India’s news magazine known for investigative journalism. She is the Vice Chair of the Writers’ Trust of Canada and President of the Toronto Arts Council. Saltzman has written and spoken extensively about social change and leadership for The Walrus Talks, the Canadian Arts Summit, the World City Forum. She hosted the podcast The Culture Shift and is a founding member of the think tank Public Imagination Network. 

Saltzman has a degree in Human Sciences from Oxford University, combining sociology, anthropology, animal behaviour and evolutionary biology to look at the complex underpinnings of human experience. 

Key to her vision for the next chapter of the Barbican is the potential to create a new type of ethos in public institutions that is truly in service to their people and public, in addition to presenting the best of cutting-edge programming. Her upcoming nonfiction book, EXITING: Towards a Future of Work that Serves Us All, comes out with Random House in 2025. It explores the trend of increasing pushback against systemic change in our institutions, the exiting of diverse leaders from organizations they were invited into, and what new healthier systems could look like. Her first book, Shooting Water, a memoir of family relationships and Indian politics, was called ‘A poignant memoir’ by The New York Times and received starred reviews in both Publishers Weekly and Library Journal. 

Claire Spencer, Barbican CEO, said: We are so thrilled with this appointment. As a Canadian with strong ties to artists and companies in South Asia, North America, and the UK, Devyani brings a wealth of experience, an international voice, and a new ethos of leadership based on collaboration, values and service to the public, both local and international. Her ideas and experience will be instrumental in our ongoing journey towards a revitalised Barbican, as London’s creative catalyst for arts, curiosity, and enterprise, and a truly welcoming and transformational space for artists, audiences, and communities.” 

Devyani Saltzman, Barbican Director for Arts and Participation, said: “We are living through such an important moment in which cultural institutions have the opportunity to enter into a new way of serving their people and the public. I really believe this generation of leadership can envision not only the best of creative practice and programming, but embody a healthier way of thinking and working, especially for the communities we serve and our own staff. I’m honoured to be joining the extraordinary team at the Barbican. I can’t wait to work with them and London’s many communities, to create a space that is both international and deeply local: daring, trust-based, politically relevant, and at the forefront of artistic practice. I look forward to working with the team to present the most innovative and thought-provoking work, that addresses and makes space for the issues we are collectively facing and ensures the Barbican is authentically welcoming for all.” 

Tom Sleigh, Chair of Barbican Centre, said: “Devyani will be a fantastic addition to the Barbican’s leadership team. The Barbican has always had a deeply international outlook, and I’m delighted that it continues to attract the best talent from around the world.” 

Devyani Saltzman’s arrival completes Barbican’s senior team following the appointment of Philippa Simpson, Barbican’s new Director for Buildings and Renewal, and Beau Vigushin, new Director for Audiences. They will join Barbican CEO Claire Spencer and the Director of Development Natasha Harris and Sarah Wall, Head of Finance & Business Administration; as well as recently appointed Ali Mirza, Director of People, Culture, and Inclusion; and Director of Commercial Jackie Boughton. 

Further reaction to the appointment of Devyani Saltzman as the Barbican’s Director for Arts and Participation: 

“One of the most enriching experiences in life, is to witness someone else’s journey; their outer and inner growth; their ups and downs, and how they manage at both states and in between them. I have followed Devyani’s journey from the moment we met in the summer of 2010, from observing and learning about her 

travels as she always seeks authenticity for the beautiful books she writes, to her curation of major cultural events, and to leading big teams from different backgrounds and different experiences in life, especially in a multicultural city like Toronto. And with all the challenges that face the arts and literature in the last, at least, five years, Devyani’s spirit is always positive to build projects – of immense high quality – that bring communities together. Having Devyani in London is a great step towards a healthy artistic and cultural scene that a remarkable and hugely diverse city like London needs. Devyani’s unmatched understanding of the essential ingredients of bringing different cultures together through art will be one of the strongest pillars that can hold the Barbican and different art organisations, their venues, and their communities together. I cannot wait to see the beauty and richness Devyani’s appointment will bring to our city”. Ammar Haj Ahmad, Actor, The Jungle. 

“Devyani Saltzman’s wide ranging international experience and knowledge of art, performance and politics and her understanding of audiences and communities makes her an inspired and inspiring choice for the Barbican Arts Centre. I have known the Centre since it opened the same year I first moved to London, and I look forward to this new, re-invigorated phase in its life as a cultural hotspot.” Aminatta Forna, FRSL, OBE. 

“After twenty-three years of knowing Devyani Saltzman in a hundred different places and lives, I’m thrilled beyond words that she’s returning to my homeland and to a place I have long associated with the highest and most exciting forms of culture. I can’t wait to see how the Barbican – and all Britain – will move into an exhilarating new future thanks to her presence and her vision.” Pico Iyer, essayist and novelist. 

“Devyani has an exceptional understanding of, and experience in, cross-genre arts programming. BAFTA shares a similar ethos with our year-round public programme showcasing the very best of film, games and television programme making in all its forms. I am excited to see the vision Devyani will bring to an already rousing Barbican programme!” Mariayah Kaderbhai, Head of Programmes, BAFTA 

“As a London composer, producer and creative, I am so excited to welcome Devyani Saltzman as the new Director of Arts of the Barbican Centre. Having known Devyani for a number of years, I have no doubt that she will bring her exceptional understanding and knowledge of the arts to the Barbican along with her incredible passion and inspiring creative vision. I can’t wait to see what she has in store for audiences and performers alike.” Musician, producer, composer, and Ivor Novello Lifetime Achievement Award recipient Nitin Sawhney CBE, D. Mus. 

Categories
Theatre Casting News

CASTING NEWS: New play by Tanika Gupta ‘A Tupperware of Ashes’ announced – starring Meera Syal, Shobna Gulati, Zubin Varla and more

The National Theatre today announced a new productions for its South Bank stage this autumn: the world premiere of Tanika Gupta’s A Tupperware of Ashes in the Dorfman theatre from 25 September until 16 November 2024.

Meera Syal (Behind the Beautiful Forevers) will perform in the world premiere of Tanika Gupta’s A Tupperware of Ashes in the Dorfman theatre in the National Theatre’s Autumn 2024 season . The play is billed as a ‘vivid and heart-breaking family drama about life, immigration and the Indian spiritual cycle of death and rebirth’ and is to be directed by Pooja Ghai (Lotus Beauty, The Empress).

The plot centres the ambitious Michelin-star chef, Queenie who is used to having the last word. But when her children notice gaps in her memory and her grip on reality loosening, they are faced with an impossible choice. As Raj, Gopal and Kamala battle to reconcile their life-long duty to their mother, the ramifications of their decision take on a heartbreaking permanence.

Tanika Gupta (A Doll’s House, Lyric Hammersmith) and Pooja Ghai (Artistic Director of Tamasha Theatre Company) reunite for their latest collaboration, following the critically acclaimed The Empress.

The cast includes Shobna Gulati, Meera Syal, Zubin Varla, Raj Bajaj, Natalie Dew, Marc Elliott, Stephen Fewell and Avita Jay

Director Pooja Ghai is joined on the creative team by set and costume designer Rosa Maggiora, lighting design is by Matt Haskins, music composed by Nitin Sawhney, sound designer Elena Peña, illusions director and designer John Bulleid, movement director Anjali Mehra, fight and intimacy directors Rachel Bown-Williams and Ruth Cooper-Brown for Rc-Annie Ltd, casting director Naomi Downham and staff director Layla Madana

More information: https://www.nationaltheatre.org.uk/productions/a-tupperware-of-ashes/

📆Dates performances will be playing: 25 September — 16 November 2024.

Ticket booking opens 23 May 2024, Members can book from 14 May.

Ticket prices:

Monday – Saturday evenings and matinees:
£20, £35, £49, £64

Previews 25 – 30 September:
£20, £29, £39, £49

For concessions and discounts, see Ways to save

Please note the 6.30pm start time on the following performances: Tue 15 Oct, Thu 17 Oct, Tue 22 Oct and Thu 14 Nov.

Categories
Off-Broadway Theatre Reviews

Amm(I)gone ⭐️⭐️⭐⭐⭐📍Woolly Mammoth Theatre

Adil Mansoor in “Amm(i)gone” at Woolly Mammoth. (Teresa Castracane)

Admittedly, I hadn’t heard of the  Woolly Mammoth Theatre Company (a Tony Award®-winning producing house for A Strange Loop) prior to my trip to Washington D.C. earlier this month, and I was unsure as to how I’d enjoy a queer S. Asian re-telling of Antigone – given I last saw it at the Regent’s Park Open Air Theatre, led by Zainab Hasan playing the lead in which modern British Muslim life was tackled. This time, Amm(i)gone is a joint translation of the text (not all, but a good chunk of it), as well as an apology from and to Adil and his mom whilst exploring grief and identity. In short, it was going to take me on an eighty-minute journey into Mansoor’s world, a world that felt so familiar to mine.

Upon entering this producing house’s intimate auditorium space, there is a familiar sight: it’s a home tape of Adil Masoor as he’s reading his ‘Amin’, a celebration of completing the Qur’an. Child Mansoor recites the Qur’an verses with (qirrat) and I find myself glancing at the intricacies of the wooden panelling, in awe of the Xotchil Musser’s handcrafted set. I immediately spot ‘Alif-Laam-Meem’ and various Haroof e Muqataat. The attention to detail from the off-set is promising, as the audience filters into their seat unprepared for what was to unfold. It’s a staging that takes the proscenium arch template, but makes it decisively modern: there’s a screen that projects old tapes, but then again it’s used where there’s an overhead project where some “show and tell” parts of the narrative occurs. One thing that is for sure, bring tissues to Adil’s show. There’s nothing like slinking into your seat and being mesmerised and this show packs so many punches taking me on a journey with an intersection of the old (an overhead projector) and the new (MacBook). Instantly, Mansoor is likeable and his portrayal of the events surefire showcase authenticity at its prime: a lesson in how to stage your own story, without it being indulgent. Manor’s devising of the show, with the co-direction of Lyam B. Gabel show that Amm(i)gone has been worked on voraciously to make it tight-knit and indeed compulsory viewing for all theatre goers in Washington D.C.

Adil Mansoor in “Amm(i)gone” at Woolly Mammoth. (Teresa Castracane)


The show proceeds to unveil Adil’s now-veil wearing mother and the sensitivity with which we’re told about his mum is to be commended. There are lighter moments, where we hear about her life and the endless possibilities that she imbues in her children. there are moments of meeting Adil’s siblings (and one siblings adorable dog), and I felt just so in awe od everything on stage. The scene’s endings and starts were so smooth, and the team behind the stage and on were equally brilliant. We’re entranced with anecdotes of the meaning of theatre, but how there’s a dream his mother wants to achieve in childhood. On occasions, there’s an insight into a raw mother and son footage that captures the conversations. Mansoor talks the audience through these interactions, of drama games to get people to exercise their minds before translating the text. The play isn’t a full translation of Antigone per se, but the select portions reflect what a moving encounter this journey of devising a piece of theater. It’s the journey a mother and son go on together, that is a universal experience. It is profoundly moving, a searing piece of art that would hugely benefit from a vast global viewership that transcends the North American continent. 

I’ll certainly return to Mansoor’s work, and also to the WMT company’s theatre for it truly is stunningly radical venue. In short, I left with my heart full having seen something that could well have resembled something in my life: it is a life-affirming, and a tender display of love and humanity. I’d heartily recommend Ammi(i)gone to everyone, and wish it has a cross-atlantic (trip) over to the UK, as it has so much potential.

Until 18 May 2024 only: https://www.woollymammoth.net/productions/ammigone/ (in Washington D.C.)

Long Wharf Theatre
New Haven, CT | May 28 – June 23, 2024

** N.B. the ticket to see this production was a complimentary ‘gifted’ pair of tickets, in exchange for the writer’s honest review **

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Theatre Reviews

The Cord ⭐️⭐️📍Bush Theatre

The Cord (2024) at the Bush Theatre
Photo credit: Tristram Kenton

“Sometimes when I look at him, I feel like he’s me.
But if the baby is me, then who am I? You?”

When I had read the writer of The Cord had worked on writing a few episodes of the recent Netflix iteration of  One Day, (and who also has a writer credit for Barber Shop Chronicles) I have to admit: I was excited. This, however, was somewhat of a difficult viewing experience, marred by its lack of clarity in direction and a bizarre evolution as the piece progresses.

The stage is set with a cream coloured carpet (which the usher reminded my party to not walk over it to get to our seats.) It seems that the layout for the Bush is strikinngly similar, with the ‘Block’ confirguration as seen in recent productions). The theatre  itself is wearing a pride badge with the recent Olivier win for Affiliate Theatre (for the fourth consecutive time, I hasten to add!) which goes to show when the programming is good at this venue, it’s very good.

I’m sad to say this was quite the opposite of the brilliance I’ve seen on the Bush stage in many years (and which the recent  Netflix series Baby Reindeer’s success shows is possible when risks are taken). The Cord is billed as a relatable insight into the challenges of being a parent and a child; the main character in the piece ‘Ash’ a guy whose mother is somewhat ambivalent to the anguish he feels as his relationship sours in the direct aftermath of his partner having birthed their child. Perhaps it is a little relatable to some people, but to me, the plot line simply didn’t feel realistic. I, for one, was awaiting the moment when  Ash’s mother and Anya – the partner – interact only for the moment to never arrive. Later on, there are some cringe-induced moments that made the intimate scenes in bed look like, despite intimacy co-ordinator having worked on this, it was merely robotic. Further, the frazzled direction is what let this piece down the most and what left me with a sour taste. I felt as thought the reasonings for placing a nice-tune-playing-cellist in the corner but seemingly in another play. His awkward positioning – being placed in a corner – meant that the presence of the instrument player was at time distracting, but also felt unnecessary. There’s an odd choice to have the cellist playing in his own world, but aside from the time the people aren’t on stage, the actors  are sat watching the action unfold. I’m not sure they know whether to react to the scene being played out in front of them on the elevated stage or not. It causes for the viewing experience to become less seamless, and instead jarring on many levels.

For me, the usage of the storyline – one where the men’s psychosis and mental health is depicted – seems to be a half-baked attempt. The piece starts and closes with the use of mime to depict a baby in the arms of Ash (played by Irfan Sham), and it felt contrived. None of the characters written warranted me to cater too much for them, despite how tense it seemingly got on stage. The scenes of a domestic nature took me away from the seriousness of the piece and into a soap opera à la Eastenders. There were too many questions left in need of an answer (there is, for one, a particularly awkward scene which made a coercive sexual assault seem like the people had never performed sex). Ultimately, the dialogue just didn’t hold me interested beyond the superficial baseline introspection to the storyline.

One of the better elements in this staging was the beautiful lighting design. This was presented with a huge white light that changed colours, and provided mood colours (blue for gloom, you get the idea). Though this too felt like it hadn’t been fully realised or used in a more effective manner.

Overall, this piece has small glimmers of relatability in terms of the storyline for me; though, devastatingly, fails to have a robust direction meant that the actors were let down by material in need of re-shaping; the a space, where I’ve seen many a successes, didn’t fully encapsulate the project’s aims. There really is nothing more disappointing after having seen something and then feeling like you weren’t fully enmeshed in the action. Theatre is a form of escapism, for some. One thing is for sure, and that the topic of men’s health in relation to paternity care on stage is a welcome despite this piece’s flaws.

Until 25 May 2024 at the Bush Theatre, W. London

** AD: An honest review  of the above production is given in exchange of a gratis complimentary ticket. **

Categories
Theatre Reviews

The Little Shop of Horrors ⭐️⭐️⭐️⭐️📍Ford’s Theatre

Jake Loewenthal in Little Shop of Horrors (2024) Photo by Carolina Dulce

My very first time at the Ford’s Theatre was a rather exciting visit. For a start, the theatre is a historical preserved museum. The reason for this is that the former president of the USA, Abraham Lincoln, was assassinated in the box above stage left (practically, on stage!). Therefore this is a first for me: to see a show that’s in an auditorium which has been the last sight of a person alive. Not just anyone, however! There is a whole museum in this tourist attraction which is dedicated to the history – which I sadly didn’t get the chance to view  on this occasion but will another time.

To begin with, Little Shop of Horrors is a sci-fi horror comedy musical that has become one of the most treasured pieces of American musical theatre. With a recent Regent’s Park Open Air revival, it is also being played on Broadway with Jinx Monsoon of RuPaul’s Drag Race fame). The music for this show is by Alan Menken (and includes iconic songs such as ‘Suddenly Seymour’) and the lyrics and books are by Howard Ashman. It is based on many adaptations, the origin source being the 1960 film The Little Shop of Horrors.

The show pays homage to doo-wop and Motown recordings and follows a luckless florist shop worker, Seymour, who raises a wisecracking carnivorous plant – Audrey II – that must feed on human blood. He delights in the fame and fortune that his ever-growing plant attracts, while trying to show his co-worker Audrey that she is the girl of his dreams. As Seymour discovers Audrey II’s out-of-this-world origins and intent toward world domination, he learns the lesson: “Don’t feed the plants!”.

It’s a light-hearted, whacky and weird story that ha catchy music (I was humming Suddenly Seymour during the journey to my hotel). If you’re looking for a show with heart, and will give you a great night out at the theatre, then this is it. The ensemble were all in sync – commanding the brilliant choreograhphy with ease –  and I was well and truly  entertained for the entirety of the show’s run time without ever looking to my wrist for the time.

If you’re in Washington D.C. I’d highly recommend going to this venue: the standard of the acts on stage was perfect, and it’s a cosy theatre with beautiful architecture and history.

Until May 18, 2024 only: https://fords.org/performance/little-shop-of-horrors-2024/?gad_source=1&gclid=CjwKCAjwuJ2xBhA3EiwAMVjkVNwOx0_7XOIsEPUPg0mEH7ZKA68cu-dsVcBfSyt1QAoFpDrOYLyAPBoCQSoQAvD_BwE

** AD – ADVERTISEMENT FEATURE – GIFTED TICKET IN EXCHANGE FOR AN HONEST REVIEW OF THE LITTLE SHOP OF HORRORS **