Category: Theatre Reviews

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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

 

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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. **

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Off-Broadway Theatre Reviews

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

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

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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 **

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Theatre Reviews

REVIEW: My Beautiful Laundrette ⭐️⭐️⭐️📍Leicester Curve

My Beautiful Laundrette Production photos taken on the 17th February 2024 at Curve Leicester

‘I’m fixing you up with a job. With your uncle. Work now, till you go back to college. If your face gets any longer here you’ll overbalance… Or I’ll commit suicide’

– Papa, My Beautiful Laundrette

My Beautiful Laundrette Production photos taken on the 16th February 2024 at Curve Leicester

 

British-Pakistani writer Hanif Kureishi specialises in books and screenplays that hold up a mirror to an unequal society – the sort that audiences who vie for fantastical portrayals of other worlds wouldn’t necessarily want to escape into as they’re quite gritty in their depictions of the mundane and ordinary.

My Beautiful Laundrette, the original screenplay of the 1985 movie of the same name (written by Kureishi and original film direction by Sir Stephen Frears) proves that the show still packs a punch in this 2024 stage adaptation directed by Nicole Behan. Its story centres around Londoners during the Thatcher years and tells the story of young British Pakistani, Omar (played by Lucca Chadwick-Patel), who transforms his Uncle’s run-down laundrette into a thriving business with the help of Johnny (played by Sam Mitchell) where their love for one another blossoms.

As for the venue in which this effervescent (pardon the soapy pun) play takes place, I had always wanted to visit the Leicester Curve space, and the joy I experienced walking around made the wait so worth it. Portraits of former productions decorate the large arena-esque foyer, and a café (filled with delicious lunch options that I took advantage of), ensuring that patrons were well fed before the main event, and before the curtain rises for the two shows that were to be performed.

I  didn’t manage to see the last iteration (directed by Nikolai Foster in pre-pandemic 2019), My Beautiful Laundrette – for those who don’t know – tackles themes of fascism,  racism and also homophobia. It’s the friendship that turns into a love between the lead protagonists. This version felt a little stilted to start, but then really was beneficial of the audience reactions to the material  in the second act. I have to say, the 80s music as you walk into the auditorium only adds to the joy, and nostalgia of a lived era in this piece.

The material is faultless and truly sublime; it’s a piece that has aged well, given that the depictions of fascism seeping into society are still quite relevant to this day. Fans of the screenplay will enjoy this iteration for it hasn’t lost any its charm as the decades have progressed. There’s a certain sense of timelessness in its protagonists, where gay couples were aplenty in my viewing of the play; a quick look to Omar and Johnny show that their story of polar opposites finding a common ground and circumstantial coupling means so much in this current political climate where we are seeing a proliferation of racism and anti-Muslim sentiments in mainstream politics. Patel and Mitchell’s characterisation is real, and feels well studied. The nerdiness to the character of Omar that Patel brings I thoroughly enjoyed, and made me root for him when times get rough (and tough!). Whereas Mitchell, being part of a hate-filled cult always gives the audience warmth as he realised his bigoted ways; the reference to their lives, and the chemistry between the leads showed. Overall, I was thoroughly impressed by the conviction of all actors on stage; supporting characters in Sharan Phull as Tania, Harreet Deol as Salim, and Gordon Warnecke as Papa provide some light-hearted moments of comedy  of smaller characters that stay with you after the curtain closes.

However, where this could have improved was the slightly clumsy set movements, and scene changes that felt like it was still in some form of needing some extra rehearsal time and satisfactory direction overall. Given it was the first venue I would perhaps call that to first venue nerves, I hope this can be ironed as it reaches more venues (it is going on a national tour, via the National Theatre’s Theatre Nation Partnerships network). I found the scenes – especially those depicted in the home of Papa/Omar – to be too restrictive on the Curve’s studio stage, meaning they were sometimes lacking movement and felt confined to a small circular area instead of using the entire space. The addition of Gordon Warnecke, however, gave this a beautiful charm and full-circle moment when he arrives on stage as the ailing Papa.

My Beautiful Laundrette Production photos taken on the 17th February 2024 at Curve Leicester

To conclude, this was a good attempt – despite some easily remedied issues – to revive what is a modern classic in my eyes. I am glad to have one of Kurdish’s pieces on the stage, and think that the show’s place in the British drama has been firmly  cemented given the popularity of Kureishi’s works over the last few decades (there’s also a revival of The Buddha of Suburbia to be performed at the RSC later this year). This is one for the queer couple, for those who are allies as well as people who enjoy simply brilliant writing. The UK’s theatres that will be visited by this piece will be in for a treat as the work of Kureishi continues to age like fine wine as the years pass, and as they rightfully should.

** Until April 6th only **

Full listing below:

Leicester Curve
17 — 24 February 2024
Queen’s Theatre Hornchurch
Until 9 March 2024
Book tickets
Theatre Royal Wakefield
11 — 14 March 2024
Book tickets
The Lowry, Salford
19 — 23 March 2024
Book tickets
Liverpool Playhouse
26 — 30 March 2024
Book tickets
Blackpool Grand
2 — 6 April 2024
Book tickets
** Disclaimer: This visit /experience to watch the show only was a complimentary free ticket, in exchange for an honest review of the material depicted on stage. #Ad #Gifted **
Categories
Theatre Reviews

REVIEW: The Witches ⭐️⭐️⭐️⭐️ 📍Olivier Theatre, National Theatre

Photo Credit: Marc Brenner

For those of you who have never come across The Witches, the book was originally published by Roald Dahl’s publisher Jonathan Cape in 1983. It was originally illustrated by Quentin Blake. Seven years after its publication, the book gained its very own movie adaptation (the first, and with a more recent one starring Anne Hathaway in 2020). For a dark fantasy book touted as literature for children, it was (from my own memory) quite a scary read, albeit a thrilling one for a voracious reader like me.

From the theatre:

“Everything you know about witches is wrong. Forget the pointy hats and broomsticks: they’re the most dangerous creatures on earth.

And now they’ve come up with their most evil plan yet.

The only thing standing in their way is Luke and his Gran. But he’s ten and she’s got a dodgy heart. Time is short, danger is everywhere, and they’ve got just one chance to stop the witches from squalloping every stinking little child in England.”

This play – by the infamous children’s authors – is strictly for over eights, (or rather brave younger audiences members, though it does trail over two hours). Even I, a whole adult, felt that there were a few scary bits (that is only testimony for the play’s seamless execution by its creatives). Let that not detract you from taking more of the adults to see his spectacular show. When you think of a Roald Dahl adaptation, the ‘The Witches’ really comes for the new ‘Matilda The Musical’ crown. Its sets are stunning sets with joyous songs, camp comedy, and certainly going to have everyone wanting to call out the Witches’ plot to eradicate children. It never strays from the source material, and the slight changes to make it appropriate for 2023 make it resonate and still as enjoyable for audiences coming to the tale via this on-stage medium. There’s even a clever ploy at the top of act 2, which caught me off guard (!) about the ills of misbehaving audience members (no more than that in terms of a potential spoiler from me).

Writer Lucy Kirkwood and her director Lyndsey Turner cast a creativity super-duo in the brilliant helming of this show. Kirkwood is off to direct The Human Body at the Donmar Warehouse next year.

In Turner-Kirwood duo, we have two people who haven’t worked on a musical before, and wh work with Dave Malloy (The Great Comet) to create a night of utter gasps, laughter and smiles. The writing is zappy, the music catchy and lending the actors on stage to convey an iconic story with a new lease of life. Highlights from within the cast included Sally Ann Triplett, Chrissie Bhima, Zoe Birkett – some West End royalty, and they bring such unique characterisations to their characters and delight at every given moment.  I was really pleased to see cast members Daniel Rigby (whose scene-stealing turn in Accidental Death of An Anarchist was truly marvellous) and Irvine Iqbal grace the stage as as theHotel Manager and comical Chef Chevalier(the latter not being out of place as a replacement for Mr. Moseby in The Suite Life of Zach and Cody).

Ultimately, it is the children in this show who steal the show. The actor playing Bruno’s number is honestly one of the instant mood-boosting song from a show I’ve see this year. I loved the finale song ‘Get Up!’ and to see the entire cast sued in a way where I couldn’t keep my eyes off them just brilliant all round. Go see this and bring joy this Winter season, for this production has the potential to reach an audience the recent movie adaptation wishes it did. Run forth, and frighten away Grand High Witch!

Until 27 January only:
https://www.nationaltheatre.org.uk/productions/the-witches/

 

<< N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) complimentary experience in exchange for an honest review of the material showcased on stage. If you would like to support my independent theatre, please consider subscribing to my Ko-fi: >> https://ko-fi.com/hamzajahanzeb <<

 

Categories
Off-Broadway Theatre Reviews

REVIEW: Arcadia ⭐️⭐️ 📍The West End Theatre, NY (263 W, 86th St)

Shaun Taylor-Corbett, Caroline Grogan in Arcadia. Photo: Ashley Garrett

In the time that I spent in New York last month, the second half of my trip meant I was staying a stone’s throw from the West End Theatre — 263 W 86th St (between Broadway and West End). I was really grateful to be invited to review a stalwart of British Theatre’s works over in the Great White Way.

Arcadia is a play in which Tom Stoppard (which did in fact win him a Best Play at the 1993 Olivier Awards) navigates the interaction between two academics (set in the modern age) and the residents of a Derbyshire country house in the early 19th century. These included aristocrats, tutors and the fleeting presence, unseen on stage, of Lord Byron. The themes of the play include: literature, philosophy and the English style of garden design.

I tried my best to engage with this three hour play (!), and despite this, I found the action on stage to be all kinds of chaotic and monotonous. For a start, the way Bedlam – the company staging this –  seem to have positioned this is to have the blackboard with the location ‘ENGLAND’ written and then actors speaking in American accents. I found this to jar hugely with my own interpretation, and made me feel disconnected not only as a Brit, but as an audience member. Perhaps it was due to the appeal and location being in the US, that the directorial choices were used that again reinforced how this was far too long and not at all memorable. Though, having said that, there were some lovely performances from the actors – whose fault it wasn’t regarding a weak script – and for so much happens, all at once. Its exploration of chaos theory, and complex ideas need not be something the audience is au fait with but it could perhaps help to be interested in science. The character of Thomasina  (played by Caroline Grogan) was played well and in a believable manner, opposite Shaun Taylor-Corbett as Septimus Hodge. I enjoyed the scenes where they were present, despite the entirety of the show being convoluted and not-quite-finessed.

All in all, it was my first (Tom) Stoppard play but I definitely felt the writing could have been cut (a 90-minute one act abridged show, would be a great suggestion of mine personally) in order to make it a succinct play that engages. It did feel on numerous occasion as being muddled, confusing and also slightly contrived. The actors also used small props that enhanced the story somewhat, and the backdrop was painted in lovely lush colours bringing a suitably stunning set.

Despite the many flaws, I am glad to have seen a Stoppard play. Let’s just hope the next one provide the company producing it with more of a springboard to leap from as this missed the mark on few occasions when it could have been an innovative way to tell the story.

Until 23 December:
https://bedlam.org/arcadia/

N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) complimentary experience in exchange for an honest review of the material showcased on stage. If you would like to support my independent theatre, please consider subscribing to my Ko-fi: >> https://ko-fi.com/hamzajahanzeb <<
Categories
Broadway Theatre Reviews

REVIEW: Purlie Victorious ⭐️⭐️⭐⭐️⭐️ 📍Music Box Theatre

When I was told that I’d been invited to see a show about a revived American show (only a mere sixty-two years later) by the late Ossie Davis in which a Black preacher’s attempts to reclaim his inheritance, you would have thought it’d got nothing to do with someone like me. For a start, I’m not American nor am I Black or a Christian. However, as soon as this play started, I realised that this was set to be the most enjoyable play I’ve seen this year, and I’m so excited to tell you why.

Photo Credit: Marc J. Franklin

So, to begin with, how cool is it to say that Martin Luther King saw this play in its first iteration? Yes, that’s right. The play debuted on Broadway in 1961, and MLK came along to watch a performance. Therefore, it seems quite unbelievable that the play is seeing its first revival in sixty-two years. How far from the truth could that be! As a matter of fact, the post-BLM world in which we live in dictate that this is so necessary (it documents historical events, but with bags of humour). The set is simple and pared back with wooden house environment. The way the windows have curtains attached is innovative, and clever to the watcher’s eyes. The scenes changes are impeccable, and the direction is considered for the entirety of the gorgeous Music Box theatre.

The main star – whose face graces all the promotional material. (visible both online on social media platforms and famously gracing the subway of New York City) – is none other than Leslie Odom Jr., of Hamilton fame. He uses such brilliant comedic timing and looks the part (hats off to the costume department) in every scene which make this a searing watch. Opposite Odom Jr. is the fabulous Kara Young (Two-time Tony nominee and formerly in Clyde’s), who I was completely mesmerised by. Her acting choices made her a joyous watch and left me wanting more. I read that she’s about to head into industry readings of Douglas Lyons’ Table 17. She’s certainly one to watch, and I look forward to whatever she’s cast in next. Preferably, a West End transfer as the British Audiences as I think Brits will lap up this superb talent that I was completely blown away by.

Photo Credit: Marc J. Franklin

Finally, there’s not enough shows that can make one side-splittingly laugh; I roared with laughter, and to make a serious topic a night out was a brilliant achievement of this team’s show. Don’t walk – run towards the Music Box and watch an exhilarating theatre show in Purlie Victorious in order to grant yourselves a victorious night out at the theatre.

EXTENDED now until February 2024.

Location: 239 W 45th St New York, NY 10036

Tickets: https://purlievictorious.com/tickets

** N.b. Advertisement feature – Ad – This review is the sole thoughts of the reviewer, and was a gifted (PR) complimentary experience in exchange for an honest review of the material showcased on stage. If you would like to support my independent theatre, please consider subscribing to my Ko-fi:>> https://ko-fi.com/hamzajahanzeb << **

 

 

Categories
Theatre Reviews

REVIEW: DIANA: The Untold & Untrue Story ⭐️ ⭐️ ⭐️ ⭐️ 📍Clapham Grand

With the recent West End show in Backstairs Billy, and The Windsors: Endgame the theme of Royalty isn’t something that creators of theatre shy away from. That’s why when Diana: The Untold & Untrue Story was announced as being transferred to the Clapham Grand following successes off-West End, an Edinburgh Festival stint and UK tour – I was excited. And I had every reason to be, given queer theatre makers are few and far between when it comes o commercial successes (I’m looking at you My Son’s A Queer). The duo that forms Awkward Productions – Diana herself is played by Linus Karp and Joseph Martin who plays a plethora of roles – make this a silly, camp show that will excite more than just the homosexuals. In fact, I dd wonder why the Grand was packed, turning to my neighbours from Cambridgeshire who remarked it was in their top three shows of the Fringe. Right then, no pressure to impress me, then.

There’s a pre-show amble to keep the guests entertained (sort of like those Facebook images where you tag your friends and discover your Drag Name. You get the idea) which was puzzling, but I came with an open mind. I was also in awe of the Grand’s offering of hot dogs, popcorn and churros. Not the usual programmes or tubs of ice cream on offer.

In this show, the audience help birth (no, really!) the young Diana with interaction and video clips a clear catalyst for this show to progress as the night goes on. It’s not a show that offers the most refined sets or elaborate tricks as the immense talent is in the star Linus Karp: who, from the very beginning, dazzles in a sophisticated yet extremely camp Diana were she to be alive and kicking in 2023. I should also at this point also send commendations to the warm-up act, in Suzie Kemp. She offered a warm rendition of ‘Away in a Manger’ as Kate Bush which was perfection and shared a tale of how she as a child sung the rather inappropriate ‘Lovely Ladies’ from Les Mis which caused lots of laughter in the auditorium.

Back to Diana, the low-budget set and costume (Charles is a cut out, for your information) is puffed up with a recognisable Olivia Colman as the Queen. It’s not high art, but it doesn’t profess to be. It’s a show for people (primarily, gays) to mingle, and the genius comes in the writing and direction as the creators know that they’ve gone from a total number of seventy-audience members to nearly ten times that. Had I seen an earlier iteration, I may have had qualms, but I can assure you that with the demure offerings Karp brings as a almost sly Diana prove to be a triumph. The facial expressions and study of the character are there, and Karp proves to show their homework has been done. With the plot and storyline that are ‘untrue’, for certain; there are imaginations of if Diana survived her fate in 1997, causing the audience to chortle with laughter. Audiences heckled the paper cut-out of Charles and it was spectacularly camp. I too found it to be hilariously silly, though I did feel like line ‘there were three of us in this relationship’ from the Martin Bashir interview may have been overwrought.

All in all, I was glad to have seen Karp’s last outing as Diana (it was a Di-conic performance, if you ask me), before they bring the globally-publicised Gwyneth show (yes, the original for that matter) to the masses – despite another very similar production also coming in on the back of the mass publicity.

See you in the courtroom, Gwyneth-Karp!

Until Dec 6 only:
Awkward Productions | Twitter, Instagram, Facebook, TikTokLinktreehttps://linktr.ee › awkwardprods

N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) complimentary experience in exchange for an honest review of the material showcased on stage. If you would like to support my independent theatre, please consider subscribing to my Ko-fi:
>> https://ko-fi.com/hamzajahanzeb <<