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 <<
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.
** 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 << **
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.
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‘Consider yourself at home
Consider yourself one of the family!’
The concept of the musical Oliver! stems from the novel Oliver Twist by Charles Dickens which was written in 1838. In true Dickensian fashion, it tackles life in the lowest rungs of society classes of the Victorian period in England; this story centres around an endearing protagonist whose circumstances (he is an orphan and is being placed in a workhouse and dares ask for more food) mean that we root for him throughout the show. This edition of the play is brought by the Artistic Director of the Leeds Playhouse, James Brining in the Lionel Bart iteration (originally performed in the West End in 1960) of the world-renowned story by the revered English writer. The sound by Richard Brooker, coupled with Luke Holman’s musical direction also made this such a gorgeous listen as well as a visual feast. There is a beautiful violin being played every time Steve Furst graces the stage, which is stunning to hear as well as his excellent rendition of of the iconic song, ‘Reviewing the Situation’.
Colin Richmond’s gritty set brings emphasis in the storylines (there’s a scene at the beginning with ashes flakes that pour on the floor in such a hypnotic manner), and as an audience we are inevitably drawn into the world of Oliver! which feels scarily accurate to real life now. The fact that we are facing a cost-of-living crisis, where people are struggling, showcases that a bit of empathy as we see Oliver’s fate change is much welcomed. This isn’t the traditional Christmas show, but it was bags of heart and a lesson we can all take away. The dances are slick, and the co-ordinate such a large cast must bring commendation to Lucy Hind’s choreography. It was so nice to see the big numbers where all ensemble on stage provides such seamless numbers, where audiences clap along (‘Consider yourself’, I’m looking at you). The scene-stealing ‘Where is Love?’ is sung so delicately by Carter-J who is the Oliver we had performing during our Saturday matinee performance.
Today’s Nancy was played by the first cover Frankie Hart, who brought a sense of vulnerability that the role demands, as well as huge pipes to match. It was a considered performance, believable and the song ‘As Long as He Needs Me’ was a particular highlight for me to witness. There’s also an excellent Mr. Bumble in Minal Patel who commands the stage with a booming presence and brings laughter in a seriously dark show.
Furthermore, the set was exceptionally good in its alluring element; the theatre being in the round offered opportunities that worked in a tight, close-knit manner. Brining’s choice to ensure that the scenes where the actors walked about the audience members, they were included with intent and purposes. Further, it is the director’s choices that hold up a show and for me, to re-create a classic with an element of the immersive experience meant that my party and I were able to feel like the action engulfed us. The choices from each actor were vividly accurate to the origin, as was the diction of all actors (pleasantly, for that’s not always a given).
All in all, it’s great to see this producing house outside of London showcase a very high standard of what can be achieved with some thought and also clever staging. The team who have worked on this triumphant production ought to pat themselves on the backs, for my nephew and I adored this production. The source material does not feel tired, and this was a great night out at the theatre. There’s something here for everyone, which will sure have you well and truly wanting ‘some more’.
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Priscilla Lopez and Kalyn West in ‘The Gardens of Anuncia.’ (Photo: Julieta Cervantes)
Prior to The Garden of Anuncia‘s New York Off-Broadway debut, it was already commissioned by The Old Globe in San Diego in their 2021-22 season. This iteration that I had the pleasure to view yesterday included the Tony-nominated Priscilla Lopez, whilst most of the cast remain (including former Wicked Elphaba Eden Espinosa).
The story centres on the Broadway legend Graciela Daniele, who danced in the original Broadway companies of Follies, Chicago, and Promises, Promises. She also directed and choreographed musicals such as: Once On This Island, Annie Get Your Gun, and also played a role in choreographing Ragtime, The Pirates of Penzance, The Rink, and The Mystery of Edwin Drood to name but a few. This show – The Garden of Anuncia – revolves around her life growing up in 1940s Buenos Aires in the shadow of the Perón regime, and the transition into a career in the arts to collect an award in New York.
A play that embodies the components of a Bildungsroman, with a storytelling element directly towards the audience, Graciela Daniele’s direction infuses tango and the love of dance in this new musical written by Michael John LaChiusa (Bernarda Alba) with whom she has collaborated with in the past. The premise of this show follows Older Anuncia (Priscilla Lopez) as she tends the garden of her country house and reflects on her life, looking back on her girlhood in Argentina; it is essentially paying homage to the family of women whose love and sacrifices have allowed her to become the creative person she is today. We then have Younger Anuncia (Kalyn West), Mami (Eden Espinosa), Tía (Andréa Burns), and Granmama (Mary Testa) also folded into the narrative to portray the life of women in the South American country during the dawn of the Péron government: we see her cradling her Aunt’s ashes, as the show moves between the past and present in a seamless manner.
The opening begins with a rather catchy number (the refrain of “Mami, Granmama Tia and me!” won’t leave you head for hours after) where we meet the three women central to the narrative are relaying how they have (or don’t) have independence. There’s a real eye-opening insight into the domestic hardships (and extern too, given that Mami works reluctantly for the government) . Further, they all endure their dreams and aspirations with the patriarchy in all aspects of their lives, it seems that there’s only the women to live on their own accord and solve their own directives.
The songs in this show are a highlight in this production, with the solo number that Espinosa sings (the number “Malagueña”) being a particular highlight. The story meanders along, and after a rapturous start the actions slows down as we see some “magic realism” to further the story in the characterisation of an animal (which I believe was a choice to bring something different, and some light-hearted charm to the show). What this show has bags of is heaps of heart. As well as – at times – repetition, when pointing out the plants in the garden Anuncia attends to. It felt to me like the same laboured point was being drilled into the audience again and again, which made me feel like I was on a never-ending merry-go-round.
Whilst the show’s structure is conventional in some ways, it really isn’t in others: for example, the set is stunningly simple, with a huge lighting rig creating beautifully lit moments that highlight the impeccable facial expressions of the actors. The set is pared back, with a green floor (complete with a trapdoor, which is probably only used once)showcases flowers hanging from above the round stage’s space as the actors walk on to take centre-stage; the lighting rig takes full advantage of every inch of the stage, which is really effective in moving the story along at a nice well-intentioned pace when the characters move on and off stage. The theme of bereavement, loss and grief are all encompassing at times. It did confuse me why the name of the protagonist is ‘Anuncia’ but this is clarified, perhaps too late in this piece for my liking. I enjoyed the period costumes as well, for they made the action come to life. I did find the references to the hair odd (Younger Anuncia is admonished for not being like her matriarchal figures). In these scenes, the book appeared to be weaker and less believable thought the actors carried every line with intention and belief.
To conclude, this is a show that I believe has the foundations for even greater success. The fact that we are celebrating a woman of colour is to be commended on an Off-Broadway stage: I wasn’t too aware myself of Daniele’s contributions to the theatre industry, but I am so glad that I was able to witness the show that shows this remarkable woman’s life in such a positive light, whilst also keeping it succinct in a 95-minute window.
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In this personal and rather intimate piece, there’s something for everyone: the music lover, the fan of narrative engaging empires (British or otherwise), and the intimate theatre lover. I first came across the performer headlining this solo show in their turn at the new edition of Oklahoma! at the Young Vic, and was aware of the talents I was about to witness, and boy did Anoushka Lucas not disappoint.
With Elephant, we’re not short of shows that showcase the plight of melanated folks as they navigate around the world with their race either causing them distress, or allow them to experience life in a different experience to their caucasian contemporaries. We saw this in Small Island at the National does on such a grandiose staging, and yet this manages to really shine as brightly in telling a captivating narrative in the Bush’s Holloway Theatre space.
This is a canonical piece, there’s discussion of race but also this is accompanied by live music (not quite a musical) that is stunning in equal measures. It did feel a little tired in its writing and the fact its a debut did show, but the overall effect of this necessary piece was marvellous. It did, on the whole, make myself and audience members laugh – and weep – at the lives of the protagonist Lylah whose adoration for her piano sets the background for this tale.
Loosely based on Lucas’ own experiences as a mixed-race person in Britain, this show at its height looks at how someone with working class roots navigates their own heritage whilst receiving a music bursary. There’s code-switching (which I too myself have exeprienced), and the play touted as a monologue flows seamlessly.
Jess Edwards’ direction has to be commended as the scenes of intensity are handled with grit and realism. There’s always aa shining light on Lucas’ character and it’s not at all contrived as sometimes these pieces can come to be. In all, this work is a success for the way we tell stories – and goest to show that the Bush is strong since the P Word’s success. Long may it bring more working class and marginalised voices to centre-stage.
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Entering the Arts Theatre auditorium (the last time I did so, it was to see Six and Bonnie and Clyde), I was amazed to see an actual on-stage bar serving pints to the audience members in the Stalls. Yes, real pints! Managed by stage managers – who kept the number so the stage isn’t overfilled – this was a really nice personal touch to set the scene of tonight’s theatre at The Choir of Man: The Jungle.
Photo credit: The Other Richard
With a huge opening number ‘Welcome to the Jungle’, which provided an energetic start to a high octane 90-minute set that will leave even the most stone-hearted person wanting to get up and boogie. Whilst the storyline and premise are at-times flimsy, the cast in this show are what make it such a roof-raising production. There’s some rather strange choices in the book re: jokes at the expense of marginalised folks, it was also disappointing to see the lack of women in pubs which as we know aren’t barred only by society’s prejudices.
However, those slight barbs aside, that did not entirely detract from what were wonderful performances. In particular, the piano-playing and stunningly sounding Michele Maria Benvenuto as the Maestro. Everything we saw of Michele, spilled into the audience: the smile and the way that the talents from the piano-playing skills, The camaraderie between the on-stage cast exuded confidence, was enough to make anyone (including me) jump up for a half pint of the non-alcoholic stuff.
If you want to take someone who’s not really into Musical Theatre (or even jukebox musical) this may be the gate-way musical to tantalise those vocal chords and help to cheer you upon after a long week.
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As the Park Theatre enters its second decade (it opened in 2013), I was quite intrigued by the concept of the play Passing written by Dan Sareen and which is also directed by Imy Wyatt Comer. The poster depicts Amy-Leigh Hickman (whose performance in the recent revival of East Is East at the National Theatre was exceptional), who plays Rachel Singh and is adorned in a strikingly beautiful sari on the artwork for this production. Initially, when I told friends of the name of this piece, they immediately thought of the Nella Larsen book. Though it does touch on themes of cultural assimilation and seemingly seeing yourself as ‘passing’ as the default race. Admittedly, I was not familiar with either of the creative team’s work, though the casting choice, coupled with new writing is what piqued my interest to return to the Park90 studio space.
The story is one of a nuclear family which consists of Yash (Bhaskar Patel) and Ruth Singh (Catherine Cusack) and their two children Rachel (Amy-Leigh Hickman) and David (Kishore Walker). There’s also Rachel’s boyfriend who is simply referred to, as Matt (Jack Flamminger). We hear about a grandad, but never actually meet him so it’s unbelievably agonising to wait to see how the play takes off. His arrival is where this long slog of a play ends.
Photo credit: Matt Martin
The play’s beginning is inspiring, with Rachel (Amy-Leigh Hickman) who is caught between two cultures. However, it’s soon gradually apparent that this is a seemingly unrefined piece of work. The introductions of the characters seems abrupt, and there’s a lot of misdirection. Rachel’s character feels somewhat compelled to connect with the Indian side of her Anglo-Indian identity and hence decorates the home with lights and is learning how to wrap herself in a sari. The first fifteen minutes began with lots of interruptions which showcased the clear lack of rehearsal time for this piece. The lack of robust direction meant that some of the actors spoke with their faces turned away from the audience, therefore resulting in some dialogue being lost at times. It was also quite hard to hear when two different conversations were being had simultaneously, as was the case on at least two occasions.
Further, the material was lacking some oomph, despite the clearly talented actors giving it their all to convey the writer’s words which I believe was the root of what made this an endearing-yet-flawed piece. Having said that, highlights the performances come from Amy-Leigh Hickman, Kishore Walker whose sibling relationship felt realistic. Their comedic timing was fantastic and provided light relief. The parental dynamic was odd, somewhat jarred and sadly let down two impressive actors in Bhaskar Patel and Catherine Cusack. The 2-D nature of the character of Ruth Singh, sadly, felt like it was not fully realised and I felt needed more work despite the actress’ ability to convey an earnest mother-like figure.
The first act ended quite abruptly after a board game went wrong (it seemed quite random a place to stop the action for an audience break, and wasn’t the best place to leave audiences wanting more). I saw a fellow audience member leave, and I was hoping that this piece would find its feet in the second act. Sadly, it did not with very basic arguments around racism in the school (which felt repetitive), and the constant bickering made this at times, a grating watch.
Photo credit: Matt Martin
It was a shame that the material let this down, the production was not something that was polished (there were several mishaps on stage, which admittedly were covered up well in character). Given the play’s lengthy run time it simply didn’t engage me and seemed rushed. Its intentions were not as clarified like the ghee used to fry the on-stage samosas (which did, as a matter of fact, smell delicious).
N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) experience in exchange for an honest review of the material showcased on stage. If you want to support my independent theatre, please consider subscribing to my Ko-fi:
“Shisha lounges are an essential part of the Muslim experience bruv, like the Fillet o Fish”
To begin with, I want to commend the theatre programmer at the Royal Court for transforming the set of Blue Mist into a “Shisha Lounge”. For those who are not familiar with them, it’s a common hang-out place for those of the (primarily-but-not-exclusive-to) Islamic faith and they often have circular seats, or perhaps a square with a centre table and with shisha (sometimes also known as hookah, or narghile) pipes being smoked by small groups. Now, walking into Chunky’z – which took me back to memories of being on Wilmslow road in Manchester , Pasha’s in Bradford (which is mentioned in the dialogue) or Edgware Road in London – showcased the fine attention to detail from this team’s creative process. The very playlist that you hear as you enters is exactly the same experience you’d experience walking into the lounge. The crowd, filtering in in their droves, took their seats and I was really intrigued by what looked like an electronic pipe centre-piece, and then suddenly the name of the play makes sense to me: the flavour popular among young(er) people. The title “Blue Mist” is a flavour that’s used in the shisha pipes, and is commonly tasting of ‘blueberry with a certain cooling effect of mint’. I was ready to be cooled as I felt the whole ambience was on fire already (due to the thumping music blaring out) and yet the real main event hadn’t even begun.
Asif, (also known as ‘Sif), Jihad and Rashid are three friends who are living in a close-knit community and they visit Chunky’z to wind down after a day of work and to escape the nagging pressures that come from within the domestic environment. It’s a ‘safe space’ for the men to simply be themselves; they let off steam, joke among one another and provide each other to discuss topics that affect them in a frank manner. Of course, there’s one thing uniting them and that’s their faith. They are very much all dreaming of their next project: Rashid would like to set up a gym business, Jihad is hoping for a career in journalism and Asif is the often overlooked one of the trio.
The central dialogue is pretty much perfect, from an authenticity perspective. I can’t express how wondrous it was to see my very own culture reflected on a London stage; and it felt so believable, engaged me from the very start of this piece. The creative team having done their research makes the viewing a truly captivating one. Bhatia’s exceptional direction in the opening scene in particular, guided by the movement director on For Black Boys created a powerful entrance for our three protagonists. Tomás Palmer’s complimentary – yet never compromising – set is brightly delightful, and only enhances the action.
Finally, the delivery of Zain Dada’s writing zings not only on the page but also in practice. The creative team’s study of the language, in particular the Punjabi and English make this a searing watch, and takes you deep into the world of the endearing trio. One of my favourite examples, was the reference to each other as ‘yaara’ (a term of endearment meaning companion) to the jokes about the state of affairs in the UK. I enjoyed how there’s “men” who are just confidently being themselves in a world where they do get short shrift.
In short, get yourself to the Royal Court to witness a fine display of brotherly love; the tenderness amongst the characters, and the fully realised plot make this a brilliant show that deserves more credit amongst theatre-types and the layperson alike. I look forward to what Dada and Bhatia smoke up next, their partnership is truly some to herald as a welcome change to the usually stuffy Royal Court.
N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) experience in exchange for an honest review of the material showcased on stage. If you want to support my independent theatre, please consider subscribing to my Ko-fi:
EVERYONE YOU MEET IS PERFORMING A KIND OF MAGIC TRICK – PRESENTING THE PARTS OF THEMSELVES THEY WANT YOU TO SEE, THEIR ‘EFFECT’ AND HIDING THE PARTS THEY DON’T,THEIR ‘METHOD’
Photo credit: Marc Brenner
Listen, let’s get this straight from the offset: I am not the biggest of magic fans. If anything, I merely recall David Blaine’s antics atop a perspex glass-cube over the Thames when I was 9-years-old. I also remember Derren Brown’s How to Control the Nation show when we used to be glued around a television to watch “a show” instead o’ streaming everything – like we do now, eh!
Anyhow, I wasn’t sure what to expect when asked to pop by the Criterion Theatre (which I hadn’t done pre-C*vid and the show that was playing was titled Comedy of a Bank Robbery) so this production intrigued me – namely as the marquee has an illusion that does make your eyes go quite funny…
Photo credit: Marc Brenner
It’s also quite nice to walk in to the auditorium – bearing in mind that this is one of the smaller theatres in our beloved West End with 588 seats across the Stalls, Dress and Upper Circle – and hear live music as one enters. I’ve been noticing that quite a lot recently, and to begin with it did seem somewhat a random and eclectic choice of songs including ‘Ain’t No Body’ by Chaka Khan (later covered by Liberty X – the iteration I knew it from, being a 90’s kid). There are roving front of house staff, ready to get to know who’s sat the audience: oh, and boy do they get to know them! A live camera is shone onto the stage so that those who are in the upper and dress circle seats can see the action at the back of the stalls and vice-versa.
From the very offset, there’s a lot of stage management that is present. If you don’t like a bit of audience participation, then I’d steer clear of the first two rows but otherwise you’re asked if you want to partake to which you are allowed to say no. There’s also still a chance to be selected at later points in the show, so do know that if you’re not up for joining in at that moment, then you’re best sitting this one out. To be very clear, it’s all about the audience on the night, as to whether I believe this will be a great evening. Perhaps also the company, and you all expect that it will be very frenetic as the show progresses.
Thankfully, the audiences were pretty responsive on the night I popped in to see this show, and one particular highlight was the audience member for the night I attended involved a special Rainbow Cube segment (the faces he made in a segment where participants are photographed did. make me chuckle). You will be reminded on several occasions that you too can purchase the cube, which start to irritate ever-so-slightly.
Photo credit: Marc Brenner
Now, on to the content (without any spoilers, of course), there’s a writing trio at the heart of this piece: Derren Brown, Andrew O’Connor and Andy Nyman. Admittedly I only know of the former, but the material is somewhat stronger in the second half given the direction we take (as mentioned, no spoilers). Given it has three writers, it could have been somewhat tweaked some more and felt a little disconnected at times. However, the cast are what really bring the “oomph!” to this piece as there’s some great singing from Simon Lipkin (of Elf, fame), as well as Laura Andresen Guimarães who wows in her number. Finally, the last remarkable performance is on a piano and by Hannah Price (whose segment I wish I knew exactly how it’d been done). I would have like to have sene more of these more musical-theatre-inspired numbers, as that’s when Unbelievable was at its elevated best.
Gasp-out-loud moments occur in equal measures as joy the cast are having on stage seeps into the audience; though there were some tricks that I felt I was able to “see through”(Come on, if you didn’t know, I’m the biggest Ghost the Musical fan and Paul Kieve’s tricks are superb and a hard act to follow…).
However, I do heartily recommend this for a family and young people. It will set off, and ignite a flame for the next generation of magicians. It’s a piece that’ll keep you thinking about the questions such as “how on EARTH did they do that?”, and those who revel in the believability of magic on stage – and things not being what they seem – will truly marvel in this production.
The second act really felt like it was where the tremendous cast really got into their own and the pace picked up. There are, a few too many men celebrated for my liking (in 2023, that is well and truly a choice) and I wish we got to see more of the magicians who weren’t entirely homogenous by demographic i.e. pale, male, and stale; I also eagerly await the day the can move beyond the magician’s assistant being a woman. The scenes of the woman being split in half, felt like it truly jarred, and felt unnecessary. The point of having the past showcased could have been made in a more sensitive manner. Having said that, the context was really useful to those not as au fait with the world of magic, and kept me on the edge of my seat throughout the latter half of this deft piece.
Photo credit: Marc Brenner
What I will say about Unbelievable is that it sure provided an entertaining night, complete with live music and a finale that sparkles. If you’re wanting a few hours for a little it of trickery in an escapism scenario then this is it. I will only wish that I was able to get up to partake in the interval activities (more of that when you’re at the theatre, so I’m not spilling anything else), but I did in essence forget.
There’s something for everyone in his show, and I felt it is a win for the extroverted types amongst us – it’s a great affirming show to bring you into the heart of the action. One reveller got his phone out to take a picture of the crowd. This is a show that has high production value (the set pieces in the second act alone are quite nice, and I wish we had more in act one) and it’s one to take the family to. If you’re looking to be entertained, this show heaps it in by the magician’s hatful in the very heart of Piccadilly Circus.
Booking until 7 April 2024: https://unbelievablelive.com/
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