Category: Theatre Reviews

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’

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…

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.

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.

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/

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:

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** Jock Night is a world premier of a stage show which has now been broken into two-acts from Hive North, written by Adam Zane **

Ben (David Paisley) is a forty-something fan of Victoria Wood who is on a path to eventually find love in a world of chemsex, jockstraps and poppers. As the nights get rowdier (yes, that’s a Christina Aguilera Dirrty reference), he’s surrounded by Twinky boys who don’t even know what Acorn Antiques from their Steps.

Kam (Sam Goodchild) is self-proclaimed ‘fabulous and undetectable’, hiding his struggles with addiction by being the life and soul of the party. Gym-bunny Russ (Matthew Gent) is gaining Instagram followers but would rather follow Kam. AJ (Levi Payne) is young, naive and just off the bus from Doncaster (home of Tan France, if there are any Queer Eye fans reading this); thrown headfirst (or should that be head-fist)into a night he will never forget.

With a Grindr message from a fading porn star (or “porn performer” as is mentioned twice), Ben must decide whether to follow his heart or keep the party going.

The setting of the play being in Manchester’s Gay Village roped me in, especially as it explores modern gay relationships in a world fuelled by vanity, “hashtag instagay” and boozy drag brunches. The set – designed by Dick Longdin – is Ben’s bedroom, bricked walls exposed making it very clear where in the UK the action is set. The set consists of a bookshelf of Queer books and also box sets (Will and Grace fans will appreciate this). The attention to detail was rather refreshing, and it felt authentic. The decorative photographs denote a further sense of authenticity of affluent Mancunian gay men who engage in artistic photography. From the get go, there are jock straps galore. Blue ones, leather ones, red ones – this is exactly what is advertised on the tin. There’s no mincing (sorry, not sorry) what is happening here: there’s a gay chill out where sex is number one of every participant’s lists. We are given some Kylie, Coronation Street, and all things homosexual. There’s not a poppers bottle out of place, as the narrative weaves between the sex-fuelled protagonists an their seemingly addictive habits imploding into friendships and relationships. There are frank discussions of being HIV Undetectable (and PreP) which I welcomed, and there’s a conscious effort to remove stigma that those with HIV+ status face. The scenes depicting this, and the aftermath of being diagnosed were handled with sensitivity and also felt compelling. All of the members of the cast form a unique bond, and the audience joins them on the twists and turns of being in a city where there’s just so much happening – both in and out of the club and darkrooms. Whereas what I did like about this piece is that these men are in need of community, and company in equal measures. The way they are intertwined, and their feelings are shared in an honest and considered way.

Those out of the Canal St (or the heart of the Gay scene bubble) may take a while longer to twig on some of the cultural references. These are, to some degree, lacking some of omitted soap opera references such as iconic Rovers fire of 2013 where Sunita Alahan perishes. I’m glad that this play exists, and although I’d have loved for the Hive North team to have extended their research inclusion of more non-white references (such as Global Drag Artist Lady Bushra, or Vanta Black) and perhaps venture into Manchester’s splendid Curry Mile. Having said this, I do think that this play’s heart is in right place – or indeed the centre of Ben’s flat. The overall direction within the piece was strong (which happened to also be directed by the writer Adam Zane), with all the action in the bedroom meaning that there was a possibility to find this overexposed in one setting, though the effervescing dialogue refrained from creating that for the performance I saw.

It’s a strong debut in a relatively new theatre venue (formerly called The Actor’s Centre) which left me moved, and quite perked up after a brief period of illness. This show is a tonic for the soul in these Autumn nights draw in; and as for the LGBTQIA+ community, we desperately need support from our allies and members alike in order to widen community networks that better reflect our lived realities and discourses on the main stage.

Extended until Nov 11: https://www.sevendialsplayhouse.co.uk/shows/jock-night

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:

>> https://ko-fi.com/hamzajahanzeb <<

This show was a pleasant surprise me: for one, I do not align myself with the ghastly politics of Margaret nor her party (in the past, and as is the present case). Oh how wrong I was to imagine to be an eighty-minute set looking at the “great work” she did to befall the Mother of all democracies. I was pleasantly surprised when I saw this then, where it was discussed in length at how atrocious this was but that was a universal fact of the direction it took:

Therefore, when I was recommended this show I was a little hesitant. I was told it’ll lift my spirits, and that it’s a fun night out. Yes, that it is. From when you enter the Wilton’s Music Hall (a venue first for me, it was stunning to see from the gallery before taking my seats in the Stalls); for  there’s Gloria Gaynor, STEPS and many other gay anthems being blared out, you can’t not help but want to wiggle your booty to the music as you shuffle into your seat. This venue has been transformed into a safe space for those at the margins to simply feel at “home” (a certain cosiness exudes here), and that is what I feel built the foundation for some great night entertainment.

I also wondered, on my walk over from Tower Hill to this hidden-away venue:

Will it celebrate her (ew)?

Will it make me lose my northern credentials?

Will I have my milk (inevitably) snatched?

The least of my worries were that this event would be a Conservative Party conference and that I imminently feared an indoctrination. OK, bear with me: as you know with those who watch Drag Race USA, the Snatch Game is a favourite challenge where celebrities are impersonated in a high camp-tactic way. This felt like a prolonged snatch-game, albeit with a very good impersonator and with jokes that did land. Some of the writing is a little wobbly in between, but the improv and the inclusion of recent political scandals (RAAC concrete comes to mind) made this a great night out. Where the critic in me would knock a star off for some weak writing (especially the parts with Peter Tatchell and Winston Churchill), that wasn’t enough for me to want to completely give it a write-off.

Some elder members of the LGBTQ+ community may give this a miss as it’s too real having experienced Section 28 first-hand and can never forgive what happened to them; which is fair enough, but truth be told that I had a stonkin’ great time and I highly recommend it if you’re up for having your spirits lifted with 80s bangers.

Listing details:

25 – 30 September 2023
Wilton’s Music Hall
https://www.wiltons.org.uk
Created by Jon Brittain and Matt Tedford
Directed by Jon Brittain
Starring Matt Tedford as Margaret Thatcher

As someone with no prior knowledge to the revered Sanskrit text, this production was one that was highly anticipated by the people sat next to me as they’d confessed to having “seen Peter Brooks’ version” over a decade ago and were compelled to return to see it based on the story; this time, this iteration helmed by Canada’s Why Not Theatre company whomst we had no prior knowledge of. The Toronto-based company who made the Barbican their home for a week, with this juggernaut of a production, had a lot to live up to I’m told. The play is just short of five-hours and is split into two halves (something you’d only know if you’ve seen Harry Potter and the Cursed Child), so there is a clear commitment to the cause for repeat viewers of the origin story.

The storyline is complex, and the guidance of a printed family tree was much helpful in this production as there were lots of blood relations that needed to be kept abreast of. Think Succession with a bunch of deities, and you’ll be on your way to understanding the crux of this piece somewhat. In its simplicity, the tale is of two families who are fighting (or avenging) the loss that they’ve faced. It’s truly quite a layered and deep, meaningful plot that takes you out of reality and into the world of the Kauravas and the Pandavas. As you walk into the auditorium, you can hear classical Indian music being played; though the majority of musicians were of south asian heritage, I’d have been more more impressed if they were all of the heritage being displayed on stage given the strides elsewhere in the production towards greater inclusivity.

There’s an amalgamation of screens in the second act, alongside the pared-back scenery (think a revolve stage, without the revolve) as well as string that mimic snakes that is hoisted up and down. It’s a shame as the Barbican can produce some spectacular productions, and this wasn’t one of them. True, there are nice sets and costumes but the story moved at a glacial pace with confusion and irksome characters.

Where this piece affected me most was in the first act; one of the highlights was at the second part, titled Dharma, that  included a 15-minute Sanskrit opera adaptation of the holy scripture. It was utterly beautiful to hear this, and to see the performer ever so slightly glide across the stage: the surtitles also helped to understand what was being sung, and I for once felt like I was transported to the Verona Arena. We’re told that the inclusion of poetry comes from Carole Satyamurti’s Mahabharata: A Modern Retelling, and this is the better parts of both halves.

Unfortunately, the narrative I struggled with, and felt lost at times as it was the sheer fact that the story was too elaborate, and could have benefitted from a cut in its run-time. Perhaps even a zooming in on a key characters and exploring them in more depth.  In this time-poor world in which we operate, there was nothing new being created and the same point (or rather, same familial trope and scene) felt like it was being enacted on loop. Neil D’Souza excelled as Krishna and Darren Kuppan provided light relief in what was, on the whole, a very serious piece. I’d love to have seen them been given their own show as they ignited the stage with their presence; all in all, there were too many ideas being flown around which made this impossible to ignore when trying to be immersed by the talented cast on stage.