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REVIEW: ⭐️⭐️⭐️⭐️ Baghdaddy📍Royal Court Theatre

📍Baghdaddy, Royal Court Theatre.
Philip Arditti & Jasmine Naziha Jones
Photo credit: Helen Murray

Baghdaddy is a play centering the lives of two people: Darlee, aged 8 and her dad who are the main drivers of the action as she accepts her identity as a mixed race person of dual Iraqi-English heritage.

It examines the childhood memories of Jones. It is a refreshing take given its normally people who have fled Iraq or curtains the saviour’s of White Men™️ who are the “heroes”. What was really nuanced pathway was the fact the piece is set into UK, in the home of Darlee’s family; the truth is honest, a searing piece that depicts the experiences of a mixed-race Middle-eastern person from the community of colour.

Ultimately, the use of Clowning compliments the style — the perspective of a child allows Jones’ creativity to superbly demonstrate who she feels she is and where she’s from. It’s the child-like capitalist inclusion of going to the golden-arches restaurant, along with the gorgeous set (designed by) that provides a suitably engaging concept that delivers on the most part.

I preferred the human-side of the conflict and a conversation to the people watching: the involvement of us, and the audience, garnering an inner provocation our very own imagination. I like theatre that challenges but one implemented in an innovative way.

The chorus – made up a great trio of Souad Faress, Hayat Kamille and Noof Oussellam – provided comic relief and a deep spectacle into the minds of the characterises in the absurd format.

The direction by Milli Bhatia (who also directed Chasing Hares) is sublime, with an engaging piece that compels as the action transcends into the second act where we see a tonal shift. The monologues are delivered with such conviction, and it’s a particular type of unease that one encounters with the respective Darlee and her father.

The missing piece – at times – come in the form of the audience wondering what happened to the mother, but overall this is a sparkling debut by Jones of a heart-felt piece that strikes the right notes and shines a light on really important issues: the psychological repercussions (due to the ongoing wars), the American Neo-Imperialism symbolic nature of capitalist consumerism as well as the murderous Saddam Hussein-led regime.

Do not miss this: it’s a perfect blend of a unique theatrical offering, and provides the euro-centric audiences a glimpse into the layers of storytelling that many other members of our society can showcase; for that alone, Jasmine Naziha Jones ought to be proud of really moving and also riveting piece that speaks truth to power regarding endless possibilities for displays within the theatre.

** LISTING INFORMATION **

Until 17 Dec: Jerwood Theatre Downstairs Mon – Sat: 7.30pm (except 24 Nov, 7pm) Thu & Sat matinees: 2.30pm (from 26 Nov) Running time: 2 hours 15 minutes, including an interval Age recommendation: 14+
Book Tickets (via the Royal Court website)

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REVIEW: ⭐️⭐️⭐️⭐️⭐️ Tammy Faye📍Almeida Theatre

Andrew Rannells and Katie Brayben in Tammy Faye: A New Musical Photo credit: Marc Brenner

“It’s time to bring America back to God”

When the idea of musicals comes to fruition, it’s not atypical for shows that are set in the the USA (Hamilton, Chicago, 1776, Rent, Hair, Ghost – to name a few) to bring British audience nights of delightful entertainment… and now we have another one that follows the trend with Tammy Faye: A New Musical.

Admittedly, I wasn’t too sure myself who the American evangelist and television personality was; in this production, her life is charted in a superb manner by Katie Brayben. Tammy Faye gained prominence or her work with The PTL Club, a televangelist program that she co-founded with her husband Jim Bakker (Andrew Rannells’ character) in 1974. With music by Jake Shears (of Scissors Sister fame) and Elton John, I would have been lying if I wasn’t interested in how these two would serve up a delicious soundtrack of camp music and punchy lyrics.

Over the course of the two act performance, we are gripped by the drama of the lives of these two fantastically camp – yet deeply problematic – individuals. Their lives showcase some of the worst and best of humanity. The pacing of the action unfolds are a really good pace, and I felt immersed in the set design. Designed by Bunny Christie, it cleverly changes the hospital scenes and then subsequently the TV set (the windows showcasing different characters really effectively).

Tammy Faye. Zubin Varla. Photo credit: Marc Brenner

Overall, this production felt like a well-researched and an overly entertaining romps; its roaring success – with its high-energy end – will be seen by most of the community who can digest another glamorous staging of a not-so-glam subject. I felt  the impact Tammy Faye had on the cis-gay male community was not glossed over, but instead plied with sensitivity  that was important given its impactful nature for the wider LGBTQ+ community; the TV interview with a patient with AIDs cemented that legacy of how the fight to reduce stigma was (and is continuing to be) fought showed a more human side to Tammy Faye. Andrew Rannells give a brilliant performance, and for a West End debut was in his element; Zubin Varla’s Jerry Falwell was perfect in his facial expressions in particular and his ability to showcase the baddie without it teetering on the panto villain trope; finally, the choreography and direction (Ruper Goold) were both executed to the highest of standards. I felt like the space (Almeida) provides endless possibilities, and as far a producing houses go it was exceptional in its vision – clearsighted and for there to be slick changes done in a seamless manner.

A bit like how the Tiger King went from an unknown American personality to gaining prominence, I believe that the creatives on this show have worked hard to create a magnificent and captivating story that will resonate deeply with many audience members for varying reasons. Do not miss this! The run is sold-out but do check daily for returns.

** Note: For anyone under interested, the concessions for the Alameda are really worth checking out — as well as the Almedia For Free scheme i.e. a free performance for those aged 25 and under. On sale at 5pm on Mon 21 Nov for the following performance: Thu 24 Nov 7.30pm **

Until 3 Dec 2022 : https://almeida.co.uk/whats-on/tammy-faye/11-oct-2022-3-dec-2022#open-calendar

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REVIEW: ⭐️⭐️.5 Eureka Day📍Old Vic


Ben Schnetzer, Susan Kelechi Watson, Mark McKinney, Helen Hunt and Kirsten Foster in Eureka Day at The Old Vic.
Photo by Manuel Harlan

Strong individual performances but a show that drags under the guise of the “should-we-shouldn’t-we?” when it comes to vaccinating for MMR

When I heard about this play, I wasn’t sure what to think as I hadn’t heard of Helen Hunt – nor was I aware of Jonathan Spector’s work. Now, I’m all for trying a new piece of theatre that had been ladled with heaped praise coming from over the pond.. The Old Vic website describes it as follows:
Every child is welcomed at the progressive Eureka Day school in Berkeley, California – it’s a point of pride for the parents on the Executive Committee. But when a public health scare erupts, it turns out tolerance and togetherness are no match for mumps…
In Jonathan Spector’s timely and hysterical comedy, polite debate descends into ideological warfare, as a democratic utopia tears itself apart. Academy, Golden Globe and Emmy Award winner Helen Hunt (As Good As It Gets, The Sessions, Mad About You) stars alongside Kirsten Foster (Life of Pi, West End), Mark McKinney (Superstore), Ben Schnetzer (Pride) and Susan Kelechi Watson (This Is Us), directed by Katy Rudd (Camp Siegfried, The Ocean at the End of the Lane). A co-production with Sonia Friedman Productions
The stage for this is a really nice feature, it feels like you’re in a box that encapsulates the tensions about to be raised in this dramatic piece. Though, for me, this story about “big questions” just felt too broad and just like something that really went on when it could have sharply cut and done and dusted in a 90-minute one act play. The funniest part was the ten minutes before the first act ended, looking at human behaviour online. I wish that there was more of that, but otherwise the play did jump up off not nearly as much as I’d liked it to have.
Now, don’t get me wrong, the individual performances were searingly captivating (especially from Susan Kelechi Watson and Kirsten Foster) but the rambling of ideas and lack of set movement and connectedness made this fall flat for me. I was, at times, just boring. I wish it success,  even if I felt after years of discussions re: COVID vaccines that a night at the theatre is one to avoid anything that could even bring a glimmer of “lockdown” back.
On until 31 October: https://www.oldvictheatre.com/stage/event/eureka-day
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REVIEW: ⭐️⭐️⭐️⭐️⭐️ The P Word📍Bush Theatre

 


The P Word. Esh Alladi and Waleed Akhtar.
Photo: Craig Fuller
EDIT : [28/2/23]:
THE P WORD IS NOW AN
OLIVIER AWARD NOMINATED PRODUCTION

Two Pakistani gay men are presented in this Waleed Akhtar piece with sensitivity, verve and vivacity

I’m greeted by the enormous pog-like stage when I enter the main stage of the Bush theatre. Except, there’s a floral design and a heightened round stage which represents the two halves of this love story. It’s not often that we get brown men in a single play, both of whom seem troubled by the underlying current of their sexuality, but never once does it feel that it falls into the tropes of what the white gaze may have imagined as being their devastating lives. This, I should very hastily add, can be confidently confirmed by Waleed Akhtar’s writing. It’s brilliant, wonderfully realistic and achieves the layers to my own identity that I’d never once seen on a stage. To have TWO of these people represented, I felt like I had won the jackpot. In fact, this is one of those plays that will stay with you for a very long time.

The play begins with a duologue of the two men, it sets up the scene. One is Billy (played by Waleed Akhtar), someone who is proud to mask the Pakistani-ness that comes with being a British S. Asian. Bilal is his real name, but I can understand (perhaps even empathise) with the way he removes himself from his original name, and asks to be referred to simply as ‘Billy’. He has a very unlikable character (he calls his colleague “fat” Jason and is image-obsessed), but he’s definitely  shines a light on a person you’ve surely met once in your life…that person could even be you! The way he bounces around the stage, a gym bunny taking his vest off at several points, performing this Duracell bunny-esque character that makes you believe he’s a deeply unhappy person.

Another troubled soul who we meet is Zafar, an asylum seeker played in an awkward and geekish manner by Esh Alladi. They meet at 2am in Soho, at an off-chance and develop an unlikely friendship. The depiction of someone whose woeful journey arriving to a hostile Britain, the twitches and sheer horror on his face feel so real – must be commended. The character study is clearly evident by Esh Alladi, and there’s so much heart in the way Zafar connects with the audience – I simply wanted to give him a big squeeze! The audience perhaps wouldn’t know of the Pakistani culture (such as Humsafar and Phulkari taanka design) but that really did impress me to say the least. The nuance achieved throughout. To say The P Word is a universal love story, and one of humanity that is shown on stage is an understatement. It is effectively a necessary, and important piece of theatre created by S. Asian creatives who put their heart and (Desi) soul into it. It’s so often forgotten how, in the debate surrounding diversity in the arts, we as creatives of colour often have to make do with crumbs. A PoC with a White partner, a half-baked attempt to make something fit for “DEI” purposes; this, is certainly not that story. And for me, I am so glad that it was given the green-light for it will be remembered and deserves wide acclaim for achieving what it set out to in this slick production. We need more of this storytelling, where we can offer more shades to those lived experiences the barely make a scratch on the surface.

I turned to my neighbour at the end (it’s a tight 120 min piece with no interval, perfectly choreographed as this does not once have you staring at your watch with the riveting action on stage), and said “we really do all see each other in Bilal“. She nodded and smiled, telling me she’d never heard Urdu spoken on the stage before. That in itself can encapsulate the power of a production like this, and it made me smile.

 

If there’s one piece of theatre all of the queer community (and our allies) need to see, it really is this: it will provide such insight on the plight of asylum seekers in the UK (and beyond), and also allow for the non-melanated folk amongst us to take a moment to re-assess how they are able to prevent Pride and relevant events from simply being a celebration of the privileged (cis-heteronormative) among us. We too need to operate a kindness, and play an active role in our communities, especially lifting up those on the fringes like Zafar and Bilal; ultimately, it’s only a celebration when we can be fighting for the rights of all, despite our differences and this piece seeks to expand the knowledge of how our queerness can sometimes cost us our lives.

📍Bush Theatre, until 22 October: https://www.bushtheatre.co.uk/event/the-p-word-2022/

Under 26 discount and local residents get a discount, tickets from £12.00

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REVIEW: ⭐️ ⭐️ The Clinic📍Almeida Theatre

The Clinic. Maynard Eziashi and Donna Berlin
Photo: Marc Brenner

A quarrelling family’s lives are brought centre-stage in this piece that sees several themes tackled but rather lost in a magnificent space.

When you walk into the Almeida, you get to see a nice set. It is, after all, by the same lighting designer and set designer as Frozen. It’s swish, sleek and modern; instantly, you’re brought to the centre of a British-Nigerian’s £2million home and are front row ready to watch the drama unfold.
The play begins with pizzaz, and an energy that I wish was kept up for the entire piece. The storyline, and evolution of the characters is what I couldn’t get beyond. The unrealistic nature of the youngest daughter (Ore, played by Gloria Obianyo) bringing home her patient’s widow (Wunmi, played by Toyin Ayedun-Alase) seemed too out of the ordinary. It felt like it was a forced plot point, and the safeguarding issue never really left. I was hoping for a turn to the thriller genre, with lots of blood. That did not proceed to be the case. As I found, it felt like it was dragging on, and the action – though it ended spectacularly – left me feeling bereft and almost exhausted from watching such intensity on stage.
Dipo Baruwa-Etti’s writing really soared when it needed to, but the production was perhaps better suited once it had several reworkings and some time to evaluate what it sought out to achieve. The politics, dynamics of class all started off as something that could have been further developed in terms of the profound nature of displaying the disparity in the lifestyles of the middle-class and working-class.
The actors, however, were very convincing in their individual performances but the glue seemed to be missing from this piece. In the end, what we saw was a somewhat rushed – and overly long – piece, that could have shone light on the issues without having so much packed in.
On until 1 October https://almeida.co.uk/whats-on/the-clinic/3-sep-2022-1-oct-2022
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REVIEW: ⭐️ ⭐️ ⭐️ ⭐️ Diva: Live From Hell! 📍 Turbine Theatre

Photo credit: Harry Elletson
Book & characters by Nora Brigid Monahan
Music & lyrics by Alexander Sage Oyen Produced by Alistair Lindsay for the Unusual Theatre Company and directed by Joe McNeice

This is the UK premiere of Diva: Live from Hell!, where you will join Desmond Channing in the Seventh Circle – Hell’s most squalid cabaret club – as he recounts the grisly events that led him there. Inspired by All About Eve, this blood-stained love letter to Broadway will have you laughing hysterically and lusting for revenge. Starring Luke Bayer as Desmond Channing, and every other character to boot, this one-act, one-person riot of a show will take you beyond the darkest depths and demonstrate exactly what it takes to earn the title of diva.

I’d never been to the Turbine Theatre (opened in 2019), prior to my visit last week to see Luke Bayer (Everybody’s Talking About Jamie, RENT, Hair, Soho Cinders) in an American production called Diva: Live From Hell! The premise of the show follows Desmond Channing, as he is presenting a show live from Hell. It enters around a high school drama society, and Luke impressively voices many characters. The piece is a one-person show, and Bayer takes on a massive task but never once flinches or misses a beat. It is a captivating performance, as Luke vividly weaves the storyline, and with such vigour — I felt like I was going on a journey, feeling every emotion possible on the way. Desmond is the unreliable narrator, as we get everything told to us via his lens. This one-person show feel made it ever the more intriguing, yet was fulfilling as often numerous roles performed by one actor are difficult to achieve. Kudos to the director, for their directing this piece with verve and vivacity. The costumes bring the piece to life, and portray the fabulousness of Desmond, and his questioning of sexuality. The tracksuit top, the feather-boa design really brings campuses to this production.

The design is by Director Joe McNeice, and the lockers and creation of a car in one scene really stood out. There’s a lot of thought into how to transform the small space, and this is to be commended. Although the score itself is perhaps not the most memorable, the sheer conviction of the cast and creatives make this a brilliant performance. I loved the references to Patti Lupone, Jerry Herman and many other phrases/trivia only “stagey” folks would understand. I sat on the table seats (with a lamp that changes colour and adds to the feeling of being there with Desmond as he relays his story), and it was a lot of fun to be sung directly at – especially when it’s the superb vocal skill Luke Bayer possesses.

All in all, this was an entertaining watch in a fairly new theatre – my first time at the Turbine – which is located under the arches, and a stone’s throw from Battersea park. You may hear the odd train rumble on by, but that doesn’t detract from the action on stage.

Go see it for it’s just been extended by a week – now to end on 10 September 2022.

Book tickets via Turbine Theatre now

** EXTENDED TO 10 SEPTEMBER 2022 **

 

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REVIEW: I, Joan (2022) 📍The Globe ⭐️⭐️⭐️⭐️

A triumphant debut, a celebration of queerness and a slick investigation of the joys compassion can bring to those marginalised in wider society.

Continue reading “REVIEW: I, Joan (2022) 📍The Globe ⭐️⭐️⭐️⭐️”

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REVIEW: 101 Dalmations (2022) 📍Regent’s Park Theatre ⭐️⭐️.5

Kate Fleetwood as Cruella de Vil with Pongo and Perdi puppeteered by Yana Penrose, Emma Lucia, Danny Collins and Ben Thompson. Photo Mark Senior.

It was a really lovely evening, when I visited the Open Air theatre in Regent’s Park. Nestled about a ten minute walk from the Jubilee Line “Baker St” stop, it was easy to find and upon arrival everything was suitably spotty. The Dalmatian-themed carpet was set and the punters were lining ups in the green grass sat on benches. A newly commissioned musical,  written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), originally from a stage adaptation by Zinnie Harris. Based on the book by Dodie Smith, leading the cast was the iconic villain Cruella de Vil was Olivier and Tony Award nominee Kate Fleetwood.

The storyline centres around Cruella de Vil sets her sights on a new Dalmatian fur coat, and there’s trouble ahead for Pongo, Perdi and their adorable litter of puppies. It’s based on the classic story set in the heart of Regent’s Park, and this new musical adaptation, packed with puppetry, is perfect for a summer’s day.

One I got past the jarring (yet rather sweet puppets), I felt I was able to ease more to the action on stage in the second act. However, the storyline and the entire piece as a whole just didn’t flow for me. There were some great moments  (and they were rather short-lived)which came with the number Cruella sings, as she weaved out into the outdoor auditorium. As far as the Dalmatias go, to see so many – but in such an uninviting way made it fall flat and unconvincing. The weakness was that the puppets (Pongo/Perdi) were so awkward in their interactions, that it was unbelievable. Further, the puppies didn’t add anything nor feel part of the plot – when they should have been integral.

There were a few moments where I winced at the crassness of jokes surrounding death of Cruella’s sister, which again put the book as something that could have achieved – with say, a sensitivity reader – and if were it worked on a little more. Overall, I was expecting a much more coherent show where I felt immersed in the action onstage. At least the only thing which saved the production was its high-camp and panto-esque quality. If you want to keep kids entertained during the summer hols, this this may be the place (though there is a risk of adverse weather being an open theatre and sadly being in the UK).

The cast truly gave it their all, but ultimately given the source material lacking pizzaz and a bad score was what led to this potentially pooch-tactic production being put down.

Until 28 August 2022
🎟: https://openairtheatre.com/production/101-dalmatians

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REVIEW: Favour – 📍Holloway Theatre, Bush Theatre (2022) ⭐️⭐️⭐️⭐️⭐️

Photo credit: Suzi Corker

‘There’s going to be some changes round here, sugar and TV allowed whenever you want’

Favour is a play set in Ilford, London. It concerns three generations of Pakistani-original British Muslims who are torn apart by the imprisonment of Aleena (Anita Jay). Beginning with a big ‘Welcome home’ banner unfurled above the entrance to the sitting room. We slowly learn that Leila (Ashna Rabheru), Aleena’s daughter was under the custodianship of her Nano (Renu Brindle). The way Leila said the Urdu word for maternal grandma was just so sweet, and pulled at my heartstrings🥹. It reminded me of home and felt so authentic. It made me really rally for her throughout, and from the get go.

When you enter the Holloway Theatre space, you’re immediately faced with the set – the inside of the family’s living room – and a sink which literally is sunk into the ground. The banner reading ‘Welcome Home’ is clear that someone is to come back – and that’s when the story, like the banner, unfurls. It has a clear trajectory in terms of plot, but admittedly the end did surprise me.

Ambreen Razia’s new piece is a touching and hopeful domestic drama that tackles a variety of themes: izzat, alcohol addiction and mental health. With this piece, as part of a new co-commission between Bush Theatre and Clean Break, she shines a light on the women in South Asian diaspora communities often forgotten. It does, with dignity, tell a frank story of a working-class Muslim family in ways that I’ve never quite seen before on stage. Comedic relief is provided in the form of Fozia (Rina Fatania), and the audience roared with laughter (especially with her delivery of the word ‘Mash’allah’) as well as her spot-on perfect delivery of lines. The climax scene between her and Aleena was intense, but also utilised the stage’s levels really well. It could have come across as unreal, but both actresses worked hard to make it a real highlight of the show. Audiences gasped, as the tension went up a notch (or three!). The energy of the actors throughout is to be also commended.

I was really moved by this piece: I had, at one point, tears streaming in my eyes. For those of us in the South Asian diaspora, it really touches a raw nerve. The writing here is lurid, wondrous and all-round authentic; it will be a play that you see, and really learn from. It will transport you, and like me – you’ll be gripped by the drama on stage you’ll not have to look at your watch.

After it ended, I wished that we got a Part 2 I was that engrossed. Brilliant sets, direction and I’d go back in a heartbeat – for the characters reflected my very reality, which I don’t get to see often (if at all) on a British stage. Hats off to the entire team, and I wish it a prosperous run. Run, don’t walk, to see it – and whilst you’re there, do check-in to a lovely favourite restaurant of mine (Tian Fu, Sichuan Food) when I lived just off Goldhawk Road.

Until 6 August: https://www.bushtheatre.co.uk

⭐️⭐️⭐️⭐️⭐️

5/5

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REVIEW: The Fellowship – Hampstead Theatre (2022)

The-Fellowship (2022)

L-R: YASMIN MWANZA CHERRELLE SKEETE

Photo Credit: Robert Day

When I attended the press night at the Hampstead Theatre on 27 June, I was slightly surprised when the theatre’s producer Greg Ripley-Duggan (Hampstead Theatre’s Executive Producer) took to the stage to announce that one of the lead roles (Dawn) was to be played by Cherelle Skeete, after the original actor Lucy Vandi had suffered an indisposition on the last day of a four-week rehearsal. Pretty unfortunate stuff, if you ask me. We were told that the actress has spent a week to rehearse, and would be – at times – using a script. That’s fine with me, and it didn’t detract from the action on stage. In fact, I was in awe of Cherelle Skeete’s ability to perform effortlessly and with conviction; I almost forgot a script was placed on a prop at times and kudos for filling in the shoes at such short notice.

Firstly, the set for this is what captured my attention. There’s all the action set in a small round stage which cleverly mimics the Amazon Dot device, complete with light up blue lights when “Alexa” the online virtual assistant is called – primarily to play music. A bit of a miss on the other elements to what the “Ask Alexa” feature on the digital device provides, such as creating shopping lists and that could have been integrated into the script effortlessly if explored. A missed opportunity as it could have landed a few laughs, and drawn moreso on the mother-son bond which felt like it was glossed over.

The plot line begins and we’re introduced to two sisters who are daughters of the Windrush generation: Dawn and Marcia. Both of them grew up in south London in the height of the riots and were robust activists to overthrow the injustices faced by minorities. Dawn cares for their mother, and we learn one son has died and the other she feels has drifted away from her. Meanwhile. Marcia is the high-flying lawyer whose having an affair with a politician – a really deadly combination which could prove to make her future as a professional in tatters. The storyline is quite complex and although there is a dramatic scene in the second act, it fails to land with conviction.

The writer, Roy Williams, has written a culturally relevant play which feels like it is fresh, modern and set in the 2020s. The language, references to popular culture – Hamilton gets namechecked, as does Meghan Markle and also Black Lives Matter- make it so current as far as references go. The clever parts are where characters are given monologues that impart conviction. It is when the characters are fully fleshed out, displaying the humanity and ordinariness of their plight/struggles, that this piece soars. Unfortunately there aren’t too many of those moments. There are numerous lines that were delivered with perfect timing, showing the comedy in its dark form – led by Tony (Trevor Laid). Often these were gags  that added nothing new or with greater nuance of the communities, sadly.

Overall, this is a captivating play with performances that will make you empathise with the characters albeit on a skin deep surface level. It could have been slimlined by twenty minutes, but the cast gave it their best despite the material issues.

2.5/5

 

Playing at the Hampstead Theatre until 23 July

HampsteadTheatre.com