Tom Hollander as Boris Berezovsky in Patriots. Photo credit: Marc Brenner

We are greeted with a darkened room with bright lights replicating a Russian bar. Stools are places to mimic a bar, and we can notice Russian letters. There’s an immediate transformation to one being fully immersed into a set (something that I really revel in), and fierce red lighting showcases very early on that this is going to be a play where things hot up. And hot up, they sure as hell do..

The play is directed by Rupert Goold, and tells the life of a billionaire who was a child genius. We meet his mother, and lo and behold – the life of a genius. It really is layered in a brilliant book (written by Peter Morgan) and that offers such a great insight for anyone not as au fait with the subject of Russian oligarchs and the rise of the current Premier Vladimir Putin. There’s a lot of tension, but ultimate the viewer is gripped by the action on stage — something that may not be the case with a topic such as politics. It was riveting, and the vivid direction and use of the space is to be hugely commended.

A stand-out performance comes from Will Keen as Putin, but also Jamael Westman – fresh from his turn originating the titularr role in the original West End production of Hamilton. The Scouse-accemt was spot-on, and we went on a journey of his character Litvenyenko – despite his sad and unfortunate demise. When he was on stage, it was really instantly believable and there depth to his character’s demise – which begins when he speaks out against the KGB in a press conference is luridly portrayed.

If you can get a ticket to this sold-out run, I really would run and leap at the chance. Check daily for returns. I love a piece that will have you thinking about it long after it’s ended. It is a superbly directed show, where the entire creative team have worked hard to create a masterful piece of theatre — and the entire cast’s efforts truly are shown.

Book tickets🎟: https://almeida.co.uk/whats-on/patriots/2-jul-2022-20-aug-2022

Almeida Theatre, Islington

Until 20 August.

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Katherine Parkinson and Company in the NT’s Much Ado About Nothing (c) Manuel Harlan

As someone who studied Shakespeare at both school, and also at University, you can certainly I was shocked when I saw Much Ado About Nothing was the latest Willy Shakespeare play the National were to put on. It’s one that I have had lease exposure, and wasn’t aware of — but this production made me realise that it’s a complete genius of a work by the Bard.

I felt like I’d escaped to the Italian Riviera with Katherine Parkinson (Home, I’m Darling, The IT Crowd) who plays Beatrice and John Heffernan(Dracula, She Stoops to Conquer) who plays Benedick. The feeling one feels when entering the Lyttleton theatre is one of being away, with waves crashing and the sound of sand being washed away. This instantly put me at ease, and in the setting – and does what theatre does best. It transports you to another place. Bliss!

The plot is as follows: since the 1930s, the legendary family-run Hotel Messina has been visited by artists, celebrities and royalty. When the current owner’s daughter falls for a dashing young soldier, the hallways are ringing with the sound of wedding bells. However, not all the guests are in the mood for love, and a string of deceptions soon surround not only the young couple, but also the steadfastly single Beatrice and Benedick.

It is directed by Simon Godwin and the remaining cast members include: Al Coppola, Celeste Dodwell, Eben Figueiredo, Olivia Forrest, David Fynn, Ashley Gillard, Brandon Grace, Nick Harris, Phoebe Horn, David Judge, Kiren Kebaili-Dwyer, Ioanna Kimbook, Wendy Kweh, Marcia Lecky, Ewan Miller, Mateo Oxley, Rufus Wright and Ashley Zhangazha.

Overall, this was a slick and stellar piece of theatre. It did what it intended to do, which was to entertain. I was grinning throughout, and was really impressed by the way in which the play unfolded. The only piece of direction I’d not perhaps have done myself is to put a lower-class character in a “northern” accent, which I felt was reinforcing stereotypes at times. Bits of set included hammock, and a gelato tray – which were used subtly but had the crowds roaring with laughter. As far as sets go, this one was also stand-out for its scenes where the characters sit in bathtubs, but also the way in which the action felt naturally moved along. All in all, I left with a great idea of what other works – apart from his tragedies and histories – William Shakespeare is capable of, and left wanting to delve into more of the canon of his works.

Until 10 September 2022.
Book tickets🎟

Photograph: Landmark Media/Alamy

When I was first in a cinema earlier this year as the world “opened up”, and saw the trailer for Elvis, I was really blown away by the gyrating hips and “Elvis-fever”. It was someone for who I – as a 90s kid – was not too overly familiar with. He seemed like a mythical beast, for I’d neither grown up with his music. I do recall, however, that the very first encounter I had with Elvis’ music was a cover of his song ‘A Little Less Conversation’ and a 2002 remix by Junkie XL of a later re-recording of the song by Presley became a worldwide hit. Beside that, I’d heard the odd song like ‘Jailhouse Rock’ but nothing was too prominent in his discography due to the lack of exposure.

Having said that, I was blown away by this movie for being able to captivate my attention for a whole 2 hours and 40 mins (a hard task, even for a theatre production with an interval). For instance, the direction by Bad Luhrman – whose Romeo and Juliet, Moulin Rouge are culy classics – was so vividly portrayed. The bright cinematography, along with Austin Butlers’s exquisite performance as ‘The King’ was really commendable.

I left feeling like I’d learned a lot (the history gaps I crave to be filled in when truly going into an epic telling of an extraordinary life), especially in terms of the influence Black music had on Elvis. It made me want to take a plane to Beale Street in Memphis immediately, and visit the club Elvis frequented. It was refreshing, and the way his later life’s turmoils and the pain of fame was sensitively dealt with.

Do not miss this, and let yourself escape the heat in this soaring temperature-clad blip on our “normal island” to enter a room to be told a beautifully shot movie. I just adored it. Let me know what you thought with a tweet @hamzajahanzeb

JugJugg Jeeyo is a story set in the heart of Patiala and much like the city, it’s full of love and laughter, colour and drama. It’s about family and its values, unresolved yearnings, and unexpected reconciliations.

Varun Dhawan, Kiara Advani, Neetu Kapoor, Anil Kapoor, Prajakta Koli, and Manish Paul are the main cast of the movie and the movie is directed by Raj Mehta and produced Karan Johar, Apoorva Mehta, and Hiroo Johar.

Where this film soars is in the comedy, which really does land in places – spearheaded by Anil Kapoor who is just such a legendary actor with a pretty phenomenal list of credits. Unfortunately, the script could do with editing (as well as the jarring camera work, especially in the “hit” songs), and for example using the “effeminate” (supposedly queer) character to ridicule them for their sexuality is such a tired trope, which I felt was a let down to the otherwise-perfectly fine film. The drama, in parts, was suitably forced but overall the film was a fun entertaining watch – and the second half for me was much better.

It’s a light-hearted watch – one for the family, with silly jokes and a basic humour –  whose short run time is in this case advantageous, and which means you can go home and not have to spend a full three hours away!

3/5 Stars

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LANSHULA BAIN, ULRIKA KRISHNAMURTI, ZAINAB HASAN, KIRAN LANDA
© Robert Day

“Women come, women go. We pamper them, preen them, make them beautiful. Make small talk. Never know what’s really under their skin.”

Lotus Beauty invites us into Reita’s salon where clients can wax lyrical about their day’s tiny successes or have their struggles massaged, plucked or tweezed away.  But with honest truths and sharp-witted barbs high among the treatments on offer, will the power of community be enough to raise the spirits of everyone who passes through the salon doors?

Over a decade ago, Satinder Chohan’s Crossing The Line played at Hampstead as one of the theatre’s young company productions.  Since then, her credits have included Zameen (Kali Theatre), Kabaddi Kabaddi Kabaddi (Pursued By A Bear/Kali Theatre), Half of Me and Made in India (Tamasha).

Artistic Director of Tamasha, Pooja Ghai directs her first production at Hampstead.  A former Associate of Theatre Royal Stratford East, previous credits include Lions and Tigers (Globe Theatre), Approaching Empty (Tamasha, Kiln Theatre, Live Theatre), Rapunzel, Counting Stars and The House of in Between (all Stratford East).
Lotus Beauty follows the intertwined lives of five multigenerational women.  The cast features Anshula Bain (Tartuffe, Birmingham Rep; (This Isn’t) A True Story, Almeida Theatre); Souad Faress (The Archers, BBC; Game of Thrones, HBO), Zainab Hasan (The Welkin, National Theatre; Shakespeare Trilogy, Donmar Warehouse), Ulrika Krishnamurti (Pink Sari Revolution, Curve Theatre/Belgrade Theatre/West Yorkshire Playhouse; Made in India, Tamasha Theatre Company), Kiran Landa (Line of Duty, BBC; Extinct, Theatre Royal Stratford East).

To me, the plot was decidedly clever – Stander Chohan (writer) has created the myriad of ladies found in beauty salons across the world: be it if you’re in New York, Dubai or Southall where this play is set. The director of Tamasha Theatre’s Pooja Ghai is to be commended for its clever and unique way these women’s live interweave. The set is sleek, simple and minimal. To be fair, it fits the Downstairs of the Hampstead Theatre like a glove. There are moments where I wish it was a little more elaborate, but it does amplify the feeling of claustrophobia of being in a cramped beauty salon. The actors each portray the women effortlessly, and it translates mostly in the first act. The only part where I’d perhaps look to improve, is the way the ending and second half bringing a darker side. The first half was really funny, cheery and captivating. I felt the second act was slightly longer, and the plot could have tightened to keep it seamless, but the actresses gave the most inspiring performances. A special mention to Zainab Hasan, for her really hilarious lines – they kept on coming – and it was just really nice to see audience members who got the punjabi jokes, without having to explain them for a non Global Majority audiences. Kiran Landa’s Reita is feisty, and her acting choices were superbly executed. It was like watching a masterclass, and her dynamic with on-screen daughter (played by Anshula Bain) caused for many spot-on performances that reminded me of my own community. It felt researched, and Satinder Chohan’s attention to detail was exemplary.

It’s only on for a short run (until 18 June) and I really recommend this for anyone looking to see what the little undiscovered lives of diaspora discuss and face in outer London. I left feeling moved, transported to another world, and having watched an endearing production of sisterhood and values that can translate to everyone’s life.

⭐️⭐️⭐️⭐️/5 Stars

Book your tickets: https://www.hampsteadtheatre.com/whats-on/2022/lotus-beauty/

(£10 for under 30s, £5-£20)

Did I want to watch something that could feel like I’m not *actually* escaping the real world? As is normally the case when I usually plonk myself down in a darkened auditorium. Now, The 47th is set in the not-too-distant future of 2024 with Joe Biden and Kamala Harris nearing the end of their 2020 USA Presidential term, and what may happen if Donald Trump runs again.

I was rather unsettled when I first saw the production shots cropping up online of Bertie Carvel as the former President of the USA. The face make-up, the expression – it just *screamed* TRUMP! And boy, I really wasn’t disappointed. For starters, the sheer genius in character study – and hats off to Mr. Carvel, winner of Two Olivier and Tony awards – for it was sheer perfection. His mannerisms were spot on, and beyond the party-trick impression it felt like the real deal was in the auditorium (scary, at moments!). This performance is mirrored by Tamara Tunie – whose Kamala Harris is strong-willed, and a level-headed player who has to step up when a Joe Biden falls ill… after a strange handshake moment.

The action on stage is delivered on a round circular stage which has really come into the proscenium arch stage – the rows start from D, so the seating plan has been changed to accommodate the design. At times, it  used in such a clever ways, alternating between golf course track where we meet Trump as well as a Presidential meeting. I did find that the video footage of the action (presumably to show those patrons at the Bayliss Circle what was happening on stage) – at times, rather distracting from the action on stage. The lighting in the scenes for the political rally was really striking, and kept me constantly focused on the action centre-stage.

Overall, I’d really recommend this if you’re a fan of politics – or even if you’re not, you’ll take something from this piece of theatre. It may well be one that may dissolve into complete irrelevance, but it would equally not surprise me if it becomes a period piece studied and re-interpreted for decades to come.

RATING: **** stars