Hamza Jahanzeb

Tag: British Theatre

  • EXCLUSIVE: Shobna Gulati returns to the West End stage in transfer of National Theatre’s lauded production of Oscar Wilde’s The Importance of Being Earnest

    One of Lancashire’s finest actors, writers and dancers to play Miss Prism in stage adaptation of Oscar Wilde’s The Importance of Being Earnest at the Noël Coward Theatre on St. Martin’s Lane.

    By Hamza Jahanzeb

    31 July 2025

    It’s Shobna Gulati’s world and we’re all living in it, right?

    Gulati is a British household name, from Oldham in Lancashire, and a stalwart of Britain’s most recognisable actors who returns to the West End stage this Autumn.They last performed on the Apollo Theatre stage in 2018 for Everybody’s Talking About Jamie and last year at the Dorfman (National Theatre) in Tanika Guptas Tupperware of Ashes. Shobna is to play the role of Miss Prism in Oscar Wilde’s Importance of Being Earnest joining already announced Olly Alexander (Algernon Moncrieff), Nathan Stewart-Jarrett (Jack Worthing), Hugh Dennis (Rev. Canon Chasuble), Kitty Hawthorne (Gwendolen Fairfax), Jessica Whitehurst (Cecily Cardew), Hayley Carmichael (Merriman/Lane) and Stephen Fry (Lady Bracknell).

    Their talent knows no bounds, as they have traversed the worlds of dance, television and theatre. Gulati’s last turn at the National Theatre was at the Dorfman Theatre, playing Indira in Tanika Gupta’s A Tupperware of Ashes. Their full theatre and television credits are mightily impressive and include: dinnerladies, Coronation Street, Doctor Who, Hullraisers, Midsomer Murders, My Name Is Leon, Inside No 9, Vera, Mr Bigstuff, Mamma Mia, Grease, Anita & Me, Richard II, The Rise and Fall of Little Voice and most recently on stage at the Leeds Playhouse in Through It All Together.

    This ‘bold and brash Wilde reboot’ (★★★★ The Times) will run for a limited season at the Noël Coward Theatre, a Delfont Mackintosh Theatre, in a co-production with Sonia Friedman Productions, from 18 September 2025 until 10 January 2026. Also described as a ‘sparkling new production’ (★★★★★ Daily Mail), it is directed by Max Webster remarked for being a joyful and flamboyant reimagining of Oscar Wilde’s most celebrated comedy.

    Max Webster had the following to share:

    “Oscar Wilde was a master of elegance, rebellion, and razor-sharp wit. With this cast we’re embracing the play’s subversive heart in a way that feels utterly now. I’d like to think Wilde would be delighted – and perhaps even a little scandalised – by this bold, joyful take on his most iconic comedy.”

    Being sensible can be excessively boring. At least Jack thinks so.

    While assuming the role of dutiful guardian in the country, he lets loose in town under a false identity. Meanwhile, his friend Algy takes on a similar facade.

    Unfortunately, living a double life has its drawbacks, especially when it comes to love. Hoping to impress two eligible ladies, the gentlemen find themselves caught in a web of lies they must carefully navigate.

    Max Webster is an award-winning theatre director, specialising in spectacular new work, opera and live music events. Recent acclaimed productions include Macbeth (Donmar Warehouse/West End), Life of Pi (Sheffield Theatres/West End/Broadway), Henry V (Donmar Warehouse) and The Lorax (Old Vic). He was Associate Director at the Old Vic from 2015 until 2019 and at the Donmar Warehouse from 2020 until 2024.

    ‘This exuberant production’ (★★★★ The i) also features the work of set and costume designer Rae Smith, lighting designer Jon Clark, sound designer Nicola T. Chang, movement director Carrie-Anne Ingrouille, composer DJ Walde and casting director Alastair Coomer CDG. They are joined by associate director Aaliyah McKay, associate set designer Tim Blazdell, associate costume designer Johanna Coe, associate lighting designer Hector Murray and associate sound designer Chris Reid. Completing the creative team are, physical comedy advisor Joyce Henderson, intimacy coordinator Ingrid Mackinnon and dialect coach Hazel Holder.

    Webster’s ‘Wilde party of irresistible anarchic charm’ (★★★★ The Guardian) was first performed in the Lyttelton Theatre from 21 November 2024 until 25 January 2025. Following a sold-out run at the National Theatre, it was subsequently released to cinemas worldwide through National Theatre Live. Over 165,000 people in the UK have watched ‘this joyous production’ (★★★★ The i).

    *Over 20,000 tickets are available for under £30 across the upcoming West End run*

    The National Theatre production of The Importance of Being Earnest is co-produced with Sonia Friedman Productions.

    In association with No Guarantees, Playing Field and Winkler & Smalberg.

    🎟️: What’re you waiting for, get yer’ tickets here: https://www.nationaltheatre.org.uk/productions/the-importance-of-being-earnest/

    Also, Shobna Gulati’s memoir: Remember Me? published a few years ago can also be purchased here: https://www.hachette.co.uk/titles/shobna-gulati/remember-me/9781914240584/

  • 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)

  • 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. (more…)

  • REVIEW: The Father and the Assassin, Olivier Theatre – National Theatre (2022)

    REVIEW: The Father and the Assassin, Olivier Theatre – National Theatre (2022)

    Paul Bazely (Mohandas Gandhi) and Shubham Saraf (Nathuram Godse) in The Father and the Assassin
    Photo Credit: Marc Brenner

    Plays 12 May – 18 June 2022 at the National Theatre, London
    Press Night: 28 May 2022

    Indhu Rubasingham’s direction of the beautiful production of The Father and the Assassin brings to the stage a rather important piece of history – the partition of British India and its aftermath for the Indian subcontinent- whilst also delving into a deeper, more personal narrative surrounding Nathuram Godse, who you may or may not know as the assassinator of Gandhi.

    To be blunt, I would never have imagined being charm the socks off by an assassin but in this piece, I had to continually remind myself that this person did indeed kill another human being. The play is imaginative, with writer Anupama Chandrasekhar’s work being sensitive, sharp and sound throughout. The writing – for an epic story of a grand scale – matches the stage perfectly for which is it set, and fills it with heartwarming dialogue, but also ice-cold dramatic tension on several occasions. I personally loved how the character of Godse (performed effortlessly by Shubham Saraf) broke the fourth wall – especially with the opening five minutes and the audience’s first interaction with the assassin – I was entranced by his ability to command the stage. Some great performances by Marc Elliot and Irvine Iqbal as the Nehru and Muhammad Ali Jinnah respectively; the way Paul Barely creates Gandhi’s character as unique and not overwrought also made this particularly enjoyable.

    I never thought I’d ever feel sympathy for a murderer, not least the assassinator of such a renowned global figure. This piece manages to weave a picture/vignettes of history, and simultaneously look to tackle deeper and more disturbing ways in which individuals are radicalised (from non-violent to violent movements), and which sadly can be seen in our wider global society to this day. I’d perhaps only cut this by a mere ten minutes in the first act, but otherwise this was a stellar performance; it still made me feel emotions, and taken on a collective ride as an audience member throughout.

    The Father and the Assassin is a lesson in how to bring an important part of history to life on the stage, and in ways that make you think about the piece long after you’ve seen it on stage.

    ⭐️⭐️⭐️⭐️/5

    Access performances are as follows:
    Audio Described performance: Saturday 11 June at 2pm with a Touch Tour at 12:30pm
    BLS Interpreted performance: Friday 10 June at 7:30pm
    Captioned performance: Saturday 4 June at 2pm
    Smart Captioned glasses from Tuesday 24 May

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