Tag: London Theatre

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REVIEW: ⭐️⭐️⭐️ Why Am I So Single?📍Garrick Theatre

A loving ode to musical theatre, the perils of modern dating and embracing queerness is what centres WHY AM I SO SINGLE?

By Hamza Jahanzeb 13.09.24
Photo credit: Danny Kaan

A show about platonic relationships is original for it’s not often we get them on our stage; I’m sure we all recall a best friend with whom any discussion relating to relationships is dissected in the domestic setting of a home. In this new musical – titled WHY AM I SO SINGLE? – from the creators who brought us SIX (Toby Marlow & Lucy Moss, as well as co-direction and choreography by Ellen Kane), prepare to be ready to SWIPE LEFT on the heteronormativity so routinely portrayed on stage. A refreshing look at this element is what makes it a unique Queer-tastic celebration of non-binary finery, and being out, proud and Queer unashamedly. It’s a triumph when it comes to representation (we have a northern accented lead, body positivity on stage in ensemble members and shades of races that makes it feel so wholly and inclusive) but this production is ultimately a half-baked show that’s plagued by flaws namely a lengthy run-time, wafer-thin plot and filler-heavy songs.

Beginning a show with a Greek prologue is a good way to rope in wider mass appeal as opposed to punters who are Six fans, complete with masks and cardboard cut-outs. It brings a centuries-old tradition to the modern day which is quite a nice touch to welcome the audience to their new venture. For a moment, it did also remind me of The Witches (2023) from the National Theatre last year. Meet Oliver and Nancy (no- you’d do anything to definitely re-read that and heap on the fact the unnamed protagonists take on familiar names which seasoned musical). The Wicked reference, which seems shoved in for the sake of ticking off the musicals, was short-lived. Mamma Mia is laughed at, and categorised as a non-musical. Weird to single out that show when there could have been other shows to aim fire at (!). The comedy didn’t land for me at times, but was at its best when Jo Foster was on stage – they play a very funny character, and can do comedy well and impressively. An endearing quality exuded from their characterisation of Oliver.

I’d go as far as saying that this is Marlow and Moss’ ARTPOP moment (for the non-queer or pop-culture aficionados, it’s the half-baked follow-up to Lady Gaga’s Sophomore album
Born This Way) for it has a couple of hits but there’s something not there. It’s a satisfactory (for fans especially) attempt at showcasing diversity on stage and showing their flair for writing good songs (very few are memorable, and especially ‘Just In Case’ could have been shortened), it felt too familiarly contrived. I loved that there are frank discussions of  of trans-misogny, as well as the issue gay shame being interrogated “Disco Ball” (which I’m pleased has a neat tie-up at the end).

There’s going to be plenty here for Six fans who will flock and go to see this in their droves, but outside of that the appeal is
wafer-thin like the plot this piece is based on. Kane’s choreography is interesting as times – I appreciated what was happening during ‘Eight dates’ in particular, but the overall direction was taking place on a sofa (domestic setting making it all too relatable), and in a cafe Olive A Twist, nice paying homage. The agent is called ‘Faye Gin,’ so again, the references to musicals just becomes a relentless task to endure.

A special mention for two stand-out performances for me in this piece: Jo Foster (they/them) and Noah Thomas – an underused performer who played the titular role in Jamie. There’s a tap dance number – hats off to the choreographer – where Noah shines as their bi-sexual character. Again, I wish that this point was explored more and not merely a plot device to shovel in some more diversity.

Where this show truly fails to light up the room is the overly long run-time. I guess sticking to what you know best ought to have been what worked for Marlow-Moss duo. They are just so supremely talented in writing songs, but a full book? Less so, I’m afraid. There’s also some bizarre and groan-worthy rhymes at times (a prime example is rhyming ‘eggs’ with ‘ex’), and the stronger (and wittier) moments of writing are in songs such as ‘Eight Dates’. Catchy hooks, and lyrics is what the duo are renowned for for but it sometimes becomes overkill in this show.

Why Am I So Single? does have its moments of creativity (I admired the references to  British Hun culture such as the ‘Live Laugh Sob’ on a light up fridge as props are represented by humans as well as some of the choreography). There are some great dance moments, and the sequinned and detail in the costumes is to be marvelled at. Also, I do take my hat off to the lighting team (Jai Morajia) as the show did feel West End-ready in most departments, but not quite in the most central and formative department: lacking a sharp book to give it the foundation to stand on.

Overall, WAISS? left me hungry for trying other dating apps, and for the writing team to go beyond the surface-level nature of the palapa of online dating (such as Tinder, Bumble or Grindr – give me Recon you cowards!).

There was a missed opportunity but that’s not to say it isn’t a fun night out at the theatre. It will please fans of the writers, but will leave a lot to desire from stalwarts of a captivating libretto. I do wish it well, and that the team can allow an organic creation, and one that has a wider appeal that this as they found with Six in any future pieces that didn’t feel like a simple cash-grab riding the wave of a previous success.

If you’re looking for an ultimately silly, fun, camp and show with pockets of charm? Then this is it. Singletons will view their life reflected on stage via the perils of dating online, but for some people who come to the theatre to ‘escape’, this may find be an exhausting and weary watch. Do go if you’ve got the stomach for lots of endless meandering of the same laboured point on why dating can be the (cess) pits. The target audience will be skewed to a younger audience, and whilst I wish it the best, I much preferred Marlow and Moss’ tight-controlled no-interval first offspring.

** N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their own editorial control, with no external influence on how to frame or write about any aspect of this show. #AdvertisementFeature #PRInvite #Gifted #ad **

Booking until 13 February 2025: https://whyamisosingle.com/

Access Information

For Accessibility information please contact Nimax Theatres directly: 0330 333 4815 or access@nimaxtheatres.com

Access Performances

Audio Described – Saturday 21st September 2024 7:30pm

British Sign Language – Friday 18th October 2024 7:30pm

Captioned – Saturday 25th January 2025 2:30pm

Address
📍Garrick Theatre
(Nearest tube: Leicester Square/Charing Cross)
2 Charing Cross Rd, Charing Cross, London WC2H 0HH

 

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Theatre Reviews

REVIEW: Peanut Butter & Blueberries ⭐️⭐️⭐️⭐️📍Kiln Theatre


The plight of regional British Muslims studying at university in the capital is charmingly portrayed in Suhaiymah Manzoor-Khan’s politically charged rom-com.

Humera Syed and Usaamah Ibraheem Hussain as Hafsah and Bilal                  Photo Credit: Oluwatosin Daniju

Bathed in a deep blue light, audiences enter a Kiln Theatre blasting out music fellow Muslims would recognise: the humble naat. Almost immediately there’s a wide grin on my face as I find my seat in the Kiln Theatre auditorium. I see a show that I believe will speak to me. And speak to me, it truly does. Firstly, as someone who is not only of Muslim heritage, but also Potohari (Pahari / Pothwari) – shout out to those who have family roots in Matore village of the Potohar Plateau – it feels so right that this play exists, and for me to have seen this kind of representation on stage at the humble age of 30-years-old.

BILAL./ This is what I’m saying man !

We’re from that specific square of land

and land shapes everything – the work ya do, food ya eat,

dialect ya speak

that’s the we I’m talking about
– From p.18 of Peanut Butter & Blueberries 
Suhaiymah Manzoor-Khan (Nick Hern Books, 2024)

Beginning the play with the prayer ‘Bismillah ir-Rahman ir-Rahim‘ (In the name of Allah, the most merciful, the most kind) was a subtle introduction and felt calming to me. It was a feeling of familiarity and my mind felt at ease being presented with two  characters of Muslim heritage: Bilal and Hafsah (played authentically by Usaamah Ibraheem Hussain and Humera Syed). Bilal (or ‘Billy’ as Hafsah imagines him to be called by his white friends) is from the northern city of Bradford, and is studying South Asian studies. Hafsah, on the other hand, is studying gender studies. Her friends Hani and Mythri – who we don’t see but get great impressions of – provide ample laughs amongst audience members. These girlfriends prove a vital plot point to assist her with her potential choices in suitable men, but it’s the sweet saccharine love she professes for this ‘proper pkstaani Brummie’ and his ‘Doc Martens’ that grabs her attention. 

We come to appreciate that the two bond over Islamic architecture – namely the Alhambra Palace in Spain – as Hafsah is writing a novella, with the goal to finish it in New York City. Whilst the main plot isn’t about this goal  (it could well have been), but the writer’s programme is something she applies to – and whether or not she gets in offers some serious consequences for the duo. The ending took me by surprise, and I enjoyed it as it felt satisfying (though I remain tight-lipped on that!), it was an enjoyable evening of entertainment in North London. 

The set (by Khadija Raza) is mostly bare, as the piece beginning with two chairs to replicate a bench. As a revolve stage, it’s two rings that move in circular motions. The movement direction seems effective and highlights how the traditional British Muslim experience bars any physical touch, but the romance still spills into audiences’ hearts. The set changes – with desks and a lamp to replicate a library scene) with stage hands causing a minor break from the captivating stage presence we get used to being fixated upon. Sameena Hussain’s direction is peppy, and gives the two central characters the believability required to make this flow with ease. It can be hard when addressing the audience, but this is done in a seamless manner given the talented actor. The Bradford accent is done well, and the inclusion of Muslim in-jokes and phrases (a favourite of mine was ‘Yaarra’) made this a really sweet and funny show. It helps that the writer, Manzoor-Khan, is from the north of England herself. I did, however, think that the Brummie accent did leave a little bit more to be desired, but instead slipped into a generic UK British S. Asian male accent. Minor grumbles, one could say.

I truly hope this show’s lucid writing will provide a window to the British Muslims that live and breathe in our towns and cities. In 2024, and the #raceriots showing that the Muslim communities need our support, it’s come at a rather timely place – as noted by Manzoor-Khan just this week in the UK press – in our British history in the 21st century. As someone who has enjoyed Indhu Rubasingham’s tenure at the Kiln over the years     (an adaptation of Zadie Smith’s White Teeth was what lured me to this producing house for the very first time back in 2018), Peanut Butter & Blueberries is a feel-good and stunning departure for the outgoing Kiln Artistic Director. A seed has been planted  for what taking over the reigns (or captain armband, as was displayed at this year’s Olivier Awards) of Rupert Norris’ Royal National Theatre may look like.

Humera Syed and Usaamah Ibraheem Hussain as Hafsah and Bilal                       Photo credit: Oluwatosin Daniju

📅: Until 31 August 2024 only.

🎟️: https://kilntheatre.com/whats-on/peanut-butter-blueberries/

IMPORTANT INFORMATION

For content advice, click here.

During the run of Peanut Butter & Blueberries, there will be prayer space available on the Kiln Theatre premises for our audiences to use. The show is expected to end before 8.30pm throughout the run and we will facilitate audience members, who need to pray the sunset prayer, in doing so immediately after the show. Please speak with a member of staff and they will happily direct you to the space. Additionally, there are two mosques at a short distance from the theatre: the Kilburn Islamic Centre (292-294 Kilburn High Rd) just across the street (400 feet) and the Kilburn & Hampstead Masjid (239 Kilburn High Rd) a 1-minute walk away.

Alcohol-free Performances: 12 Aug, 7.00pm and 22 Aug, 7.00pm. Please note: only soft drinks and snacks will be served and there will be no alcohol drinking on site.
Post show Q&A: 20 Aug, 7.00pm

ACCESS PERFORMANCES

Captioned Performance: 22 Aug, 7.00pm
Relaxed Performance: 28 Aug, 2.30pm
Touch Tour: 29 Aug, 5.30pm
Audio Described Performance: 29 Aug, 7.00pm

Click here for Access information. If you have any questions about any of our services or need assistance in arranging your visit please get in touch: 020 7328 1000 or Access@KilnTheatre.com.

** N.B. This review was a gifted ticket in exchange of an honest review of the content and material showcased on the stage. **

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Theatre Reviews

REVIEW: Next to Normal ⭐️⭐️⭐️⭐️⭐️ 📍Donmar Warehouse

Photograph: Marc Brenner

For those of you who know, themes of mental health and grief are often not the easiest to portray in a show whereby we’re dealing with sensitive topics. However, in the case of the Donmar Warehouse’s new production (currently playing until 7 October) directed by Michael Longhurst, it’s a steady build up of a monster that ruptures the entire Goodman family; prepare for an engrossing evening at the theatre where you will laugh, cry and feel so much empathy for each family member as they navigate the central character’s turmoil.

Photo credit: Hamza Jahanzeb

Caissie Levy’s turn in Next to Normal as Diana Goodman, along with the starlets that are Jack Wolfe and Eleanor Worthington (who play her children Gabe and Natalie), is one of sheer triumph. There’s a study that has occurred by all of the aforementioned actors that delve into the character that goes beyond a skin-deep portrayal.

Levy’s previous roles (which include: Elphaba in Wicked, Elsa in Frozen, Sheila in Hair and Molly in Ghost) have inspired a generation of  musical theatre actors who look up to this triple-threat and a powerhouse in the world of musical theatre. It’s simply a pleasure that I wish every person can have, watching Levy at her best and playing a multi-layered and complex character with confidence and pizzaz. The moments of tenderness offered in her characterisation of the mother haunted by her past prove to be really affecting. Additionally, she is supported by a tremendous and hardworking cast, whose efforts to display a dysfunctional family in utter turmoil as they navigate the ill mental health of the matriarch make this gripping viewing.

Jaimie Parker (who plays Diana’s husband) and Trevor Dion Nicholas (as both Dr. Madden and Dr. Fine) slot well into the people who interact with Levy’s feisty and fraught Diana: the husband haunted by their domestic past.

Photograph: Marc Brenner

Meanwhile, Jack Ofrecio plays the bad influence to her daughter Natalie; the is delivered in a sweet, and refreshing portrayal given the teen’s unruly behaviour.

The set, designed by Chloe Lamford, transforms the small Donmar space with a scandinavia-inspired home where most of the drama unfolds (or should I say, revolves). The video projections, often simply pills floating against a background, do add to the drama; they are, however, most effective when Diana is suffering in what can only be described as a panic episode, and it’s the glowing circle that pulsates effectively to show the fracturing of the mind.

We will findly look back on this production in a decade’s time, to see both Wolfe and Worthington-Cox’s trajectory to stardom beyond the realms of musical theatre. Whilst the lyrics aren’t the most inspiring (at times, the rhyming of grieve and repreieve simply seem futile), the book is one that is timeless. Even with subtle changes that reflect society (such as X instead of Twitter), Longhurst’s direction seamlessly brings the musical to the here and now. It feels real, viscerally captivating one’s attention and utterly convincing as a piece.

And of course, Levy’s ability to flitter between Broadway and West End shows – those that herald a well-deserved mass following – is what we need more of her in the UK and for her to bring her quality of the craft.  This is evident when we hear the heart-wrenching ‘I Miss The Mountain’ and ‘You Don’t Know’. I do also want to mention the stand out moments that include Jack Wolfe’s ‘I’m Alive’ and ‘Superboy and the Invisible Girl’ (with Eleanor Worthington-Cox).

To put it simply, this is the hottest show of the Autumn (I do hope for an extension, or better still a West End transfer), and this iteration of Next to Normal will be remembered for its sheer effectiveness in translating a book from the 2000s to today with a stellar cast and creating an experience that makes the viewer feel whilst also being able to think about the piece for several weeks after.

Until 7 October 2023 only (Do check the Donmar Warehouse site daily for returns, the run is completely SOLD OUT)

🎟️BUY TICKETS🎟️

**Refresh every day to find returns/daily releases

N.B. I bought tickets for this show, and was not invited. I paid £45.00 per ticket, though I’m told Standing seats are also sometimes available at £10.00.

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Theatre Reviews

REVIEW: La Cage aux Folles ⭐️⭐️⭐️⭐️📍Regent’s Park Open Air Theatre

LA CAGE AUX FOLLES, , (book by HARVEY FIERSTEIN, music & lyrie - JERRY HERMAN, based on the play by - JEAN POIRET, Director - Timothy Sheader, Set designer - Colin Richmond, Choreographer - Stephen Mear, Lighting - Howard Hudson, Costume Designer - Ryan Dawson Laight, Make-up Designer - Guy Common, Regents Park Open Air Theatre, 2023, Credit: Johan Persson/
10th August 2023

Credit: Johan Persson

London isn’t short of musical revivals. We currently have We Will Rock You at the London Coliseum, Cabaret adorning what was once the Playhouse Theatre but is now cleverly transformed into the Kit Kat club and Grease which appears to be on annual rotation at the Dominion (alongside Elf and Dirty Dancing).

Therefore, champions of new writing often bemoan the risk-averse producers for programming a show that offers new writing (from either side of the Atlantic) as we saw with the brilliant A Strange Loop.

However, La Cage aux Folles is a show last revived in 2017 by Bill Kenwright (Sorry, I can’t forgive BK for what happened with my all-time favourite show Ghost) with a cast helmed by John Partridge (Eastenders, Cabaret) as Albin. It was the first production to tour this  Jerry Herman and Harvey Fierstein’s classic originally having been performed in 1983 (Broadway) and 1986 (West End) respectively – and this particular production brings warmth, heart and a real camp-tactic time at the Regent’s Park Open Air theatre for the summer season.

Credit: Johan Persson

For those of you, who like me who know nothing about the plot, La Cage‘s story centres around Georges (Billy Carter), who is the owner of a glamorous drag nightclub called La Cage Aux Folles, and his husband Albin (Carl Mullaney), the club’s number one performer Zaza. We then meet Georges’ son, Jean-Michel (Ben Culleton), who announces that he is engaged to Anne (Sophie Pourret). Unfortunately, she is also the daughter of a conservative politician, Edward Dindon (normally played by John Owen-Jones, however Craig Armstrong was the cover on the night I attended). As Anne’s family is ultra-traditional and anti-gay, and in an attempt to impress his fiancé’s family, Jean-Michel ensures that both Georges and Albin hide their true identities in order to deem “acceptable” by society’s conventional standards. Over the course of the story Albin and Georges – along with their son Jean-Michel who re-discover the true meaning of family – and this show interrogates the want and need to put yourself last so that the ones you love can come first.

Each actor in this production gave it their very best, and wow-ed: from high kicks, to the farcical comedy deployed the audiences laughed from side to side (or at they say at La Cage, “at an angle”). The director Tim Sheader’s work I am not overly familiar but given the news of his departure to the Donmar Warehouse, I was quite  glad to have seen a work directed by him at the Open Air. The attention to detail in the costumes was also a highlight. I loved the candelabra on Zaza’s head, and the sheer fact you could see every costume bedazzled to its every inch. Wherever you’re sat in this stunning outdoor venue, you’ll have a great view in this 1240-person theatre as it really is a visual feast-for-the-eyes.

Where this production could have been better was with the odd set pieces that adorned the stage at either side, and when actors waited by the sides of the stage to go into their scenes. This therefore made it appear as most of the stage wasn’t being used to its full capacity (instead holding pieces to be wheeled on, or microphones to be ropes strategically to prevent an actor from presumably falling over), and I felt it could have been even grander at points. Further, the lack of actor pronouns could have been included in the programme which was a shame and whilst the script is one that harbours language of the past (which would not fly now), there were a few cringe-induced moments when misogynistic stereotypes are bandied around. A whole re-working of the book need not be deployed, but some attention to phrases that will resonate could have been changed given the changes elsewhere in this production.

Credit: Johan Persson

A special mention has to be given to Carl Mullaney (whose shows at the Kinky Cabaret I’ve been to in the past) as Albin/Zaza, and who gets to sing the iconic “gay anthem” at the end of Act 1 was sung so effortlessly and with emotion. Along with the removals of the original production’s reference to francs (instead, we now have pounds) and a northern accent which is well done. Mullaney’s a tour-de-force and the studying that has gone into marking his own stamp on this has to be appreciated; I eagerly await what he will go on to do next.

Where this production collectively  amped up was in the second act, and in the form of West End superstar Debbie Kurup (whoae character comes complete with a hilarious South Shields accent). She was superb for the entire time that she spent on stage – and I only wished that we got to see more of her immense talent. The role she played was smaller, but I did enjoy the comic relief and a stunning voice.

All in all, the production of La Cage is one of the better things to have come out of the Open Air in recent years – and the musical revivals that we’ve been blessed* with as it is a superb night in a venue where watching performers play to a crowd in the outdoors is a thrill like no other.

Until 16 September: https://openairtheatre.com/production/la-cage-aux-folles

*or perhaps, cursed?

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Theatre Reviews

REVIEW: Spy For Spy ⭐️⭐️⭐️⭐️📍Riverside Studios

Olive Gray and Amy Lennox in Spy For Spy. Photo credit: Ben Ealovega

If you’re looking for a play with a difference, then this is it: thirty minutes before the curtain goes up, the audience is in control of how the scenes in Spy For Spy will play out. You’d think this would mean that there would be multiple errors, you’d be quite wrong.

The piece shuffles between scenes that depict the (often frenetic and at one point devastatingly emotional) love story between Molly (played by Olive Gray) and high-flying lawyer Sarah (played by Amy Lennox). The scenes include the entirety of their relationship, from its conception at a new years party (for which Molly is a jobbing actress working in a restaurant offering two options of red wine), to beautifully executed final scene. I’m told that there are 270 version of the way the six scenes – bookended by a opening and closing scene that remain the same for all performances – and the night I visited, there had not been two of the same ordering of the scenes. Yet.

Olive Gray and Amy Lennox in Spy For Spy. Image credit: Ben Ealovega

Kieron Barry’s writing here is searing, and showcasee a robust queer love story as well as tackling a rather unique concept (which could well have been gimmick-y). It is moving, all-encompassing and sheer brilliance on stage as the audience is let in on the lives of the pivotal characters that centre the plot; we are taken on a journey of seeing their lives unravel, as does the play in a new ordering. The fact that the writing is so special makes this an elevated piece given how great the scenes are performed individually. The challenge of an emotional scene before a happier scene, I predict are the toughest for Amy Lennox’s character. I grinned from ear-to-ear, and had tears in my eyes (in the ‘bedroom’ scene especially). There were times when the heartbreak and emotion , was so incredibly and viscerally realistic; I felt like I was in the room of the two lovers, casually in the corner witnessing every crevice of their relationship bubble to the surface.

Furthermore, Lucy Jane Anderson’s direction – coupled with Beth Jane Green’s pastel set and Holly Ellis’ lovely lighting – really hones in on lifting the text, and the acting choices of both stars in this are beyond their peers. I could have easily watched another ninety minutes of the protagonists’ lives unfurl, and this is a credit to the team effort pulling out all stops to entertain in a small space.

I’d highly recommend this play to anyone seeking an exciting new play, and look forward to more pieces from the creative team for this was transformative and enlighten in equal measures.

Must end 2 July:

https://riversidestudios.co.uk/see-and-do/spy-for-spy-57989/

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Theatre Reviews

REVIEW: Paper Cut⭐️⭐️📍Park 90, Park Theatre

Photo credit: Stefan Hanegraaf

In this story of a gay American soldier’s return from war, Kyle (played by Callum Mary), returns to the world he once inhabited albeit with a serious incident (leading to PTSD), a fatal blow to one’s confidence and a tragic repeated cycle of familial trauma. What Kyle refers to as ‘only a paper cut’. Or at least that’s what he wants his nearest and dearest to take from the awful attack, but the layers to this piece are like an onion: sadly, this onion has just the sole layer. Paper Cut is a robust attempt to explore the tolls of having taken up one’s duty to fight in a war, and the way former veterans (there is discussion on how one always is a soldier) look to create a new future with life-altering injuries.

It’s quite a let down for this piece, for the aim of its creatives falls flat on many occasions. From the initial promise of the minimalist set – wood set against the back wall, with twelve glowing lights dangling from the ceiling. The soundscape that I was so eager to see transposed as the piece moved on was sadly disappointing(the scenes with the Muslim prayer felt superficial, and bordered on the misunderstanding of the religion); ultimately, the entire plot felt weak, under-developed and jarred on several occasions.

The only redeeming feature is that this is a queer love story, which is told via the eyes of a disabled soldier. That was a refreshing insight, as was it to see the main protagonist portrayed by an actor who has a limbdifference.. However, even then, there was almost a propaganda-esque in its war-portrayal, it felt heavily one-sides and did make the feel piece which alienate to a British viewer. I’m sure I won’t have been the only one. The intentions is to interrogate what makes a loyal person: is it their ability to keep a secret? One that has made them repress their sexuality(even worse, caused them mental trauma)? Or perhaps it’s their serving to their home nation that bears them with the so-called ‘American dream’? It was like a baseball game, except nothing touched barely the first base.

At times, the direction felt so incredibly bizarre – with actors on stage whilst drama unfolds- and the oddity of having a bench that becomes a costume storage unit. There was a severe lack of excitement as the drama unfolds, and lots of strong emotions that built up to no sense of relief nor moving dialogue. The silences were also quite excruciatingly long, and it felt like it was also due a cut of at least ten minutes to keep it tight.

Photo credit: Stefan Hanegraaf

To conclude, this was a complex (and layered) story that could have worked  in an effective manner, given it had a huge re-focus and a tightening of the director’s vision; for me, Paper Cut was a cut too many for me to endure and enjoy.

** Note: This was a gifted (#ad) free ticket, in exchange for an honest review. The views expressed in this blog are of the reviewer, and reviewer alone. **

Until 1 July 2023
https://parktheatre.co.uk/whats-on/paper-cut/
Prices:
Previews: £12
Standard performances: £12 – £20
Access: £9

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Theatre Reviews

REVIEW: No I.D. ⭐️⭐️⭐️⭐️⭐️📍Royal Court Theatre (Upstairs)

NO I.D. is a play that has transferred to the Royal Court from a short run at VAULT Festival 2023, having also previously played at Theatre Peckham.

In it, Tatenda Shamiso tells the story of his experience as a Black transgender immigrant in the UK. Using the songs he wrote throughout his first year on testosterone alongside letters, signatures and a whole lot of paperwork, he guides us through what it takes to validate Black and queer identities in the eyes of the law. What really drew me to this piece was the sheer honesty with which the viewer is given access to Tatenda’s world. That begins with a clip of him before his transition, and the audience are taken on a journey to meet their authentic self as the piece progresses.

It is so incredibly touching,  funny and offers some really thought-provoking dialogue. As as for Claudia Casino’s set – a simple sofa with a lamp, with card box boxes dotted around – also brings forth the audience well into the action. The space is utilised in a great way, as we begin with Tatenda giving the audience a direct address as he moves from the sofa (changing into clothing the binary standards of society subjects us to), to then approaching the the stacked cardboard boxes which again reveal a further boxing from wider mainstream society. It got me thinking, and allowed me to be taken on my own journey throughout. Further, there is an element of realism which comes by the introduction of the real life videos of Tatenda pre-transition, where the person in front of the audience is quite literally shedding the loss of another identity: ultimately though, one that helped the protagonist to reach their authentic self. One side point, and something of note is the introduction of a (what we presume is an NHS gender helpline) phone that rings, which the audience are given an intense insight to be privy to a call.  The way Tatenda dances to the beeping waiting tone was just sheer genius and added a really hilarious touch to a piece that is often quite serious in tone. The comedic timing, topped with the Tatenda’s facial expressions were really inspiring in order to bring comedy in order to point out the ridiculous nature of how vehemently inept the system is for those who are wanting to transition to the gender of their own choice.

It is, overall, a rather eye-opening and a clever portrayal of the unnecessarily cruel bureaucracy involved with having to register one’s own new gender identity. There is not one moment when I was bored, or feeling like the overarching themes was going into overkill; ultimately, it made me want to further highlight the plight trans people face, as the current system is rather chilling to the bone.

The tight 60-minute piece, performed at the Upstairs space at the Royal Court Theatre, also incorporates music; this is inclusive of a childhood tap routine which pays homage to a Anything Goes (I adored the iteration at the Barbican Centre last year with Sutton Foster) that is recreated, as well as the the overlay of his voice now to music from recordings. That in itself was really powerful, and made me well up as it demonstrated the point of visible (and audible) change so seamlessly authentic.

All in all, No I.D.  is a superb piece of theatre that celebrates marginalised voices; it’s a beaming call to the lay person so offer compassion to those who undergo  gender transitions (or as Munroe Bergdorf states in her book Transitional ‘In One Way or Another, We All Transition’), which is told with a searing honesty, warmth and an energy that will compel you to want to be Tatenda’s best friend.

Listing information:

NO I.D. by Tatenda Shamiso

Writer: Tatenda Shamiso
Director: Sean Ting-Hsuan Wang
Designer: Claudia Casino
Producer: Dylan Verley
Stage Manager: Ting (Yi-Ting) Huang

Cast: Tatenda Shamiso

Tuesday 18 April 2023 –Saturday 6 May 2023

📍Royal Court Jerwood Theatre Upstairs

🎟️: https://royalcourttheatre.com/whats-on/no-i-d/

All photos credit: Marc Brenner

All images feature Tatenda Shamiso

Categories
Theatre Reviews

REVIEW: Linck & Mülhahn ⭐️⭐️⭐️📍Hampstead Theatre

Linck & Mulhahn by Ruby Thomas ; Production ; Cast: Maggie Bain,  Helena Wilson, Lucy Black, Daniel Abbott, David Carr, Marty Cruikshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn and Timothy Speyer ; Directed by Owen Horsley ; Set Design by Simon Wells ; Lighting Design by Matt Daw ; Sound Design and composition by Max Pappenheim ; Movement by Natasha Harrison ; Flight and intimacy co-ordinator: Rachel Brown-Williams and Ruth Cooper Brown of RC ANNIE LTD ; Casting by Helena Palmer CDG ; Assistant Director: Dewi Johnson ; Hampstead Theatre ; London, UK ; 28th January 2023 ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

A play based on the real-life tale of a gender-queer couple in 18th-century Prussia can be described as a hilarity-inducing, moving, and at times jarring.

Linck & Mulhahn by Ruby Thomas ; Cast: Maggie Bain, Helena Wilson, Lucy Black, Daniel Abbott, David Carr, Marty Cruikshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn and Timothy Speyer ; Hampstead Theatre ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

 

 

 

 

 

 

 

 

I’ll admit it: I’m a big fan of whatever the Hampstead Theatre producing team offer, despite the news of big changes in December 2022 with Arts Council funding being slashed meaning the the artistic director Roxana Silbert was to step down.

It is, after all, the place where the 2018 London revival of Tony Kushner’s Caroline, or Change debuted (starring the tour de force that is Sharon D Clarke which transferred to the West End and subsequently appeared on Broadway, prior to suspended production due to COVID-19, but did eventually reopen in Jan 2022); simply put, the theatre excelled in its authentic narratives of  under-represented stories as we also saw last year with Pooja Ghai’s erudite and simply breathtaking Lotus Beauty.

However, after a jerky start to 2023’s Spring season with last month’s show (The Art of the Illusion) in the downstairs space, it would appear that the main stage also hasn’t quite found its footing with the world premiere of Ruby Thomas’ Linck & Mülhahn.

It follows the tale of two lovers looking to live beyond the confines of eighteenth-century society. On the one hand we have Anastasius Linck (played by Maggie Bain), who has deserted the army and is eventually sentenced to death for charges related to sodomy. Note: if you want to know a story of queer joy, I would send you elsewhere for this production’s second act is rife with misgendering (typical of its time, I should add), and may make some from the community discussed at unease as a result of this. Maggie Bain elaborates on the matter on a recent Instagram post in the lead up to Press Night after Theatre Queers Meet Up expressed concern on Twitter.

Linck & Mulhahn by Ruby Thomas ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

Returning to the action on stage, the love interest is played convincingly by Helena Wilson. The outfits are of period costume nature and leave something new desired as it appears to be over-kill with recent productions seemingly unable to bring fresh ideas (given the modern sound of The Clash feature during scene changes); alas, when it comes to costume departments there’s nothing of the sort which is a peculiar choice in all honesty.

As the action moves on and in the second half, there’s some brilliant performances (especially in the comedic timing). Qasim Mahmoud and Sammy Darweish turn in brilliant performances, with their comedic timing prompting unanimous bellows of laughter.

This production excels when the love between the titular characters is at the forefront, as Maggie Bain and Helena Wilson brilliantly portray the anguish of longing for and finding something unobtainable in your world. The set design (credit Simon Wells) uses the revolve for some impressive scene transitions, though not entirely smooth, with at times jarring sounds.

It doesn’t do much other than that, and I wonder if it felt a little rushed at times, and the relevance of certain character attributes (the inclusion of the bowl of peaches during scenes with Catherina and her mother) a little too discreet. Further, the sound is jarring when it shifts scenes; this, along with the clumsy set changes often induces cringe-worthy moments in an otherwise engaging production.

Linck & Mulhahn by Ruby Thomas ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

It is, after all, an intriguing story and I am glad it exists. But one must address the overall execution as well as the very legitimate concerns of Transparency (from those who voiced their legitimate concerns) for future productions from other producing houses;  going forward, given that it was left to the only Queer person to address these in their own time and within a personal capacity, Creative teams really ought to do better when making it clear how Queer people’s stories are to told.

To conclude, this piece does what the writer wants it to do: to show that queer people have always existed, and I’m looking forward to more of these stories for audiences to broaden their learnings on marginalised groups.

Listing information: Until 4 March 2023:

MAIN STAGE – WORLD PREMIERE 

LINCK & MÜLHAHN
By Ruby Thomas

Directed by Owen Horsley 

Designer Simon Wells 

Lighting Designer Matt Daw 

Sound Designer Max Pappenheim 

Casting Director Helena Palmer 

Assistant Director Dewi Johnson

Cast Daniel Abbott, Maggie Bains, Lucy Black, David Carr, Marty Cruickshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn, Timothy Speyer and Helena Wilson. 

Address: Hampstead Theatre, Eton Avenue, London, NW3 3EU

Box Office: 020 7722 9301 (Mon – Sat 10.30am – 7pm) | hampsteadtheatre.com 

Dates: Friday 27 January 2023 – Saturday 4 March 2023

Audio Described Performance: Saturday 25 February at 2.30pm with a Touch Tour at 1pm

Captioned Performance: Tuesday 28 February at 7.30pm

Categories
Theatre Reviews

REVIEW: ⭐️⭐️⭐️⭐️⭐️ My Neighbour Totoro📍Barbican Centre

When I was invited to see My Neighbour Totoro, I just knew I’d seen the titular figure somewhere… but where? To begin with, for those of you who don’t know, the stage adaptation is based on the movie of the same name that came out in 1988 by the team at Studio Ghibli.

Its premise follows sisters Mei and Satsuki who move into a new house to be nearer to their mother who is in the hospital with a cold. They soon become enchanted by a friend (Totoro) a giant rabbit-like creature who is in fact, a spirit. In this version of the iconic movie, one of Studio Ghibli’s iconic works (it helped embed the titular character into the studio’s logo), is transported to the stage in a seamless, and purely magical way.

Photo credit: Manuel Harlan

The Royal Shakespeare Company and Joe Hisaishi have both worked extremely hard to co-produce the work, which had its global premier in October. It  was worked on for many years, and I can vouch for it being spectacular. The play begins very much in the studio’s trademark playful beginning with the letter ‘u’ situating itself into the title, to correct the Americanised spelling. From the get-go, this production has a high bar that keeps on getting better. I know, that for productions that have similarly started at the Barbican (Les Mis, I’m looking at you), this is no easy feat to premiere at the famous Barbican centre. I can tell you for years from now, we’ll be saying that this show had its start here. The result is an immaculate show that proceeds to tell this iconic story to seasoned Studio Ghibli fans, or newbies to the genre and their work.
Design-wise, the first thing that made my jaw drop (and there were many moments!) was the revolving set. Every inch of the house-design was mesmerising, and props to Tom Pye for creating this world from screen-to-stage effortlessly. My favourite piece of set has to be a certain mode of transport (which I shan’t say too much about!) that nails the heart-tugging action on stage. Phelim McDermott’s direction – especially for Mei (played with sheer conviction by Mei Mac)- was stellar, her child-like nature really being displayed in all the ways possible given an adult is playing a four-year-old’s role.
Now, on to the puppets — oh, those puppets! Created by Basil Twist, there’s such a brilliant and ravishing incorporation of them. I won’t say too much, but let’s say that the way the world is brought to life is cleverly, and constantly had me grinning from ear to ear.
 
Photo credit: Manuel Harlan

Theatre is about changing lives, and creating wonder. I felt this story had all of the components to make that happen: heart, soul and spirit. The delivery of the lines, but also the teamwork on stage showed the the people on-stage were immersed and utterly captivated the audience . After the second half, the story can be seen to taking a bit of a dark turn (depends on your interpretation), but there’s such a shift and carefree nature to what the characters feel in their young age. It is delightful in all the right ways, and is a sure-fire hit for the RSC

 
Photo credit: Manuel Harlan
A particular mention to Ami Okumura Jones as Satsuki should be made, as she – along with Mei Mac – lead the cast in such a superb fashion. The convincing nature of their sisterhood, is beamed on stage. .The first scene with acorns, and following them was really quite moving; the symbolism of nature and the way the characters deploy that new world is charming at all times the curtain is raised.
For die-hard fans of Studio Ghibli, the music of My Neighbour Totoro evokes memories of hearing the music — this production stays so true to the original. Ai Ninomiya provides brilliant vocals in the bilingual songs. The layering of the way we can hear the original music (with a full orchestra led by Will Stuart and lyrics by Tom Morton-Smith and Hilmi Jaidin) shows that the show can be interpreted in many ways, as the music is universally felt by audience members.

This is a show for all ages, but I would say it will appeal mostly to the people who are able to go with a contingency of children. It is fun, exciting and shows what theatre can provide time and time again: memories for life.
 
CHEAP TICKET HACK ** £25 Dayseats (Front row, stalls) are sometimes available, but keep refreshing the link to tickets **
Categories
Theatre Reviews

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)