Hamza Jahanzeb

Tag: London Theatre

  • 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: ⭐️⭐️⭐️⭐️⭐️ 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

  • 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…)