Tag: London

Categories
Restaurant Openings

New Restaurant Opening: Sael, 1 St. James Market, SW1Y 4QQ, London

Jason and Irha Atherton Debut Sael: A New British Dining Experience in St. James’s Market

Sael Offers a Fresh Take on British Cuisine, Featuring All British and Modern Culinary Innovation

London, August 2024: Irha and Chef Jason Atherton,
co-founders of global restaurant group The Social Company, will unveil Sael in St James’ Market this September. This eagerly anticipated 85 cover brasserie is Atherton’s homage to the diverse heritage of the British Isles, blending traditional flavours with global influences. Sael will exclusively feature ingredients sourced from the British Isles, showcasing a menu that is accessible and hyper-seasonal, with interiors that exude the energy and swagger of the Cool Britannia era.

Atherton has assembled the entire team from his now closed Pollen Street Social restaurant to bring their renowned quality and innovative approach to cooking to this new venture.

At the helm of the kitchen is Executive Chef Dale Bainbridge, formerly Pollen Street Social’s Head Chef for ten years. Dale said of the new opening: “Sael will depart from the traditional and constrained three-course meal structure and feature a diverse array of small and large dishes, showcasing modern culinary innovation at affordable prices. Sael will pride itself on sourcing the finest local meat and fish, ensuring every dish reflects the quality and authenticity of our regional ingredients, with a particular focus on woodfire cooking.”

Sael will feature a dynamic menu where guests can choose their base ingredient—whether vegetable or protein – cooked on the wood-fire grill—and then customise their meal with a variety of sides. The menu highlights include Orkney scallops, Cumbrian lamb, Carlingford oysters and Highland wagyu. Each dish focuses on ingredients exclusively sourced from the British Isles, inviting both Londoners and visitors to savour the finest British flavours and charcuterie from Chef Brett Graham’s farm.

The brasserie will also offer inventive dishes such as a mixed grill featuring a variety of British meats, a hearty Cumbrian lamb hotpot, and a unique hundred-layer heritage snail and ox cheek lasagne. For those with a sweet tooth, Sael’s dessert menu will bring back beloved classics from Pollen Street Social, including a comforting jam roly poly with Jersey milk and a creative twist on bread and butter pudding.

Jason and Irha Atherton, Co-directors of Sael said: “With Sael, we set out to create the ultimate destination in London for anyone seeking the best British food in a relaxed and vibrant setting. Opening a quintessentially British-style brasserie has been a long-held dream of ours, and we’re thrilled to finally bring it to life. We can’t wait to welcome guests to experience our unique and innovative dining experience, all at accessible prices.” Dinner will be £85 per head, a set lunch menu for £35, and a pre-theatre option at £35 for three courses and two courses for £30.

“We are thrilled to bring over the brilliant team from Pollen Street Social, whose talent and dedication have been integral to our success. Dale Bainbridge, who joined Pollen Street Social as sous chef in 2013 and rose to head chef in 2015, will be joined by the exceptional Sam Mills and Giacomo Della Brutta at Sael, serving as Head Chef and Restaurant Manager respectively. Their wealth of experience and creative prowess will ensure our guests enjoy the same exceptional quality and innovation that have defined our culinary journey.”

Sael’s beverage programme will be carefully curated, featuring a wine list with prices starting from £50 and under, £150 and under, £250 and under. House wine will also be available by the glass and poured by tap. The selection has a strong focus on wines from the British Isles such as Renegade and Busi Jacobsohn, complemented by modern world and classic premium varieties. The bar will also offer a range of Britain’s finest beers and ciders, including Guinness, IPA and local brews on tap.

Designed by Rosendale, the restaurant’s interiors feature intimate lighting, natural materials, and rich dark hues, creating a warm and inviting ambiance, with a Union Jack greeting guests on arrival. Central to the décor is a hand-drawn mural by British artist Kay Harwood, depicting the four seasons, alongside walls adorned with photographs of British icons.

Above Sael is Apples & Pears, a bar offering an edgy, understated aesthetic where art and attitude intersect. The venue, decorated with works from the Young British Artists (YBA) movement, features a DJ booth for late-night entertainment, making it the perfect spot for exclusive after-parties.

The food offering at Apples & Pears will feature snacks from Sael complemented by an evolving cocktail list crafted with inventive flair and fresh, locally-sourced ingredients, offering a fusion of flavours that change throughout the year. A specialty cocktail inspired by the current season will also always feature on the menu.

Bookings open mid August. For more details, visit @saellondon. Sael will be open 7 days a week for all-day dining, with live DJs on Thursday and Friday.

If you’re going to try this restaurant, do let me know!

Categories
Theatre Reviews

REVIEW: Passing ⭐️⭐️ 📍Park Theatre, Park90

Photo Credit: Matt Martin

As the Park Theatre enters its second decade (it opened in 2013), I was quite intrigued by the concept of the play Passing written by Dan Sareen and which is also directed by Imy Wyatt Comer. The poster depicts Amy-Leigh Hickman (whose performance in the recent revival of East Is East at the National Theatre was exceptional), who plays Rachel Singh and is adorned in a strikingly beautiful sari on the artwork for this production. Initially, when I told friends of the name of this piece, they immediately thought of the Nella Larsen book. Though it does touch on themes of cultural assimilation and seemingly seeing yourself as ‘passing’ as the default race. Admittedly, I was not familiar with either of the creative team’s work, though the casting choice, coupled with new writing is what piqued my interest to return to the Park90 studio space.

The story is one of a nuclear family which consists of Yash (Bhaskar Patel) and Ruth Singh (Catherine Cusack) and their two children Rachel (Amy-Leigh Hickman) and David (Kishore Walker). There’s also Rachel’s boyfriend who is simply referred to, as Matt (Jack Flamminger). We hear about a grandad, but never actually meet him so it’s unbelievably agonising to wait to see how the play takes off. His arrival is where this long slog of a play ends.

Photo credit: Matt Martin

The play’s beginning is inspiring, with Rachel (Amy-Leigh Hickman) who is caught between two cultures. However, it’s soon gradually apparent that this is a seemingly unrefined piece of work.  The introductions of the characters seems abrupt, and there’s a lot of misdirection. Rachel’s character feels somewhat compelled to connect with the Indian side of her Anglo-Indian identity and hence decorates the home with lights and is learning how to wrap herself in a sari. The first fifteen minutes began with lots of interruptions which showcased the clear lack of rehearsal time for this piece. The lack of robust direction meant that some of the actors spoke with their faces turned away from the audience, therefore resulting in some dialogue being lost at times. It was also quite hard to hear when two different conversations were being had simultaneously, as was the case on at least two occasions.

Further, the material was lacking some oomph, despite the clearly talented actors giving it their all to convey the writer’s words which I believe was the root of what made this an endearing-yet-flawed piece. Having said that, highlights the performances come from Amy-Leigh Hickman, Kishore Walker whose sibling relationship felt realistic. Their comedic timing was fantastic and provided light relief.  The parental dynamic was odd, somewhat jarred and sadly let down two impressive actors in Bhaskar Patel and Catherine Cusack. The 2-D nature of the character of Ruth Singh, sadly, felt like it was not fully realised and I felt needed more work despite the actress’ ability to convey an earnest mother-like figure.

The first act ended quite abruptly after a board game went wrong (it seemed quite random a place to stop the action for an audience break, and wasn’t the best place to leave audiences wanting more). I saw a fellow audience member leave, and I was hoping that this piece would find its feet in the second act. Sadly, it did not with very basic arguments around racism in the school (which felt repetitive), and the constant bickering made this at times, a grating watch.

Photo credit: Matt Martin

It was a shame that the material let this down, the production was not something that was polished (there were several mishaps on stage, which admittedly were covered up well in character). Given the play’s lengthy run time it simply didn’t engage me and seemed rushed.  Its intentions were not as clarified like the ghee used to fry the on-stage samosas (which did, as a matter of fact, smell delicious).

Until 25 Nov: https://parktheatre.co.uk/whats-on/passing

N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) experience in exchange for an honest review of the material showcased on stage. If you want to support my independent theatre, please consider subscribing to my Ko-fi:
>> https://ko-fi.com/hamzajahanzeb <<
Categories
Theatre Reviews

REVIEW: Brassic FM ⭐️⭐️⭐️⭐️📍Gate Theatre

work. class.
work + class.
working class.

“this is a message for ange

​we’re all thinking of you

​know we love you

​know what you’re doing for the culture

know what you’re doing for me”

Photo credit : Craig Sudden

Brassic FM is nothing without the listeners. While Amir chronicles the precarious nature of living as an undocumented worker in London, Amina searches for help finding out what life was like for her family when they first moved to the UK from Pakistan. But it soon becomes clear it’s impossible to talk about working class culture without looking at the power dynamics of those policing and those being policed.

From cars, kitchens and bedrooms across the city comes a theatrical mixtape – a love letter – to working class culture and music. Brassic FM is a collection of snapshots and shout-outs for the people. Join us for a celebration of the underground sounds of the city.

Co-created by poet Zia Ahmed and Stef O’Driscoll, comes a new piece of theatre about precarity, and how  perspectives on work and making money are inherently tied up in class and culture.

The concept of Brassic FM is one that’s overly in-your-face; there’s political messages lined up a plenty, and a sense of an urgent overhaul of the system that seeks to destroy marginalised voices.

In the play’s first few minutes, prepare to be thrown into the underground-radio station, Brassic FM, and JJ (played by Jonny Britcher) hands out to the audience (interactive is something we’re seeing a lot of that these days aren’t we?) strips of paper with a number to text and devote a shout-out of your own. The breaking of the fourth wall, the invitation to be part of the community whose message is so present in this piece. What it does is take us into the world some of us are overly familiar with in the world of politics, as was the case when the protest bill was made law in the Public Order Bill which commenced on 3rd May 2023.

The set displays posters which include “Kill the Bill”, part of the backlash against the law; a gritty set prepares the audience for the scaffolding (merely reflecting one’s mind in the current state of affairs?) and a plethora of light-up screens that light up in various colours. The stand-out segment concerned a woman who finds her mother’s tape recordings, and it felt unique as I’d never seen that represented on stage. Alas, the effect of the tapes being uncovered and translated by a friends did also feel repetitive and could have been one scene.

However, there’s something truly arresting in the ‘shout-out’ on the radio station that causes beautifully uplifting moments during this production. It’s the love one has for a fellow human being, it’s to lift someone’s spirits, to wish them happy birthday or merely appreciate another human being. We need to deploy more of this concept of shout[ing]-out more, and use every inch of our body to feel the presence of each other. I enjoyed this immensely; the rich study into pirate radio stations, and the care into crafting an authentic piece were noticeable.

The three actors in this give stellar performances: Zainab Hasan, in particular, has a masterful capability to shine in her seamless ways to shift between characters and accents. Jonny Britcher’s ability to rouse an audience was a testament to a strong performance; and as for, Zakiyyah Deen, it was great being able to see an infectious performance to complete a robust trio.

Where this production could have been improved on, was the rather long running time. For me, it felt like the numerous strands of the storytelling – whilst they were poetically versed – they felt contrived. The tightening and focus of the material was something needed to elevate what was an affecting piece.

The play crosses many strands, and this is I suppose deliberate: to showcase those on the margins, who are most affected by the injustices in life and without linear narratives. If you’re up for a night out where you’re immersed in the action  where you can hark back to old school nostalgia, then this is exactly the place to be.

Until Sat 30 Sep.

N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) experience in exchange for an honest review of the material showcased on stage. If you want to support my independent theatre, please consider subscribing to my Ko-fi:
>> https://ko-fi.com/hamzajahanzeb <<

Listing information:
evening performances: 7.30pm
saturday matinees: 2:30pm

£12 during previews (4-6 Sep)
£18 full price
£15 Equity members, 60+
£12.50 Access patrons, Camden residents / workers, Under 26s, Students
£5 Unwaged / Unemployed

Camden Community Night: Mon 4 Sep, 7.30pm

Pay What You Can performance: Sat 16 Sep, 2.30pm & 7.30pm

Supporters’ Night: Thu 14 Sep, 7.30pm

Audio-Described Performance: Sat 16 Sep, 2.30pm (a touch tour is available before performance – add to basket)

Relaxed performance: Mon 18 Sep, 7:30pm

BSL Performance: Tues 19 Sep, 7:30pm

Captioned Performance: Tues 26 Sep, 7:30pm

 

Categories
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?

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: Two Billion Beats ⭐️⭐️⭐️⭐️⭐️📍Orange Tree Theatre

Watching Two Billion Beats last week meant that I got to visit a new producing house for the first time: the Orange Tree Theatre (OT). Nestled a short walk away from the Richmond station, it can be reached easily on a train from Vauxhall station and boasts brilliant writing that focuses on being a powerhouse for independent theatre. Having also read up on this play, it has previously featured before on the OT’s programming schedule during the COIVD-19 lockdowns. And rest assured, after my visit I can now see why this robust two-hander returns for it simply effervesces at every given moment.

The plot revolves around Sixth-former Asha (Shala Nyx) and high-school student Bettina (Tanvi Virmani), two sisters at a school in Leicester who face their own problems: Asha wants to get into Goldsmiths in London, and Bettina is a victim of bullying on the bus to school. It’s the start of the play which floored me, as audiences are greeted to a remix of Lady Gaga’s 911 as well as an austere round theatre staging covered in grey. The bag Asha has bears a badge supporting Trans rights, and brilliant costume department need to be praised for showing how the younger Generation Z youth are very much in favour of inclusivity; the attention to detail made me feel instantly connected to the stories explored on stage.

When the opening scene began, I felt transported to the bus stop where the sisters converse as the younger one dilly-dallies to avoid her arch nemesis. Bettina’s sharp entrance proved to show  how the dialogue bounced, created spectacularly comical moments and set the scene instantly. Further, Bhattacharyya’s unique nuances (especially the questioning of historical figures such as Gandhi, Ambedakar and Pankhurst) coupled with Asha’s bolshy attitude was purely infectious storytelling on the writer and director’s behalf. The intense study of the characters and their arc throughout showcases witty writing (no spoilers!) and had me riveted.

Shala Nyx in Two Billion Beats.
Photo credit: The Other Richard

Having already witnessed the brilliant playwright Sonali Bhattacharyya’s Chasing Hares last year at the Young Vic, this piece displayed her genius as a sharp writer. The character studies were completed done with sensitivity and vivacity; I felt really compelled by the dialogue on stage throughout. In terms of the direction, Nimmo Ismail and Tian Brown-Sampson’s direction effective as audiences were invited into the minds of Asha and her sister (the aspirations to own a hamster reminded me of my own teenage years). At all times, the immersive nature of the piece felt like you could tap both on the shoulders and intervene to give them some cousin advice. It was cosy, intimate and I especially loved the lighting moments (from the darker more sinister internal thoughts to the warm bright day-time tones) that uplifted the action on stage seamlessly. As the events seamlessly unfolded, I was also gripped by Chi-San Howard’s movement: at one point, we see Asha teeters across the stage. It was crafted with such conviction and felt layered, making it evident that a lot of thinking had been done to stage this on the OT’s in-the-round stage: from the LED bus stop sign, to the railing and even the graffiti-tagged wall, the scenes changed with ease.

To conclude, I walked out of the auditorium feeling uplifted in a warm and fuzzy feeling, my faith in the two young people of tomorrow and the two siblings’ caring nature leaving a firm impact; that for me, is how successful storytelling is created. I’ll certainly be back at the Orange Tree if the standard is as good as this play.

{ Advertisement Feature – Ad – PR – I was given a pair of tickets to review TWO BILLION BEATS in exchange for my honest review, and no editorial control is given to external theatre makers and is the reviewer’s personal thoughts }

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)

Categories
Theatre Reviews Uncategorized

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 **