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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)

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Theatre Reviews

REVIEW: ⭐️⭐️.5 Eureka Day?Old Vic


Ben Schnetzer, Susan Kelechi Watson, Mark McKinney, Helen Hunt and Kirsten Foster in Eureka Day at The Old Vic.
Photo by Manuel Harlan

Strong individual performances but a show that drags under the guise of the “should-we-shouldn’t-we?” when it comes to vaccinating for MMR

When I heard about this play, I wasn’t sure what to think as I hadn’t heard of Helen Hunt – nor was I aware of Jonathan Spector’s work. Now, I’m all for trying a new piece of theatre that had been ladled with heaped praise coming from over the pond.. The Old Vic website describes it as follows:
Every child is welcomed at the progressive Eureka Day school in Berkeley, California – it’s a point of pride for the parents on the Executive Committee. But when a public health scare erupts, it turns out tolerance and togetherness are no match for mumps…
In Jonathan Spector’s timely and hysterical comedy, polite debate descends into ideological warfare, as a democratic utopia tears itself apart. Academy, Golden Globe and Emmy Award winner Helen Hunt (As Good As It Gets, The Sessions, Mad About You) stars alongside Kirsten Foster (Life of Pi, West End), Mark McKinney (Superstore), Ben Schnetzer (Pride) and Susan Kelechi Watson (This Is Us), directed by Katy Rudd (Camp Siegfried, The Ocean at the End of the Lane). A co-production with Sonia Friedman Productions
The stage for this is a really nice feature, it feels like you’re in a box that encapsulates the tensions about to be raised in this dramatic piece. Though, for me, this story about “big questions” just felt too broad and just like something that really went on when it could have sharply cut and done and dusted in a 90-minute one act play. The funniest part was the ten minutes before the first act ended, looking at human behaviour online. I wish that there was more of that, but otherwise the play did jump up off not nearly as much as I’d liked it to have.
Now, don’t get me wrong, the individual performances were searingly captivating (especially from Susan Kelechi Watson and Kirsten Foster) but the rambling of ideas and lack of set movement and connectedness made this fall flat for me. I was, at times, just boring. I wish it success,  even if I felt after years of discussions re: COVID vaccines that a night at the theatre is one to avoid anything that could even bring a glimmer of “lockdown” back.
On until 31 October: https://www.oldvictheatre.com/stage/event/eureka-day
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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 **

 

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Theatre Reviews

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.

Continue reading “REVIEW: I, Joan (2022) ?The Globe ⭐️⭐️⭐️⭐️”

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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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REVIEW: East is East, Birmingham Rep 2021

Birmingham Rep run from 3 – 25 September 2021 

Press Night: 10 September 2021

Pictures: Pamela Raith Photography

Reopens the National Theatre’s Lyttelton Theatre: 7 – 30 October 2021

My first theatre trip outside of London in 2021 was the 25th anniversary of Ayub Din Khan ‘s East is East. As someone who was only two years old when the original play was put on at the Rep (yes, the movie did indeed come three years later!) I was honoured to be invited to take a look at the cast of an iconic play-made-into-a-BAFTA-winning-film at the Birmingham Rep Theatre on Friday 10 September 2021.

The story, for those of you who aren’t au fait with the iconic British film – which starred the late Om Puri, and Linda Bassett – is as follows:

George Khan and Ella Khan live in Salford in 1971 with their six children; Abdul (23), Tariq (21), Maneer (19), Saleem (18), Meenah (16) and Sajit (12), and run a fish and chip shop. George is from Pakistan, and still has family, including a wife, in Azad Kashmir in West Pakistan, whilst Ella is from England. George wants his children to be raised Muslim and in the proper Pakistani way, but the kids have other ideas…It’s up to Ella, with the help of her good friend Auntie Annie, to try and keep everybody happy.

(Amy-Leigh Hickman as Meenah Khan, Gurjeet Singh as Tariq Khan, Joeravar Sangha as Maneer Khan and Adonis Jenieco as Saleem Khan)

The Rep has quite a large proscenium-arch stage and at times the set changes to depict the home of Ella and George Khan and also the chip shop where the Khans work. The set depicts the north of England with red bricks lined up, and screens with black and white footage of Salford in the 70s. Footage of rain depicted the change of scene brilliantly. I enjoyed the transition as we saw the back door where Sajit, the youngest son, escapes the domestic home when in need of some alone time, turn and become the inside of the chip shop. The performance shows the frank and open conversations that are had out of earshot of the siblings’ father, when the siblings are all together. They face their own ordeals – in Saleem’s case, the fact he’s studying art instead of engineering at college. I felt moved and invested in the way the character’s journey towards a plot line makes you root for each and every one of them (including Nazeer, the son who chose to break away from the nuclear family).
(Tony Jayawardena as George Khan)

The way the family tensions increase as the show progresses provides such entertaining scenes, one particular highlight was in the second act with Mr. Shah (played by Irvine Iqbal) bringing the Khan family portraits of the daughters to offer as potential brides. This scene had the audience in fits of giggles (many of whom, were waiting for the most famous line “Mum, Dad, the P***s are here!”). There is an outstanding monologue by George (Tony Jayawardena) of the ills faced by a minoritised community in the 70s. A scene in the second act with Sajit did occur to me as being a little harsh of the treatment of the youngest, but this was again the portrayal of the sibling dynamic which was really amplified. I felt it expressed all the rage of angsty teenagers. The comedic timing in the show from the entire case was consistent, as was their stage presence.  The only issue was with sound, as some of the Khan sons were a little difficult to hear at times.

(Sophie Stanton as Ella Khan and Tony Jayawardena as George Khan)
All in all, I can’t recommend this show enough as it returns for its 25th anniversary and before it takes to the National Theatre stage reopening the Lyttleton theatre in London. I was entertained, taken back to my youth having lived up north in nearby Lancashire while utterly enjoying a joyous night at the theatre.

Rating: ⭐⭐⭐⭐.5

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www.hamzajahanzeb.co.uk