Hamza Jahanzeb

Tag: west end

  • Armstrong’s RepresentAsian 2025 casts Tony Nominee Conrad Ricamora to join its cast for one-night fundraising concert

    Armstrong’s RepresentAsian 2025 casts Tony Nominee Conrad Ricamora to join its cast for one-night fundraising concert

    By Hamza Jahanzeb

    4 September 2025

    The Founder and Casting Director, Benjamin Armstrong, has announced a special guest from the other side of the Atlantic for RepresentAsian: An Evening of Asian Talent. ThenWest End concert – for one night only on Monday 13th October, 2025 at the Lyric Theatre – will now also include Conrad Ricamora (How to Get Away With Murder), who I had the pleasure to see in Here Lies Love (the Imelda Marcos-inspired Musical on Broadway). See below a snap I took from the curtain call!

    Conrad Ricamora in Here Lies Love (2023)

    At a time when there is a dearth of Asian talent (as well as rising fascist sentiments across the UK), it is so critical to support initiatives that encourage more representation in the world of theatre.

    The concert is to also help fund a scholarship for young, Asian individuals to train in the arts, and widen the talent pool partnering up with The Boury Academy, in collaboration with Conrad Ricamora’s “The Right To Be There” initiative.

    Conrad Ricamora

    CONRAD RICAMORA recently originated the role of Abraham Lincoln in the Broadway hit Oh, Mary!, earning a Tony Award nomination. He is currently filming The Devil Wears Prada 2 and will next appear in Killer Films’ The Last Day, opposite Alicia Vikander and Victoria Pedretti. On television, Ricamora is known for How To Get Away With Murder(ABC), The Resident (FOX), and Dying for Sex (FX) opposite Michelle Williams. His film credits include the Emmy-nominated, Gotham Award-winning Fire Island. A veteran of New York theater, he has appeared in Here Lies Love(originating his role at The Public Theater), The King and I, Little Shop of Horrors, and Soft Power, earning Lortel and Drama Desk Award nominations. He is also a two-time Grammy Award nominee as a principal vocalist on Broadway cast recordings.

    Conrad Ricamora had the following to share: “I’m honored that RepresentAsian reached out and invited me to be part of this incredible night in London. The work they’re doing with The Boury Academy — creating real opportunities for young Asian artists — resonates deeply with me. Partnering with them feels like a natural extension of my own scholarship fund, The Right to Be There. I’m thrilled to be making my West End debut while joining forces across the Atlantic to invest in the next generation of talent.” Armstrong says “Representation matters a great deal to me, as a mixed race individual, and I want to give back to the Asian community. Providing access and opportunities to young people is how to widen the talent pool, strengthen representation and hopefully inspire others to commit to inclusivity and diversity in the arts. I can’t wait to share this show with a West End audience.”

    The creative team includes Ben Armstrong (Founder and Casting Director), with designs by Ghostlight Productions, and further creative team members to be confirmed. Produced by Aixa Amarante Productions

    Book your tickets: https://nimaxtheatres.com/shows/representasian-an-evening-of-asian-talent/

    Find out more about The Boury Academy: https://www.thebouryacademy.co.uk/

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

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

    By Hamza Jahanzeb

    31 July 2025

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

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

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

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

    Max Webster had the following to share:

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

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

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

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

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

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

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

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

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

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

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

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

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

    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

     

  • CASTING NEWS: MEAN GIRLS: The Musical cast announced for Savoy Theatre run – starring Lucca Chadwick-Patel, Grace Mouat, Aka Mitchell and more!

    CASTING NEWS: MEAN GIRLS: The Musical cast announced for Savoy Theatre run – starring Lucca Chadwick-Patel, Grace Mouat, Aka Mitchell and more!

    Get in, losers, MEAN GIRLS *is* coming to London!

    The producers of the forthconibgn screen-to-stage adaptation of MEAN GIRLS in the West End – Lorne Michaels, Sonia Friedman Productions, and David Ian for Crossroads Live –  are delighted to announce the full cast and creative team . The musical comedy (based on the Paramount Pictures film of the same name which was released 20 years ago this April) will debut at the West End’s Savoy Theatre on 5 June 2024.

    Lucca Chadwick-Patel (MAMMA MIA!, Legally Blonde, My Beautiful Laundrette) as Kevin Ganatra, captain of ‘The Mathletes’. Daniel Bravo (Cruel Intentions, Witness for the Prosecution) takes on the role of Aaron Samuels ‘one of the most popular guys’ at North Shore High.

    Charlie Burn (Les Misérables, Disney100 UK tour) will play Cady Heron who after growing up in the African savanna returns to suburban Illinois and joins North Shore High. The Plastics are Georgina Castle (Dirty Dancing, Elf the Musical) as the charming but ruthless Regina George, with Elèna Gyasi (SIX – UK tour, Treason the Musical – UK tour) as Gretchen Wieners and Grace Mouat (Before After, The Great British Bake Off Musical) as Karen Smith.

    Elena Skye (Les Misérables, Kinky Boots) and Tom Xander (A Midsummer Night’s Dream, The Book of Mormon) play best friends Janis Sarkisian and Damian Hubbard.

    Ako Mitchell (The Sound of Music, Black Superhero) will play North Shore Principal Mr Duvall, while Ms Norbury – the role originated in the 2004 film by MEAN GIRLS creator Tina Fey – will be played by Zoë Rainey (Made in Dagenham, An American in Paris) who also plays the roles of Mrs George and Ms Heron.

    They are joined by Tia Antoine-Charles, Georgia Arron, Liam Buckland, Shonah Buwu, Baylie Carson, Freddie Clements, Siobhan Diffin, Clíona Flynn, Fergie Fraser, Angus Good, Jenny Huxley-Golden, Holly Liburd, Corey Mitchell, Mervin Noronha, Aharon Rayner, Trézel Sergeant, Josh Singleton, Annie Southall, Lillia Squires, Tommy Wade-Smith and Holly Willock.

    It’s gonna be a little bit dramatic…

    Broadway’s hilarious hit musical from an award-winning creative team including writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director and choreographer Casey Nicholaw (The Book of Mormon), opens at the Savoy Theatre this summer.

    Meet The Plastics –Regina, Gretchen and Karen. They rule North Shore High and will burn anyone who gets in their way. Home-schooled Cady Heron may think she knows a thing or two about survival of the fittest thanks to her zoologist parents, but high school is a whole new level of savage. When Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a queen bee without getting stung.

    Expect iconic characters, razor-sharp wit, and killer songs. Grab your friends and your cool mom, this is going to be fetch – and YES London, we’re making it happen!

    The reign begins June 2024. If you want to sit with us, book your tickets and don’t forget… on Wednesdays, we wear pink.

    Joining the award-winning creative team for MEAN GIRLS in the West End are Scott Pask – Scenic Design, Katrina Lindsay – Costume Design, Kenneth Posner -Lighting Design, Brian Ronan – Sound Design, Finn Ross and Adam Young – Video Design, Josh Marquette – Hair Design, Mary-Mitchell Campbell – Musical Supervision, and Natalie Gallacher for Pippa Ailion and Natalie Gallacher Casting – Casting.

    MEAN GIRLS is now booking to 16 February 2025 with over 45,000 tickets at £40 and under, and over 140,000 just-released tickets available. The access performances currently on sale are as follows – Audio Described on Saturday 7 September at 2.30pm, Captioned Performance on Saturday 14 September at 2.30pm and British Sign Language on Saturday 21 September at 2.30pm.

    MEAN GIRLS had its world premiere in 2017 at the National Theatre in Washington, D.C and opened on Broadway in April 2018 at the August Wilson Theatre to ecstatic responses, where it played to packed houses. The show then went on a hugely successful US tour in 2019 and is currently on its second US tour. The MEAN GIRLS musical film adaptation from Paramount Pictures was released globally in cinemas in January 2024 and was the #1 film at the Box Office in multiple countries including the UK and US.

    Originally released in 2004, 20 years ago this April, MEAN GIRLS has had a profound impact on pop-culture for nearly 20 years. Tina Fey’s hilarious and relatable portrayal of high school life struck a chord with audiences across the globe and the film’s whip-smart satire, iconic catchphrases, and unforgettable characters made it a phenomenon that remains a cultural touchstone to this day.

    Working with ATG’s Creative Learning Department, MEAN GIRLS will be providing a selection of matinees for schools and community groups who otherwise may not be able to access the show.  To complement this, workshops and Q&As will be made available to these groups that centre around anti-bullying and empowerment. A weekly ticket access scheme will also be announced closer to performances.

  • REVIEW: The Choir of Man ⭐️⭐️⭐️?Arts Theatre

    REVIEW: The Choir of Man ⭐️⭐️⭐️?Arts Theatre

    Photo credit @The Other Richard

    Entering the Arts Theatre auditorium (the last time I did so, it was to see Six and Bonnie and Clyde), I was amazed to see an actual on-stage bar serving pints to the audience members in the Stalls. Yes, real pints! Managed by stage managers – who kept the number so the stage isn’t overfilled – this was a really nice personal touch to set the scene of tonight’s theatre at The Choir of Man: The Jungle.

    Photo credit: The Other Richard

    With a huge opening number ‘Welcome to the Jungle’, which provided an energetic start to a high octane 90-minute set that will leave even the most stone-hearted person wanting to get up and boogie. Whilst the storyline and premise are at-times flimsy, the cast in this show are what make it such a roof-raising production. There’s some rather strange choices in the book re: jokes at the expense of marginalised folks, it was also disappointing to see the lack of women in pubs which as we know aren’t barred only by society’s prejudices.

    However, those slight barbs aside, that did not entirely detract from what were wonderful performances. In particular, the piano-playing and stunningly sounding Michele Maria Benvenuto as the Maestro. Everything we saw of Michele, spilled into the audience: the smile and the way that the talents from the piano-playing skills, The camaraderie between the on-stage cast exuded confidence, was enough to make anyone (including me) jump up for a half pint of the non-alcoholic stuff.

    If you want to take someone who’s not really into Musical Theatre (or even jukebox musical) this may be the gate-way musical to tantalise those vocal chords and help to cheer you upon after a long week.

    Until June 2024: https://www.choirofmanwestend.com/

    N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) complimentary experience in exchange for an honest review of the material showcased on stage. If you would like to support my independent theatre, please consider subscribing to my Ko-fi:
    >> https://ko-fi.com/hamzajahanzeb <<
  • THEATRE NEWS: Next To Normal set for 2024 London West End Transfer to Wyndham’s Theatre

    THEATRE NEWS: Next To Normal set for 2024 London West End Transfer to Wyndham’s Theatre

    The lauded Donmar Warehouse production of the Broadway musical (Tom Kitt/Brian Yorkey) Next to Normal – which sold every seat at every performance across its season at the producing house based in Seven Dial (and where it also made its long-awaited UK Premiere) – has announced a transfer to London’s West End in 2024.

    For a strictly limited 14-week season (will begin performances at Wyndham’s Theatre on Tuesday 18 June 2024.

    When the landmark musical debuted on Broadway in 2010, Ben Brantley of The New York Times called it “Brave and breathtaking. It is something much more than a feel-good musical; it is a feel-everything musical.” And Peter Marks of The Washington Post called it “a moving, blisteringly honest, and inordinately powerful new musical stocked with beautiful songs that get to the heart of the story – and simply get to the heart.” Next to Normal went on to win three Tony Awards, including Best Original Score, as well as the Pulitzer Prize for Drama, one of only 10 musicals in history to receive the prestigious honour.

    Next To Normal is an intimate exploration of family and illness, loss and grief. At its heart is Diana Goodman, a suburban wife and mother living with bipolar disorder and haunted by her past. Donmar Artistic Director Michael Longhurst directs this powerful rock musical, which include the following songs: “I’m Alive” and “I Miss The Mountains”.

    Tickets go on priority on sale on Monday 27 November – sign up at www.nexttonormal.com. General tickets will go on sale Friday 1 December.

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

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

    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?

  • 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 }

  • 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 **