Park Theatre, Finsbury Park – until 30th April 2022
Reviewed by Bobbi Fenton
5*****
Another America written by Bill Rosenfield and directed by Joseph Winters is about two brothers and their friend on a pilgrimage of sorts across America to the basketball hall of fame in Springfield, Massachusetts. With only their bikes, a few changes of clothes, and a basketball, brothers Jared (Rosanna Suppa) and Dan (Marco Young), and their friend Clint (Jacob Lovick) cycle all the way from one side of America to the other, all in the name of loyalty to their basketball team. Along the way, they meet countless people from all walks of life, each having some impact on their journey. The story is told directly to the audience like a three-person monologue, which is perfectly executed by Suppa, Young, and Lovick who each take it in turns to portray those people they meet. This is made absolutely hilarious in some moments as they argue over whose turn it is to be the new person, with some of the characters being very strange. These range from an arrogant 15-year-old (Marco Young) to a 67-year-old wandering woman (Rosanna Suppa), and even a rather creepy man in a small town, who threatens the three with a gun if they don’t leave his town immediately (Jacob Lovick). This play is filled with perfectly timed comedic moments, existentialism, and tense arguments as the journey gets more stressful, and is an absolutely fantastic experience.
The set is made up of three mirrors along the back wall, with lightbulbs around them, which also double as features at the basketball hall of fame towards the end. The floor and wall are plain flat wood, and there are three chairs on stage which are used in multiple ways, such as bikes, or the barrier on a bridge. This allows for minimal props on the stage, which works brilliantly with the style in which the story is told to the audience.
Overall, this play is an absolute masterpiece, as we follow the three characters on their incredible journey of self-discovery over the course of one summer. It should definitely not be missed.
&Juliet is based on Romeo and Juliet but the ending is reimagined and Juliet doesn’t kill herself. Instead she gets to go on an adventure and live her life. The show opens with William Shakespeare (Oliver Tompsett) introducing his new play Romeo and Juliet and his wife Anne Hathaway (Cassidy Janson) suggesting he change the ending to allow Juliet to go on and live her life. The couple then rewrite the ending together as the action plays out on stage. Tompsett is perfectly smug as Shakespeare, quoting himself and walking about the stage with a boastful arrogance yet we are endeared to him through his love for his characters and the love his wife has for him.
I loved how informally the show began with the ensemble entering one by one and dancing or chatting in stage before Shakespeare (Tompsett) entered. The ensemble were fantastic Rhys Wilkinson in particular had such energy and charisma. They each had different personality and costumes featuring elements from the time of Shakespeare such as corsets and puff sleeves but with an urban makeover to suit the modern age.
After Romeo’s death Juliet (Miriam-Teak Lee) travels to Paris with her best friend May (Alex Thomas-Smith), her Nurse (Keala Settle) and friend April who Anne Hathaway (Cassidy Janson) plays. There they meet Francois ( Tim Mahendran) and his father Lance (Julius D’Silva). May and Francois form a sweet, tender relationship and their duets are beautiful. In such an energetic show the calmer moments between the pair are magical and Thomas-Smith and Mahendran have wonderful chemistry.
It is then Revealed that Romeo (Tom Francis) survived too and he makes a confident entrance to try and win Juliet back. Francis brings charm and lovability to the role of Romeo, a self-proclaimed douche. He is new to the part and I was excited to see him perform and he did not disappoint, a fantastic performance.
Keala Settle and Julius D’Silva were also new to the cast. As the nurse Keala Settle is a powerhouse her vocals are amazing and her performance of perfect was a highlight of the show. D’Silva and Settle as Lance and the Nurse brought a lot of comedy to the show as well.
It is easy to see why Cassidy Janson won an Olivier Award for this performance she is phenomenal as Anne Hathaway and even when there is action elsewhere on stage the eye is often drawn to her. She is excitable and chatty and endearing as a character a lot of women can relate to as she tries to help Juliet as she blossoms into a strong independent woman.
The entire show oozes girl power it is empowering to watch Juliet realise her confidence and take control of her own life and this feeling culminates when she performs Roar. Miriam-Teak Lee’s vocals are incredible and she takes command of the stage as she performs this number with confidence and sass. The Nurse too takes charge of her own life, insisting that if she is to marry Lance he will treat her right and it is wonderful to watch Anne Hathaway pluck the quill from Shakespeare and smile with pride as she rewrites happy endings for these powerful women.
The use of well known pop songs throughout the show makes for a feel good show giving a feeling of nostalgia as everyone already knows and loves the songs. The audience are left feeling warm and fuzzy but also confident and empowered. An amazing show – I challenge anyone to watch this and not absolutely love it.
The Pleasance Theatre London – until 24th April 2022
Reviewed by Emily Cliff
4****
I have never seen a play like Dirty Corset and in the best way possible I came out of that play thinking ‘what the hell have I just watched’. Full of innuendos acted out through physical theatre, 17th century fetishes and an evening full of joy and laughter from this side of the audience, Dirty Corset is certainly unlike any other.
Bang Average debuted their show Lucille and Cecilia at the Edinburgh Fringe Festival in 2019 and have returned to london to bring their heartfelt stories and dark humour to a new wave of audiences. The show is laced with modern language weaving between bursts of 17th century elizabethan english, and profanity that would make Shakespeare blush. Based around the period of the plague, the parallels between COVID in 2020 make this show all the more enjoyable following the close of theatres and the closedown of the entertainment and creative industries.
The story follows the lives of travelling performers performing in Sheffield and their all too real life stories issues and interests along the way. From a mathmetion with an interest in poetry and a love for her other female castmate, to another dealing with the trauma of a misscarage, and the third castemate slowly dying from an infection on his leg. From afar this all seems very melancholy and serious but there was joy and laughter to be found in the folds of misery through denial. The representation of the characters and the stories are incredibly well written and performed. For the small space the performers had to work with, the staging was done incredibly well, with every ounce of space being utilised and used, this also led to some brilliant and entertaining audience reactions.
Overall, this show displayed and told incredible stories and incredible character development. The characters and the way in which they were performed really made you feel as though you were a part of their clique and their show, which isn’t something that is accomplished easily. The show itself is only an hour long and in the best way possible was the longest, strangest most entertaining hour of my life. The comedy skits were all incredibly well paced with use of both instrumental and modern music to compliment them. For anyone looking for a different, hilarious and quizzical night out in London, Dirty Corset is the shoe for you.
Everybody’s Talking about Jamie – is about a 16-year-old boy called Jamie (Layton Williams) who is about to leave school and is fighting for acceptance from all those around him. He has big dreams and is passionate about being on stage and becoming a drag queen. He also wants to stand proud and attend his Prom wearing a dress and heels, being him and showing the world. His actions looked at by others with some uncertainty cruelness and prejudice from so called bullies. His Mother Margaret (Amy Ellen) plays his fierce protector throughout and will do anything in order for his happiness to be present. Her songs If I Met Myself Again and Hes My Boy were performed exceptionally well and showed a lot of passion and emotion – what an applause for songs well sung capturing the audience she was truly amazing to watch.
Jamie impressed all with his amazing entertaining execution throughout the show playing his character with ease. Whilst cracking dance moves in some exquisite heels. He was superb to watch from start to finish had a pretty tremendous voice with a lot of sass thrown in I mean what isn’t there to like. Throughout the show he is also helped along the way by Hugo/Loco Chanelle (Shane Richie) who lets him perform in his club legs 11 as a Drag Queen. He tells his story of being in the spotlight himself along with his experiences and helps Jamie along through his journey. Was great to watch in full Drag had the audience in laughter sang some great songs along with many great outfit’s feathers, leather and full sequin jackets and fabulous headpieces.
This show was well written had a real feel-good factor and had you smiling from ear to ear. A Great spirited musical with some really catchy tunes, some fab dance steps and a great connection had by all on stage. A production not to be missed that leaves you feeling cheerful and fabulous so much to offer just marvellous magnificent and a delight to watch.
PALACE THEATRE, MANCHESTER – UNTIL SATURDAY 4TH JUNE 2022
REVIEWED BY MIA BOWEN
5*****
Beauty and the Beast made in 1991, remains one of the most beloved classic animated Disney films. Consequently it is difficult to put a new twist on an old classic, but the Palace Theatre spectacularly delivered ‘A tale as old as time’. This musical production hits the mark in a way the live action movie, released in 2017, never could. It draws the audience with a sensational score, exceptional cast, stunning design and magical effects, adding that bit of sparkle, you can only find on stage.
Unlike some musicals, this is one where all the music numbers are big. This production features all the favourite classic songs from the animated film, with the addition of several songs including Change In Me, If I Can’t Love Her, Home and one of my favourites of the evening, Human Again. Undeniably the highlight of the night’s performance was Be Our Guest and includes the whole ensemble. The choreography (Matt West), lighting (Natasha Katz) and costumes (Ann Hould-Ward) was truly spectacular, giving this section in the performance, a ‘Las Vegas’ atmosphere. Just when you think, it cannot get any bigger, it does! There is just so much to look at and take in. The production team remarkably manages to transform the animated scene, into real life, right in front of you.
Another highlight for me was the raucous tavern scene, tankards clinking, dancing, singing and celebrating everyone’s favourite guy, Gaston!
When the cast performed the last song of the evening, Beauty And The Beast, I could hear the audience softly singing along, it was quite emotional.
In the movie Belle, just sits at the table and sways side to side, during Be Our Guest. In the musical, Belle (Courtney Stapleton) was tapping, dancing and performing with passion, like the rest of the ensemble. She is also a heroin that wears glasses, loves reading and learning, and has courage in her convictions.
The treacherous villain Gaston (Tom Senior), you cannot help but like and his sidekick Le Fou (Liam Buckland) were ingenious, playing the perfect master and servant relationship and received many chuckles from the audience.
Everyone’s favourite due Lumiere ( Gavin Lee) and Cogsworth (Nigel Richards) are a real highlight and they bounce off each other perfectly. Then add to the mix Mrs Potts (Sam Bailey), Babette (Emma Caffrey) and Madame (Samantha Bingley), it’s just utterly charming. Strong support comes from Maurice (Martin Ball).
The Beast (Shaq Taylor) is charming and funny, as well as menacing and scary. The Beast opens up more as the play develops.
I am still baffled by how the floating head Chip (Rojae Simpson), got his body in that tea trolley. A magical moment was when Chip ran across the stage, freed from his tea cup spell.
I really did not want Beauty and the Beast to end, it was spectacular and magical, worthy of the standing ovation.
Based on the Oscar nominated movie Fatal Attraction by James Dearden, this stage production will keep you on the edge of your seats. Starring Susie Amy, Oliver Farnworth and Louise Redknapp.
If you are over fifty years of age, you will more than likely have seen this movie at the cinema. The term ‘Bunny Boiler’ actually emerged from the movie!
I have to say that I haven’t seen the film in years and purposely didn’t watch it again before going to see this performance.
This is the story of a New York lawyer, Dan Gallagher, played by Oliver Farnworth, who on an impromptu night out with his friend whilst his wife and daughter are away, encounters Alex Forrest. He is attracted to her immediately and this leads to a night of unbridled passion between the two. When Dan wakes up the next morning, he immediately realises that he has made a terrible mistake. He sneaks away without saying goodbye to Alex, believing that that would be the end of the matter. Alex – played by Susie Amy – has other ideas and she is not happy to be (in her eyes) spurned by Dan.
In the first scene we encounter Dan as he explains what a complete mess his life is. The audience is privy to a flashback where his problems began. We meet his wife, Beth Gallagher, played by Louise Redknapp as she is about to leave for a weekend away with their daughter, viewing houses in the country.
As the production progressed, we then witnessed the descent into madness, fuelled by jealousy and rage. Now pregnant and still feeling totally rejected she will either have her man or destroy him. The tension builds and the audience were gripped (apart from the woman immediately to my right who was asleep, snoring like a rhinoceros) and on the edge of their seats.
The fight scenes between Beth and Dan were realistically shocking, whilst the bedroom scenes subtly portrayed the passion and electricity between Alex and Dan. The final act of self-immolation was disturbing, cleverly illustrating the fragility of the human mind. There was a very poignant and thought-provoking twist at the end.
Away from the actors themselves, I thought that the scenery and lighting had just the right balance to remain respectful of the cast and audience, given the nature of the story.
What might have been a very dark production, was sprinkled with lighter moments, especially regarding Dan’s friend Jimmy, played intelligently by John Macaulay.
All the characters portrayed the story effectively and professionally. The clever use of the stage set and lighting combine to quickly and efficiently pull the audience into each respective aspect of the story.
I am reluctant to select one standout performer because it was a very close call between Dan and Alex, but if you hold my feet to the fire, Alex just wins. I felt as if I was there, with her through all her desperate and emotional moments.
Stage adaptations quite rightly differ in some ways from the movies, ergo the audience should not expect an exact replication but in any event this play will not disappoint. It is a fascinating twist on a common theme of love and lust, of joy and despair and that is something which we can all relate to, I am sure. I must close by congratulating the Waterside Theatre on bringing yet another first-class show to Aylesbury.
BIRMINGHAM HIPPODROME – UNTIL SATURDAY 16TH APRIL 2022.
REVIEWED BY NADIA DODD
5*****
After seeing Jason Donovan back in 1991 in the West End, cast then as Joseph it was a delight to go back tonight to see the show again. Slightly different with Jason this time around cast as a rather camp Pharoah, who dances and sings in a great Elvis style, quite a surreal experience.
With music by Andrew Lloyd Webber and lyrics by Tim Rice this production has literally been a dream to watch for a number of years.
The fantastic Alexandra Burke was cast as the narrator, but also doubled up as a few others smaller parts, she really did put on a show. Stunning voice, great little cheeky nods to the audience and very spritely on her dancing feet especially as she is currently pregnant. There was a small technical hitch during the first few moments as Alexandra was mid solo but after a few moments after the curtain being raised again she came back out to an applause ready for her to belt her heart out again.
Very minimal set design, lots of colour flowing pieces of material, and backdrops of pyramids and sunshine. Nothing much more is actually required. It becomes a lot more ‘blingy’ during the Pharoah scenes within act two, which is obviously set in Egypt but more like a scene you would see in Las Vegas!
Joseph is played by the wonderful Jac Yarrow who only hit the West End stage in 2019. He has a truly astounding voice, the power behind him when singing Close Every Door accompanied by the very talented younger stars of the show was magical.
The show was a technicolor joy to watch, live orchestra simply fabulous even being there to catch part of the Pharoah’s wristbands that came loose so he decided to throw it towards them til the encore where they cheekily launched it back to him whilst he was taking his final bow.
The group of youngsters that appear in the show have the full package, they are acting, singing and dancing so confidently now that they are all destined to be stars of the stage in the future.
The standing ovation and medley sing along that took place showed how the entire theatre really appreciated seeing live theatre back well and truly. Packed out seats and raucous applause must be music to the actors ears.
New photographs of the cast of & Juliet taken by Johan Persson were released today (7.4.22.). The new cast includes Keala Settle as Nurse, Tom Francis as Romeo and Julius D’Silva as the amorous Frenchman, Lance.
Johan Persson /
Keala – internationally renowned for her starring role in the global smash hit movie The Greatest Showman in which she performed the iconic song “This Is Me” – makes her West End debut in & Juliet.
Johan Persson /
& Juliet is running at the Shaftesbury Theatre, where the show recently extended its booking period through until Saturday 24 September 2022.
Johan Persson /
Miriam-Teak Lee – who was awarded the Olivier Award for Best Actress in 2020 for her performance as Juliet – leads a cast including Cassidy Janson, who also won an Olivier Award for Best Supporting Actress for her portrayal of Anne Hathaway, Oliver Tompsett as William Shakespeare, Tim Mahendran as Francois and Alex Thomas-Smith as May.
Johan Persson /
The new ensemble includes Ebony Clarke, Bessy Ewa, Collette Guitart, Cassandra Lee, Nathan Louis-Fernand, Zara MacIntosh, Carl Man, Christian Maynard, Rachel Moran, Owen Saward, Aaron Shales, Benjamin Terry and Suki Wong, who join Ivan De Freitas, Rhian Duncan, Alex Tranter, Sophie Usher and Rhys Wilkinson who continue with the show.
: Johan Persson /
Romeo who?! With her bags packed and ready to escape Verona, Juliet recovers from heartbreak in the best way possible… by dancing the night away with her best friends by her side! But when the sparkle fades, the confetti falls and reality catches up, it’s clear that Juliet needs to face her past in order to find her future. Can she reclaim a story that has been written in the stars? Is there really life after Romeo… or could he be worth one more try?
Johan Persson /
Come along for the ride as the original Anne Hathaway takes on her husband William Shakespeare to remix his legendary play. As comedy meets tragedy, will Juliet get the ending she truly deserves? And most importantly, can their love survive this battle of wills?
Johan Persson /
Fabulously fresh and riotously funny, & JULIET explodes with dozens of pop anthems by legendary songwriter Max Martin, including … Baby One More Time, Since U Been Gone, Roar, It’s My Life, I Want It That Way, and Can’t Stop the Feeling! The show also includes the brand new song One More Try, written especially for the show by Max.
Johan Persson /
Brought to life by an award-winning creative team, this vibrant, colourful and timely musical is directed by Luke Sheppard (In the Heights, Rent and What’s New Pussycat?) with a story by David West Read (Netflix’s Schitt’s Creek), electrifying choreography from Jennifer Weber and stunning set design from Soutra Gilmour.
Johan Persson /
Max Martin and Tim Headington present & Juliet, which is produced by Martin Dodd, Tim Headington, Max Martin, Jenny Petersson and Theresa Steele Page.
CAST ANNOUNCEMENT FOR LONDON’S BIGGEST NEW ATTRACTION
TOM FELTON TO PLAY GUY FAWKES IN HISTORY’S MOST DARING CONSPIRACY
STAR LEADS A DIGITAL CAST OF OVER 50 INCLUDING GARY BEADLE, TAQI NAZEER, MICHELLE ASANTE AND ASH RIZI TO BRING HISTORY TO LIFE
London’s biggest new attraction opens 20th May in Tower Vaults at the Tower of London, in collaboration with Historic Royal Palaces
This multi-sensory adventure is written by Olivier nominee Danny Robins and Creative Direction by stage director and multi BAFTA award-nominated games performance director Hannah Price
The Gunpowder Plot is the latest immersive experience from Layered Reality, the award-winning producers of the Jeff Wayne’s The War of The Worlds: The Immersive Experience
Virtual Reality provided by award winning VR studio Figment Productions, headed by Simon Reveley
Inspired by Historic Royal Palaces research
Cast of over 50 digital actors alongside over 20 live actors create a truly hybrid theatrical experience
1605. The fuse of rebellion is lit. The peace of the nation balances on a knife edge. Who will you trust?
The Gunpowder Plot is delighted to announce that the starring role of Guy Fawkes will be played by actor Tom Felton who first found fame playing Draco Malfoy in the Harry Potter film series. Since then, Tom has starred in numerous film and TV productions including ‘Rise of the Planet of the Apes’, Neil LaBute mini-series ‘Full Circle’, and Ridley Scott’s ‘Labyrinth’. Tom can most recently be seen starring in Netflix’s war epic ‘The Forgotten Battle’ and in the Sky Original film ‘Save the Cinema’. Tom will next be seen on screen in the upcoming thriller ‘BURIAL’ and he makes his West End debut in ‘2:22: A Ghost Story’ this Spring.
Now he is set to play the starring role in The Gunpowder Plot, which mixes both live actors and digital stars in a multi-sensory theatrical adventure. Tom will work with leading Virtual Reality experts Figment Productions, whose magic will allow Tom’s image and movements to be motion captured and rendered “live” in the virtual world. Here audiences will interact with Guy Fawkes inside Virtual Reality, as they infiltrate the plotter’s company and learn of the conspiracy against the Houses of Parliament.
Speaking about the role, Tom said “I’m very excited to be playing a character so famous (and infamous!) for being at the centre of the most famous conspiracy plot in UK history. Guy Fawkes is a fascinating character with a complex history and with passionate advocates and detractors then and now. To be able to bring the character to life through Virtual Reality, and to allow him to interact with audiences in a way that has never been done before, is thrilling.”
The team of talented digital actors also include Gary Beadle as Edmund (Paul in ‘EastEnders’, ‘Around the World in 80 Days’ alongside David Tennant for PBS and ‘Skint’, BBC Four), Taqi Nazeer as King James (Writer and actor of Oran Mor sell-out show ‘Rishta’ as part of National Theatre of Scotland’s Breakthrough Writers programme. Writer of ‘An Edinburgh Christmas Carol’ @ the Lyceum, ‘ and Ankur production’s ‘Heer Ranja’ @ Tramway Theatre). Michelle Asante as Alice (‘Welcome Home Captain Fox’ at the Donmar Warehouse, nominated for Best Featured Actress in a Play at the Broadway World Awards for ‘Sunset Baby’ at the Gate Theatre, currently starring in Netflix’s ‘Top Boy’) and Ash Rizi as Jack (Darius Kazemi ‘EastEnders’, Nathan in Channel 4 comedy ‘Drifters’, Mohan Rai in BBC One crime-thriller ‘Luther’).
More Digital Cast & Live Cast details in credits at end of release.
‘THE GUNPOWDER PLOT’ is a seamless integration of immersive theatre and virtual reality where live actors, the latest in digital technology and a cavalcade of multi-sensory special effects combine to allow audiences to step back in time to 1605. Here audiences don’t just witness the action, they play an ever-active role in one of the greatest stories in British history. The guests’ mission: go undercover, infiltrate the plotters and become part of history’s most daring conspiracy.
The experience has been created in collaboration with Historic Royal Palaces, the independent charity which cares for the Tower of London. Audiences will find themselves in a purpose-designed immersive theatre space in Tower Vaults, a location that was last accessible to the public two decades ago. Tower Vaults are situated alongside the UNESCO World Heritage Tower of London, where much of the prelude to the real Gunpowder Plot took place over 400 years ago.
Layered Reality is fast establishing itself as one of the foremost providers of immersive experiences in the capital – recent project, ‘The War of The Worlds: The Immersive Experience’ won the prestigious THEA Award (the “Oscars” of themed entertainment) and is in TripAdvisor’s Top 10% of attractions globally.
The Gunpowder Plot brings together an incredible team. Creative Director Hannah Price is the founder of Theatre Uncut, andco-Artistic Directorof King’s Head Theatre alongside Mark Ravenhill and is one of the UK gaming industry’s most acclaimed Performance Directors. Her work onControl (Remedy Games) helped the title achieve 11 Bafta nominations and multiple Game of the Year Awards.
BAFTA-nominated writer Danny Robins (The Battersea Poltergeist) recently won a WhatsOnStage award (voted for by audiences) and has also just been nominated for an Olivier award – both for ‘2.22: A Ghost Story’,starring Lily Allen.Hannah and Danny developed the story, alongside Associate Director Rosie Jones (Nintendo, Remedy Games, Audible, Rose Theatre Kingston, RSC), and working closely with Historic Palaces Curator Dr Alden Gregory to draw on historic research to inform everything from characters to sights and smells in the experience. Virtual Reality elements of the experience are provided by leaders in personalising the VR experience Figment Productions (winner of The international VR Award for ‘Current, Rising’ at the Royal Opera House – Best Out-Of-Home VR Experience of the Year 2021) headed by Simon Reveley.
Curator Alden Gregory (curator of Historic Buildings at Historic Royal Palaces)and producer Tim Powell (Historic Royal Palaces creative consultant) bring their vast historical knowledge to the production and the historically accurate depiction of the city as a backdrop for the action is overseen by Gregory. Everything has been meticulously researched by Gregory to ensure that the experience is inspired by the sights, sounds and even swear words of Jacobean life, to create a sense of authenticity and understanding of what the past really looked like.
Intricate, large-scale walk-around locations and first-class actors performing live are integrated with ambitious technology including virtual reality and projection mapping, ambisonics and multi-sensory SFX. The final layer, intended to fully immerse audiences is physical sensations: temperature, scent, taste, touch and sound.
Speaking about The Gunpowder Plot, the Creative Team said:
“We want it to feel like somebody made a movie version of the Gunpowder Plot and it came to life around you and exploded in your face with bits of Jacobean London flying at you”. Says writer Danny Robins “This is a story about activism. It’s about trying to change the world but then realising that you’re doing it the wrong way.”
“We cannot wait to share this groundbreaking production with an audience. Incredibly realistic sets you can step onto and run your hands across. Cutting edge VR that puts our audience in the heart of London in one of its most volatile moments. Layered levels of immersion so everything you see, feel, touch, and even smell takes you further into the story. Add live actors and a brilliant script and our audience will have an experience like no other.” Creative Director Hannah Price
“We will transport you back to 1605, all of your senses will tell you that you’re actually there. Your eyes will see London as it was in 1605, you get the smells, you will see the Tower of London as it looked then, and you’ll go down the Thames as it was at that time. That’s what makes it magical.”Layered Reality CEO Andrew McGuinness
“We want to give people the sense that they might have literally time travelled through this show, feeling the same experiences of joy, confusion, and fear that the conspirators felt. We’re pushing things to a whole new level, doing something with immersive theatre that hasn’t been tried by museums in this way; simultaneously creating an experience rooted in history and a show-stopping night of entertainment designed to reach a wider audience than might be drawn to more traditional heritage attractions. And ultimately my role is making sure that what we do really evoke that moment in time to transport participants back to seventeenth century London.” Alden Gregory, Historic Royal Palaces.
“The show is set up in such a way that it fools the body into telling the mind that you are physically there, that those characters are speaking to you directly and this encourages the belief that you are both present and able to influence the history that’s happening around you. It’s a fundamentally new way of experiencing history because you’re not just witnessing it but actually participating in it for the first time. The multisensory elements will form memories that will really feel real.”Tim Powell, Historic Royal Palaces creative consultant.
“My ultimate reward would be if when people are recounting the experience, they don’t specify which parts were VR and which parts were live performance, the more seamlessly we can integrate every element in people’s minds, the more realistic and immersive the experience”. Simon Reveley, Figment Productions
Hedwig and the Angry Inch has become somewhat of a cult classic since it’s Broadway release in 1998, it tells the story of Hedwig, a gender queer rock and roll singer. Beginning in East Berlin we learn of the upbringing of Hansel Schmidt, living in a city divided by a wall the young Hansel dreams of the other side and seeing the world he can only imagine through music. We discover how Hansel ends up living in America as a woman, after meeting Luther Robinson, an American Soldier and how this leads to further struggles with identity. Facing relationship breakdowns and a lack of a loving family we learn of the difficult life Hedwig has faced leading them to where they are today.
Throughout the show Hedwig struggles with the fact that Tommy Gnosis an ex and previous collaborator is currently having a much more successful career than her own. Hedwig appears in her own rock ‘n’ roll band with her assistant/husband Yitzhak, a Jewish drag queen. Hedwig seems to be threaten, by Yitzhak to his natural talent resulting in her verbally abusing him throughout the show and only agreeing to marry him if he promises never to put on a wig again. It’s not until the end of the show that Hedwig finally begins to accept themselves for who they are.
At this performance the role of Hedwig is taken on by the fabulous Divina De Campo, who found fame on RuPaul’s Drag Race and has an excellent stage presence, rivalled only by Elijah Ferreira’s hilarious performance as Yitzhak. The rest of the band is also great, with fantastic music throughout only adding to the story. This is a brilliant, hilarious show full of laughter and rock ‘n’ roll. The raw exploration of gender, sex and sexuality is something rarely seen on stage and is something people shouldn’t be afraid to talk about. For anyone struggling with who they are, this is a great show to see that you can be anyone and everyone should learn to accept themselves. The show ended with a much-deserved standing ovation. With Divina De Campo meet and greets available on certain nights, this is a show not to be missed. Tickets are selling fast so if you’ve yet to get yours you need to be quick about it.
