Eloise Lally’s direction of the English Touring Opera’s production, Bellini’s ‘The Capulets and The Montagues’, is a unique and innovative performance due to its less traditional and more relatable narrative landscape of mid-20th-century New York. Here, Lally takes us right to the heart of the underbelly of those famous mafia families we all became intrigued by through the work of Martin Scorsese and Francis Ford Coppola in the 70s and 80s (think Mean Streets and Goodfellas). Anyone who considers themselves as, “not a fan of opera” or even Shakespeare will have their perceptions challenged and I guarantee that you will be very pleasantly surprised! It would be very hard not to become intoxicated by this piece as the rich story that is weaved from within the Capulet family business (a well-kept bar where boxes of oranges and lemons conceal dirty money) intimately draws you in from the off as you become the observer of the everyday comings and goings of this notorious family and tragic star-crossed lovers, Romeo (Samantha Price) and Giulietta (Jessica Cale).
By transporting us into the dark worlds of film directors Scorsese and Coppola, Lally cleverly fuses opera with mafia film iconography. The other inspiration behind this spellbinding performance are the photographs taken by Letizia Battaglia who bravely reported on a famous trial where 200 hundred mob members were convicted. Within the opera the cinematic influences are exciting and complex dramatic freeze-frames and intense confrontations followed by mass gunfights. This creates an ambiance of the drama which at points, one forgets that they are at an opera – you get so caught up in the exhilarating experience of the action! The acting alongside the exceptional vocal performances is first-class! A standout performance for his portrayal as Lorenzo (Masimba Ushe), Giulietta’s (long suffering confidante but also her father’s (Capellio, Timothy Nelson) longest serving mob member really captures the essence of man who is in the middle of a huge dilemma. Lorenzo is split between two loyalties – he loves them both but knows that he will eventually have to pay the price for his betrayal. It’s mafia law that must be abided whether your intentions are good or not. Without giving too much away, the compelling alternative ending speaks to a new generation and questions the inner conflict of a future for ones self or that of tradition?
Under conductor Alphonse Cemin, ETO’s carefully sculptured solos and choruses give attention to more dramatic scores when needed and crucially give input during highly emotional moments. The harp was exquisite when Giulietta was contemplating her fate after the announcement of her forthcoming marriage to Tebaldo (brilliantly played by Brenton Spiteri). The vocal performances are outstanding on every level from the male mafia members to the sincere Lorenzo and powerfully charged but beautifully controlled voices of Cale and Price. The intimate moments between these two has tenderness alongside outbursts of huge passion that is alarming in all the right places.
This opera has everything for fans of so many genres: Shakespeare, Bellini, opera, gangster films, high-drama narrative, action, love and so much more. Don’t let the word ‘opera’ put you off because this performance crosses the boundaries of many different works and whatever your preferences if you love a good story – you’ll love this
THE MENIER CHOCOLATE FACTORY’S SMASH HIT PRODUCTION OF
MEL BROOKS’
THE PRODUCERS
TRANSFERS TO THE WEST END
PUBLIC BOOKING OPENS ON 5 MARCH 2025
WITH OVER 18,000 TICKETS AT £25
The Menier Chocolate Factory’s critically acclaimed sell-out production of The Producers with book by Mel Brooks and Thomas Meehan, and music & lyrics by Mel Brooks transfers to the West End.
The production opens at the Garrick Theatre this Autumn, with Andy Nyman (Fiddler on the Roof, Abigail’s Party, Assassins – Menier, Hello Dolly – London Palladium, Governor Thropp in the film Wicked and creator of Ghost Stories), Marc Antolin (I Wish You Well – The Gwyneth Paltrow Ski-Trial Musical – Edinburgh Fringe/Criterion, The Band’s Visit – Donmar Warehouse), Trevor Ashley (Liza (on an E), I’m Every Woman,Diamonds Are for Trevor), Raj Ghatak (The Father and the Assassin – National Theatre, Life of Pi, Everybody’s Talking About Jamie – Sheffield Theatres), Harry Morrison (Come fromAway – Phoenix Theatre/Abbey Theatre, The Third Man and Assassins for the Menier) and Joanna Woodward (The Time Traveller’s Wife: The Musical – Apollo Theatre, Merrily We Roll Along for the Menier) all reprising their roles from the original Menier run.
The production opens on 15 September, with previews from 30 August, and is booking until 21 February 2026. Priority booking opens on 3 March, with public booking opening on 5 March. There are over 18,000 tickets at £25.
Mel Brooks said today, “Hello Brits! My record-breaking musical, The Producers, is coming back to the West End! I couldn’t be more proud of this show. I can’t wait to sit in the Garrick Theatre and be bathed in laughter.”
Artistic Director of the Menier Chocolate Factory David Babani commented, “I am enormously proud of the entire team working across The Producers – the journey thus far at the Menier has been an utter joy from start to finish, with an incomparable cast led by the very brilliant Andy Nyman and Marc Antolin. To have the opportunity to do it all again, and grow the production as we transfer to the West End with our brilliant partners Nica Burns, Max Weitzenhoffer and Kevin Salter, is an absolute privilege.”
Producer Nica Burns added, “Whatever tickles your funny bone, you’ll find The Producers a total hoot. Laughter and joy throughout courtesy of the incomparable Mel Brooks and David Babani’s terrific production. Don’t walk, run to the box office!”
Full cast and creative team for the production will be announced shortly.
David Babani and Nica Burns & Max Weitzenhoffer, Kevin Salter
Seaview, Creative Partners Productions and 2ontheaisleBDWY
present
The Menier Chocolate Factory production of
THE PRODUCERS
Book by Mel Brooks and Thomas Meehan
Music and Lyrics by Mel Brooks
Original Direction and Choreography Susan Stroman
By special arrangement with StudioCanal
At the Garrick Theatre
30 August 2025 – 21 February 2026
The first major London revival of Mel Brooks’ musical adaptation of The Producers transfers to the Garrick Theatre this Autumn following a sold-out run at the Menier Chocolate Factory.
Based on the classic cult film, the original Broadway production won a record twelve Tony Awards, and skewers Broadway traditions, taking no prisoners as it proudly proclaims itself an “equal opportunity offender!”.
Down-on-his-luck Broadway producer Max Bialystock schemes with timid accountant Leo Bloom to create the biggest flop in theatre history – only to have it backfire spectacularly, and with thunderous applause.
Critically acclaimed principals Andy Nyman, Marc Antolin, Trevor Ashley, Raj Ghatak, Harry Morrison and Joanna Woodward all return triumphantly for the West End production, which opens on 15 September, with previews from 30 August.
Andy Nyman plays Max Bialystock. He is an award-winning actor, director and writer who has earned acclaim from both critics and audiences for his work in theatre, film and television. His work for the Menier includes Tevye in Fiddler on the Roof (also at the Playhouse – Olivier Award nomination for Best Actor in a Musical), Stephen Sondheim’s Assassins,Abigail’s Party (also Wyndham’s Theatre) and Terrible Advice. Other theatre work includes Hello, Dolly! (The London Palladium), Martin McDonagh’s Hangmen (Wyndham’s Theatre/Broadway) and the original production of Ghost Stories (Duke of York’s Theatre/Arts Theatre) in which he starred in as well as co-wrote and co-directed with Jeremy Dyson – later adapted into a film, in which he also starred. His extensive television credits include Lockerbie, Hanna, Wanderlust, The Eichmann Show, Campus, Crooked House, Dead Set as well as his highly acclaimed performance as Winston Churchill in Peaky Blinders. Nyman’s extensive film credits include Governor Thropp in Wicked,Jungle Cruise, Judy,The Commuter, Death at a Funeral, Kick-Ass 2, Black Death, The Brothers Bloom, Severance and Shut Up & Shoot Me, for which he won the Best Actor award at the Cherbourg Film Festival in 2006. In addition, he has collaborated with Derren Brown for almost 20 years, co-writing and co-creating much of Brown’s early TV work. He has also co-written and directed six of Brown’s stage shows, winning the Olivier Award for Best Entertainment for Derren Brown – Something Wicked This Way Comes and a New York Drama Desk Award for Best Unique Theatrical Event 2017 for Derren Brown – Secret.
Marc Antolin plays Leo Bloom. His theatre credits include I Wish You Well – The Gwyneth Paltrow Ski-Trial Musical (Edinburgh Fringe/ Criterion Theatre), Quiz (UK tour), The Band’s Visit (Donmar Warehouse), Murder on the Orient Express, Amadeus, Singin’ in the Rain, The Music Man (Chichester Festival Theatre), The Magician’s Elephant (RSC), Camelot (The Watermill Theatre), Romantics Anonymous (Bristol Old Vic/Sam Wanamaker Playhouse/US tour), Cry Havoc (Park Theatre), Hedda Gabler (Sherman Theatre), Little Shop of Horrors (Olivier Award nomination for Best Actor in a Musical), Into the Woods, Hello Dolly! (Regent’s Park Open Air Theatre), Flying Lovers of Vitebsk (Edinburgh Festival/ Bristol Old Vic/ Shakespeare’s Globe), Twelfth Night (Shakespeare’s Globe), Peter Pan (National Theatre), Taken at Midnight (Chichester Festival Theatre/Theatre Royal Haymarket), The Trial (Young Vic Theatre), From Here to Eternity (Shaftesbury Theatre), Matilda (RSC/Cambridge Theatre), Bells are Ringing, Once Upon a Time at the Adelphi (Union Theatre), Billy Liar (UK tour) and Imagine This (New London Theatre). His television credits include The Outlaws, Keeping Faith, Caerdydd and More Than Love; and for film, London Road, Hunky Dory and Love Actually.
Trevor Ashley plays Roger de Bris. His Australian theatre work includes Les Misérables, Hairspray, Priscilla Queen of the Desert, Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat. His television work includes RFDS – Royal Flying Doctor Service, Les Norton and Significant Others; and for film, Seriously Red. Also a renowned cabaret performer, he has performed Liza (on an E), I’m Every Woman and Diamonds Are for Trevor. He was the runner-up on Queen of the Universe.
Raj Ghatak playa Carmen Ghia. His theatre work includes The Father and the Assassin (National Theatre); Am Dram, Simply Cinderella (Curve, Leicester); Life of Pi, Everybody’s Talking About Jamie (Sheffield Theatres); The Kite Runner (UK tour); Miss Meena and the Masala Queens (Watford Palace and UK tour); This Tuesday (Arcola Theatre); Hector (Traverse Theatre and Ambassador’s Theatre); Golgotha (Conspirators’ Kitchen); Soho Cinders (Soho Theatre); The Secret Garden (Festival Theatre/ Toronto); The Great Extension, High Heel Parrot Fish (Theatre Royal Stratford East); The Low Road,The Spiral/Rough Cuts, Free Outgoing, Shades – Unheard Voices (Royal Court Theatre); Bombay Dreams (Apollo Victoria); Hijra (West Yorkshire Playhouse/Bush Theatre/Theatre Royal Plymouth); My Dad’s Corner Shop (Birmingham Rep) and West Side Story (Prince of Wales Theatre). For television his work includes The Amazing Mr Blunden, Ackley Bridge (as semi-regular Asif), Ghosts, Hetty Feather, Taboo, The 7.39, Dead Set, Synchronicity, All About Me, Hard Cash and Out of Sight; and for film, An Evening with Taglioni, Christopher Robin, Defrosted, Job’s Dinner, Mrs Brown’s Boys D’Movie, Naachle London, Diary of a Thagee, Karma Magnet, Dangerous Parking, Starter for Ten, The Lives of Saints, Never Say Never Mind, Birthday Girl, and Sari and Trainers.
Harry Morrison plays Franz Liebkind – he previously appeared at the Menier in The Third Man and Assassins. His theatre credits include Beetlejuice (international tour), Come from Away (Phoenix Theatre/Abbey Theatre), Half a Sixpence (Chichester Festival Theatre/Noël Coward Theatre), Guys & Dolls and Kiss Me, Kate (Chichester Festival Theatre), The Wizard of Oz (Theatre Royal, Northampton), Checkley & Bush (Soho Theatre), Oliver! (Larnaca International Festival/ Sheffield Crucible), Crazy for You (Open Air Theatre Regent’s Park/Novello Theatre), The Sound of Music (Open Air Theatre Regent’s Park) and All The Town’s Men (Theatre on the Fly). His television credits include Mongrels and Doc Martin.
Joanna Woodward plays Ulla. She previously appeared at the Menier in Merrily We Roll Along (also at the Harold Pinter Theatre). Her theatre credits include The Time Traveller’s Wife: The Musical (Apollo Theatre), Pretty Woman: The Musical (Savoy Theatre), Confessions, Zombies: The Musical (The Other Palace), Beautiful: The Carole King Musical (Aldwych Theatre), The Life (Southwark Playhouse), Fings Ain’t Wot They Used T’Be (Theatre Royal Stratford East), Lost Boy (Finborough/ Charing Cross Theatre), Little Shop of Horrors (Kilworth House Theatre), The Adventures of Jason and the Argonauts (Scoop Amphitheatre), Medea and Pages: Promised Land (Union Theatre).
Royal Shakespeare Theatre Stratford-Upon-Avon – until 29th March 2025
Reviewed by Amarjeet Singh
5****
Audacious and atmospheric, Rupert Goold’s rendition of Hamlet reimagines Elsinore as a ship at sea. Spliced with scenes reminiscent of occurrences upon the Titanic, the tale plays out over a single night, heightening the urgency and doom. Hamlet, prince of Denmark, is in mourning over his father’s death. He is racked with resentment over his uncle’s marriage to his mother, making him the king and sullying his dead brother’s memory. Visited by the ghost of the dead king, Hamlet uncovers his uncle’s plot to murder and usurp his father, plummeting him into paranoia, mental unravelling and a pathway of destruction to exact revenge.
It’s difficult to believe that this is Luke Thallon’s RSC debut. His performance as Hamlet is outstanding. Charming and captivating, he disarmingly vocalises verse as if plucking the words from nowhere. Natural yet incredibly nuanced, he has carved out this Hamlet as his own. Jared Harris’s Claudius is subtle and suave, striking only when his sinful ways are exposed. Miranda Colchester is poised and ever on edge as the bereaved and bewildered Gertrude. Elliot Levey’s Polonius is a velvet clad gent, humorously playing loving father and breaking the fourth wall as he documents Hamlet’s mental decent. Nia Towle’s Ophelia is a harrowing sight as she struggles to understand the changes in Hamlet. The play within a play is reminiscent of Japanese Noh theatre, wonderfully stylised and beautifully performed by Anton Lesser and the ensemble. Lesser also plays the ghost of the slain king to profound effect.
The ship is a character within itself, undulating along with the action. Es Devlin’s masterful deck design runs on the stage and ceiling, with raised tables and openings which lead below deck. Akhila Krishnan’s video design runs panoramically down-stage giving the impression you are at sea. Roiling waves become more tumultuous as the drama increases. We see the sea, the bowels of the ship, port holes and a variety of visuals to keep it fresh and interesting but never to detract from the live action. Jack Knowles’ lighting is complex, impressive and intricate. Illuminating spirits, soliloquies and sword fights along with the deck and video design, the production values are brilliant.
Steered by a superb creative team and performed by a stellar cast, this production of Hamlet is a triumph. The courage to castaway the traditions that tether this tragedy make this a truly memorable performance and a must see.
Alexandra Palace Theatre, London – until 8 March 2025
Reviewed by Debra Stottor
4****
More than 30 years after the publication of Sebastian Faulks’ original novel, and well over a century after the events it describes, Birdsong is back on stage. Rachel Wagstaff’s adaptation reminds us not only of the horrors of war, but of the personal trauma, loss and endeavour behind those events.
Having read the book not too long after it was published, I was uncertain how it would translate to the stage – I needn’t have worried. And we were warned that the show was three hours with two intervals – however, the evening flew by as we became absorbed into the story and its characters.
The first act in this Original Theatre production was in many ways the least successful: shifting swiftly from Azaire’s house to his factory, to Amiens itself and back again many times to set out the back story of visiting Englishman Stephen Wraysford (James Esler) and the woman he falls in love with, Isabelle Azaire (Charlie Russell).
Those who have read the novel will recall the all-consuming passion of this affair, and this is portrayed somewhat graphically here (the play is advised as being suitable for ages 15 and over, for good reason) – it’s questionable as to whether this was entirely essential to the adaptation, but it is faithful to the novel.
As the first act cantered along at great pace to fit in the detail of the story, there were times it felt as though certain characters were reduced to caricatures, particularly Lisette Azaire (Gracie Follows), Isabelle’s flirtatious, immature stepdaughter, who is very much smitten by the handsome young Englishman who has come to stay.
We are then taken to the trenches and tunnels of war-torn France, where the battles were not just with the Germans, but between the army ranks, with Wraysford the officer in charge of a ragtag group of soldiers, including boy soldier Tipper (Raif Clarke), whose youth and naivety amplifies the horrors all are witnessing. The camaraderie of the lower ranks works well here, portraying the banter between them, and the burgeoning friendships born of the hardship suffered. Particularly poignant was the bond between Jack Firebrace (Max Bowden), desperate for news from home, and Arthur Shaw (Tama Phethean), to whom he turned to for help in reading the letters from his wife, thus receiving devastating news second-hand.
The end of the war is not the end of the drama, as we see the effects on Wraysford of all that he has witnessed and discover the fate of Isabelle, her sister Jeanne (Natalie Radmall-Quirke) and others we met before war changed their lives irrevocably. We end, as we began, in the present as Wraysford’s great-grandson searches for clues about his ancestors.
It’s an epic story that spans decades and disparate settings, so the staging is challenging, but by paring back the props to essential items only and using lighting (and a lot of dry ice) to create atmosphere, the scenes shift easily, without disrupting the story. This is an ambitious novel brought to life in an equally ambitious production – and will leave viewers both emotional and in awe of what they have witnessed.
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce full casting for Piaf, a Watermill Theatre production playing from Friday 4 April to Saturday 17 May.
Be drawn into the extraordinary world of Édith Piaf, the French chanteuse who captivated the world with her unquestionable talent. Pam Gems’ play, starring Audrey Brisson who returns to the Watermill after her critically acclaimed performance in Amélie, charts The Little Sparrow’s dramatic rise from the squalor of the streets of Paris to the glamour of international stardom.
Piaf intertwines the great loves, losses and questionable decisions of this complex and fragile star with her raw, spellbinding songs, performed live by an ensemble cast of actor-musicians.
Still revered as an icon, decades after her untimely death, be enchanted by this fascinating talent who lived a life of no regrets.
Olivier Award Best Actress nominee for her performance as Amelie in ‘Amelie the Musical’ Audrey Brisson, whose other recent theatre credits include The Enormous Crocodile at Open Air Theatre, Regent’s Park, The Land of Might-Have-Been as part of Buxton International Festival, Jekyll and Hyde at Reading Rep and Into the Woods at Theatre Royal, Bath, will play ‘Édith Piaf’.
Jon Trenchard (Mack & Mabel at Watermill Theatre, Henry V at Chicago Shakespeare Theatre, Twelfth Night at Regent’s Park Open Air Theatre) will play ‘Bruno’ and will also be the onstage MD; Sam Pay (Redlands at Chichester Festival Theatre, Odd & The Frost, Giants, The Bolds, Three Billy Goats Gruff and Pinocchio at Unicorn Theatre, The Wind in the Willows at Colchester Mercury) will be both ‘Leplée’ and ‘Vaimbert’; In the roles of ‘Marlene’ and ‘Madeleine’ is Signe Larsson (The Wizard of Oz at Watermill Theatre, Beautiful: The Carole King Musical and Sense and Sensibility at Pitlochry Festival Theatre and Footloose and Sleeping Beauty at New Wolsey Theatre); Hazel Monaghan(Fisherman’s Friends the Musical with ROYO, Moby Dick with Simple 8/Royal & Derngate, Mr Burns: A Post-Electric Play at Derby Theatre) will play ‘Louis’; Oliver Nazareth Aston (A Brief Encounter at Watermill Theatre, A Christmas Carol at Derby Theatre, Treasure Island at Barn Theatre) will be both ‘Raymond’ and ‘Theo’; Playing both ‘Marcel’ and ‘Yves’ is Djavan van de Fliert (Frozen at Drury Lane, Les Misérables at Sondheim Theatre, My Fair Lady at Leicester Curve); Marc Serratosa (The Three Musketeers at Barn Theatre, Barista the Musical at The Capitol Horsham, The Fair Maiden of the West with Royal Shakespeare Company) will play ‘Charles’ and ‘Georges’; ‘Toine’ will be played by Tzarina-Nassor and Kit Kenneth will be the Onstage Swing.
Director Kimberley Sykes said, “I am thrilled to be working with such a talented and inspiring cast and creative team to bring ‘Piaf’ to new life. Through the anguish and the glory, Piaf was uncompromising in her search for connection and meaning. Her songs, her relationships, her audience – they were her truth. It is with this incredible group of theatre makers that we bring that same spirit and passion, to move audiences with Piaf’s tale of absolute artistry and heroic commitment to love.”
Joining director Kimberley Sykes on the creative team will be Set and Costume Designers James Perkins and Victoria Smart both from Good Teeth, musical supervisor Sam Kenyon, lighting design from Prema Mehta, sound design will be provided by Andy Graham and Michela Meazza will be movement director.
Royal & Derngate Northampton – Wednesday 26th February 2025
Reviewed by Amarjeet Singh
5*****
Imaginative, impressive and infectiously funny, Show Stopper the Musical is a completely improvised musical theatre show. Created from audience suggestions for musical genres, setting, themes and title, the cast and live band are tasked with composing music, songs and a storyline on the spot. Extremely talented and wonderfully watchable, the camaraderie and the levels of trust and skill needed to pull off a two-hour unscripted and unrehearsed show is mind-blowing and boy oh boy did they pull it off.
From the moment a phone rings on the stage, we are gripped. Tonight’s show is about a cult and is called ‘See You Last Tuesday (CULT)’, all suggested from the audience. Our performers are Adam Meggido, who plays a cult member, a scientist, a concerned father, and a cow. Ali James plays a cult member, a scorned wife, and a cow. Joshua C. Jackson plays a new cult member, a cow, and some enthusiastic scientific equipment. Justin Brett plays the cult leaded Rebus, and a cow. Dylan Emery narrates the show and interacts regularly with the audience ensures co-creation along the way. At one point, we were all whistling Wisconsin potatoes. In the interval, the audience are encouraged to tweet further suggestions for the second half. Everyone, including the band, worked tirelessly to create a hilarious and heartfelt performance about the murky underworld of cultism and hirsute pursuit, but by far the standout was Ruth Bratt. Her portrayal of the homeless bridge dweller turned cult believer and Karen was utter perfection! Bratt’s quick wit and snappy quips garden laugh after laugh.
The songs are brilliant. How they can be composed in a heartbeat is baffling. We had tunes in the style of a Hamilton rap, a Book of Mormon ditty, a Rocky Horror Show stomp and cows strutting their stuff Bob Fosse style. Most impressive is the melodies and musicality. The vocal harmonies are beautiful, and the songs stay with you after the show.
The finale was gasp worthy, telenovella style, coming together with a satisfying conclusion and a very happy and hilarious ending.
Its mind boggling to think that every performance of Show Stoppers the Improvised Musical produces a brand-new, never seen before and never to be seen again musical comedy. These incredible performers are guaranteed to wow as they dazzle you with drama, dance and delightful ditties. It all starts with a suggestion, imagination and talent from The Show Stoppers will take it from there…
The power and devastating impact of Khawla Ibraheem’s writing and performance is demonstrated in the silence and collective intake of breath in the theatre as the show ends.
Ibraheem plays Mariam, a Palestinian woman living with her son in Gaza. Her husband is studying abroad, and Mariam refuses to move back to her family home, so her mother moves into Mariam’s seventh floor flat. (Mariam explains that whole families are living together in tiny flats as they wish to live and die together.) The play predates the current occupation and Mariam’s mother’s comments about surviving the war before this one, and the war before that, remind us of the seemingly endless conflict and uncertainty that the people of Gaza have seen.
The play begins as a playful monologue, describing the playfulness of Mariam’s son Nour and the necessary routines that build around power outages. Ibraheem is engaging and forceful – creating a character with an unexpected backstory that creates a sense of endearment and explains the simmering resentment that she occasionally reveals.
The knock on the roof is the name given to the small incendiary devices dropped by the IDF, alerting the occupants of a building that another, more powerful, bomb will be dropped in 5 minutes. Mariam tests how far she can run from her building in 5 minutes and is shocked to find out that it will not be far enough to be safe. So begins an increasingly obsessive practice routine. Mariam prepares a go bag, but will it be too heavy? Realising that she will probably have to carry her son, she stuffs a pillowcase as a dummy weight to carry on her nightly practice runs. As the impending danger creeps ever closer to her home, Mariam’s priorities change – why can’t she take things she actually wants like her expensive face cream? Meanwhile, her husband’s regular phone calls become an irritant as she needs to focus completely on her escape plan.
Ibraheem’s physicality is astounding as she acts out the nightly run, with Mariam’s obsession and desperation palpable. Oliver Butler’s astute direction ensures that the audience is rapt as Mariam’s story unfolds. In the beginning, Ibraheem asks the audience’s opinions, which reminds us that this is theatre, but also invests us in her plight. Frank J Oliva’s stark walls are the perfect backdrop for Hana S Kim’s eerie projections, and Rami Nakhleh’s music and sound design alongside Oona Curley’s wonderful lighting create a hauntingly urgent and dangerous atmosphere.
While the headlines can sometimes wash over us as a never-ending numbing wave of horrors, Khawla Ibraheem’s play reminds us of the human cost of the conflict – the strength and ingenuity of humanity and the psychological trauma of being trapped and living under the constant threat of death. A shockingly potent and moving play that needs to be seen.
Mayflower Theatre Southampton – until 1st March 2025
Reviewed by Emma Barnes
5*****
A Brush with Danger: “Picture You Dead” Delivers Suspenseful Thrills
Peter James’ “Picture You Dead” has transitioned from the page to the stage, bringing the murky underworld of art, deceit and of course murder to life. The stage adaptation for me successfully captured the essence of James’ popular Roy Grace series whilst adding touches of well timed dark humour.
The play weaves together two stories: the tale of Harry and Freya Kipling, who stumble upon a drab portrait at a car boot sale, only to discover a hidden masterpiece beneath its surface, and Detective Superintendent Roy Grace’s investigation into a cold case. I really enjoyed the interweaving of storylines leading to a thrilling investigation that had me on the edge of my seat.
As someone familiar with the novel, I was particularly impressed by how the production captured the book’s atmosphere and intricate plot twists. The tension builds methodically, mirroring the experience of reading the novel, and the climactic moments are executed with precision, including a very effective clap of thunder, leaving the audience in stunned silence.
George Rainsford reprises his hold as he delivers DSI Roy Grace, embodying the detective’s sharp intellect and unwavering determination. Other cast members include Peter Ash and Fiona Wade also delivered convincing performances, I particularly enjoyed the portrayal of Freya with a perfect blend of vulnerability and resilience, making her plight deeply relatable.
Another mention must go to Ben Cutler who delivers a compelling performance as Harry Kipling, capturing the character’s transition from an unsuspecting art enthusiast to a man ensnared in a web of greed and danger.
For theatre-goers seeking a compelling thriller, “Picture You Dead” delivers on all fronts. This well-crafted production successfully translates the tension and suspense of Peter James’ writing to the stage. Leaving the theatre, I felt that familiar thrill, the kind that comes from a well-told story expertly brought to life. Peter James’ Grace series has earned its reputation as the most successful modern-day crime stage franchise since Agatha Christie, and this production exemplifies why.This is a deadly snapshot of entertainment, a well-crafted play that will leave you pondering the darkness lurking beneath the surface of seemingly idyllic lives.
Stewart Pringle’s charming comedy is a beautifully observed story of village life. Written by Stewart Pringle, and winner of the 2017 Papatango New Writing Prize, the play centres around two retired people whose lives intersect every Thursday evening in a Temperance Hall in Yorkshire.
The characters are instantly recognisable to anyone who grew up in a village. Widower Harry sits on the committee, helps out at the CAB, visits the garden centre and has a quietly structured life, while Denise is finding freedom in her retirement. As Harry (Timothy Harker) takes a moment after chairing his committee meeting, Denise (Jilly Bond) comes in to set up her Zumba class. Their friendship slowly develops from their first awkward meeting, when Harry mistakes her for the cleaner, and they are soon sharing sandwiches together – and playing “guess my sandwich” with Denise’s sense of adventure and abandon coming to the fore.
Parker Graham’s fantastic set feels like it’s been scooped up from a village with its magnolia walls and familiar furniture. (Although from my own experience, witchcraft may have been involved to get the table up and down so smoothly without bloody knuckles) Matthew Parker’s smart direction and Laurel Marks’s lighting create a gentle rhythm as each weekly encounter is marked.
Jilly Bond and Timothy Harker have extraordinary chemistry as the relationship changes and they navigate misunderstandings and conflicts. Harker’s portrayal of Harry’s precise and fussy mannerisms is delightful, and the impish glee that is evident as he lets himself try new things is lovely. The Zumba session is a joy to watch. Jilly Bond is wonderfully nuanced as Denise – brash and loud on the surface but slowly opening up to Harry about her lack of confidence. The moments when they are simply being silly together are a sweet picture of friendship, making their shock and discomfort when they find out more about each other more emotional.
Pringle’s witty writing captures the social nuances of village life, with each character running in different social circles with shared knowledge but different perspectives of people and local places. The sense of community, and the characters’ motivation for contributing are evoked carefully alongside the petty prejudices and lack of anonymity.
Trestle is a delightfully gentle and cosy comedy, a wonderful way to fill a chilly winter evening.
The House Party spins Strindberg’s classic play Miss Julie into an intense but enthusiastic portrayal of young adult life for today’s generation. Beautifully written by the wonderful Laura Loman and directed by the fantastic Holly Race Roughan, it stars three incredible performers: Synnove Karlsen (as Julie), Sesley Hope (as Christine) and Tom Lewis (as Jon) in which all actors played their characters immaculately as believable teenagers. The House Party managed to capture a realistic portrayal of modern life, despite originally being an older play from 1888, showcasing not only the perks of pop culture but delving into deeper themes such as the psychological trauma, class, sexuality and social expectations of young adult life.
The cast thrived in capturing the chaotic energy of youth, with the central trio delivering compelling and believable performances. Synnove Karlsen presented an outstanding portrayal of the complicated but charming protagonist ‘Julie’, who was both pitied and disliked through the play. From her typically teenage style of ‘tights and t-shirts’ (designed by Maybelle Laye) to her youthful demeanour, Synnove was an obvious pick for the role, capturing the essence of a troubled teenage girl. Likewise, both Sesley Hope (Christine) and Tom Lewis (Jon) accurately exhibited a lovable teenage romance, which unfortunately unfolds before our eyes into a toxic betrayal. Sesley, successfully builds up Christine’s loyal nature and obvious compassion for others (especially Julie), allowing her to be easily sympathised in moments of distress. All while Lewis does the opposite and reveals Jon’s true character – an internally conflicted adolescent– demonstrated visibly in his body language towards either Christine or Julie and ultimately ruining his relationship with both characters from his ignorance and duplicity. Although as an audience, we can understand their actions as young adults trying to survive in a modern world.
Frantic Assembly’s direction to create visually impressive movement sequences brought the idea of a vibrant and chaotic party to life. The sudden innovative movements of the ensemble (from the works of movement director Scott Graham) forced the audience to feel both overwhelmed and excited with the thrilling dynamism and life brought to the stage. We were also forced to feel confined within the house – like the characters on stage – trapped with their individual struggles. Within these scenes, the audience were captivated throughout, in awe of the motion before our eyes, accompanied by energetic and upbeat music and the vibrant lights – courtesy of the excellent sound designer Giles Thomas and exceptional lighting designer Joseph Hornsby.
However, the true standout of the evening was the way these same techniques were used to create the harrowing imagery of Julie’s attempted suicide alongside young Christine’s final dance during the song ‘when the party’s over’ by Billie Eilish, creating a solemn and poignant conclusion to a series of ill-fated events. The use of staging by remarkable set designer Loren Elstein successfully conveyed intense emotion when we saw the dreams played out on screen, almost as if we could see inside the character’s heads.
Despite being aimed towards teenagers the play also makes itself accessible to a wider audience by incorporating different and darker themes into the narrative such as Christine and Julie’s strained relationship with their mothers. As a young adult myself, I found the play to be relatable depiction of teenage relationships, representing prevalent themes within modern life on an exaggerated scale. I would highly recommend The House Party as it was an enjoyable, unique and modernised execution of Miss Julie, which I believe to be more engaging and fitting for today.
