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True Maverick Media and Park Theatre present

Warheads 

By Taz Skylar & Ross Berkeley Simpson

15 Aug – 7 Sep 2019 | Park Theatre

What happens to youth when it’s sent to war?

True Maverick Media are delighted to bring their thought-provoking production, Warheads to Park Theatre. The piece, which is based on the story of writer and lead actor Taz Skylar’s best friend, shines a light on PTSD (Post Traumatic Stress Disorder) in young soldiers. The production runs from 15^th August – 7^th September.

Upon return from his first tour of Afghanistan, 19-year-old Miles Weppler isn’t quite himself. Noises don’t sound the same. People don’t look the same. Pizza doesn’t taste the same. The harder he tries to act normal, the harder it gets to be normal. And all his loved ones’ attempts to help him just keep making things worse.

Through the eyes of his therapist he’s just a lost boy. Through the eyes of his girlfriend he’s a stubborn and sometimes scary man. Through the eyes of his best friend, he’s paranoid. And through the not-so-best friend’s eyes, Weppler’s just a d*ck.

Warheads oscillates between multiple timelines, with the audience given a glimpse into Miles’ life before he signed up to the army and the man he becomes post-war. We get an intimate view of what motivates a young man towards the military, and why he wants to stay at any cost.

The cast and production team are working closely with Eden Orfanos-Shoro, an art psychotherapist who has been conducting trauma informed expressive arts workshops. Eden, who has treated many PTSD sufferers, also acts as dramaturg on the production. 

Writer and lead actor Taz Skylar said:

“PTSD is always portrayed as a man’s illness. I wanted people to see how it affects boys and girls. Boys and girls that are old enough to go to war, but not old enough to play ‘Call Of Duty’. Boys and girls who are old enough to shoot guns, but not old enough to drink a beer. Boys like my best friend.”

Warheads stars Klariza Clayton, Joseph Connolly, Sophie Couch, Craig Fairbrass, Hassan Najib and Taz Skylar,with spoken word from Suli Breaks.

Taz Skylar, who wrote the play, alsoplays the lead role of Miles Weppler. Taz played Dawes in The Kill Team (Oscilloscope Pictures), directed by two-time Oscar nominated Dan Krauss. Other credits include Jason in Villain(Ascendant Films) opposite Craig Fairbrass, and The Deal (Electric Entertainment), both due to be released soon.

Klariza Clayton plays Tena, Miles’ girlfriend. Klariza is perhaps best known for playing the role of Sam opposite Dani Harmer in Dani’s House (CBBC). She also played Luke Pasqualino’s character’s sister, Karen in Skins (E4); Joy in House of Anubis (Nickelodeon) and Holly in Lovesick (Netflix). Other credits include the lead role in feature film Suicide Club (Wild Eye Releasing) and Shaz in Harry Brown (Lionsgate).

Craig Fairbrass plays Deeks, Miles’ army capatain. Craig is best known for his roles as Dan Sullivan in EastEnders(BBC) and Pat Tate in the Rise of the Footsoldier (Optimum Releasing) film series. Craig has also had notable roles in Cliffhanger (TriStar Pictures); White Noise: The Light (Rogue Pictures); The Bank Job (Lionsgate); Devil’s Playground (E1 Entertainment); St George’s Day (Metrodome) and Breakdown (Soda Pictures).

Sophie Couch plays Phillipa, Miles’ inexperienced therapist. Sophie trained at Rose Bruford College before joining the National Youth Theatre. Last year she played ‘Two’ in James Fritz’s The Fall (Southwark Playhouse). Warheads marks Sophie’s professional stage debut.

Hassan Najib plays Mory, Miles’ best friend. Hassan’s most recent credits include Tortoise (NYT) and Zigga Zagger (NYT).

Joseph Connolly plays the role of Tembe, Miles’ girlfriend’s adopted brother, and Miles’ arch rival. Joseph studied at the University of West London and is a recent graduate of ALT. Warheads marks his professional acting debut.

Suli Breaks provides spoken word for the production. He is best known for his spoken word videos on his YouTube channel ‘sulibreezy’, with hits including ‘Why I Hate School but Love Education’ and ‘I Will Not Let an Exam Result Decide My Fate’.

Warheads is directed by Toby Clarke. Toby trained as a writer and director at the Central school of speech and drama, before joining the National Youth Theatre as ‘Playing Up Manager’. He worked as the head of performing arts at Oval house for three years. Toby has directed at National Theatre Studios and Pleasance Theatre, and has worked extensively with the Donmar Warehouse and The Lyric Hammersmith. He is also the founder of ALT actor training. 

Further Creative Team

Associate director: Sean Hollands

Associate producer: Marcus Kartal

Co-producer: Siobhan Walsh

www.parktheatre.co.uk

Box office: 020 7870 6876*

The UK première of new musicalPreludes by Dave Malloy, writer of Broadway hit Natasha, Pierre & the Great Comet of 1812, comes to Southwark Playhouse’s Large space for a six week run this September, directed by Alex Sutton and produced by Danielle Tarento (Grey Gardens, Titanic, Parade).

The UK première of 
PRELUDES
A MUSICAL FANTASIA SET IN THE HYPNOTISED MIND OF SERGEI RACHMANINOFF
Music, lyrics, book and orchestrations by Dave Malloy.

Run: Friday, 6 September – Saturday 12 October 2019

Sergei Rachmaninoff has it all; world-wide fame from a single composition by the age of 19, commissioned to write his first symphony at 20 and engaged to the love of his life, Natalya. But at 21 he is crippled with a depressive paranoia and anxiety. His world has imploded, his work has stopped, he cannot even lift a pencil to compose a simple melody. Such is the power of the men who sought to destroy him, who haunt his waking nightmares and poison his dreams. And when those men happen to be the greatest artists of their day, how do you come back, how do you escape the darkness and come into the light?

Based on a true story of Rachmaninoff’s sessions of hypnotherapy, Preludes is an extraordinary new musical by three-time Tony Award-nominee Dave Malloy. It examines the crippling debilitation and harm the world can do to people, and how the dramatic and musical process can be used as therapy to restore them back into the fullest of creative lives.

Using live piano and electronics, Malloy uses a hybrid of his own and Rachmaninoff’s compositions to create a dream-like world that takes us to the darkest recesses of Rachmaninoff’s mind.

Three-time Tony Award-nominated writer Dave Malloy is a composer and writer of some of the most exciting new music theatre works. His best-known piece, Natasha Pierre & the Great Comet of 1812, based on War and Peace,started at Ars Nova in New York before transferring to Broadway’s Imperial Theatre where it played to huge critical and audience acclaim and was nominated for 12 Tony Awards, the highest number of nominations in the 2017 awards season, including Best Musical.

The cast is Rebecca Caine, Norton James, Georgia Louise, Tom Noyes, Keith Ramsay and Tim Walton.

Rebecca Caine plays Dahl. Credits include originating the role of Cosette in Les Misérables, (RSC and West End),Phantom of the Opera (Canada), Flowers for Mrs Harris(Sheffield Crucible) and Harold and Maude (Charing Cross Theatre). Norton James plays Chaliapin. Credits includeChoir of Man (Australian tour), Spamalot (Mercury Theatre, Colchester) and Love Story (Union). Georgia Louise plays Natalya. Credits include Mamma Mia (Novello), Kinky Boots(Adelphi Theatre) and 13: The Musical (Apollo/NYMT). Tom Noyes plays Rachmaninoff. Preludes is Tom’s professional debut. Keith Ramsay plays Rach. Credits include Amour(Charing Cross Theatre), Lost in Yonkers (Watford Palace),Portia Coughlin (Old Red Lion) and Julius Caesar(Shakespeare’s Globe). Tim Walton plays The Master. Credits include City of Angels (Donmar Warehouse), Kiss Me Kate (Old Vic), Matilda (RSC/West End) and Mamma Mia!(Prince Edward Theatre).

Direction by Alex Sutton. Set and costume design byRebecca Brower. Lighting design by Christopher Nairne. Sound design by Andrew Johnson. Choreography by Ste Clough. Musical direction by Jordan Li-Smith. Casting by Danielle Tarento.

Dave Malloy says: “I am so so thrilled and tickled to see Preludes be given new life in this London premiere. It’s a very personal piece for me, wrestling with all the things it is to be an artist and a human, and the score features my music entwined with Rachmaninoff’s work, some of the most romantic and rousing piano music I know. I cannot wait to come to Southwark Playhouse and see this show reimagined by this amazing new team.”

Preludes originally premiered at the Lincoln Center Theater in New York in 2015. It ran for three months in a production developed with and directed by Rachel Chavkin.

“Along with Fun Home and the soaring, Broadway-bound Hamilton, this smashing production says that the American musical is not only not dead but also growing luxuriantly in places you never expected.” Ben Brantley, The New York Times on Preludes at the Lincoln Center Theater

Hull New Theatre – until 6 July 2019

Reviewed by Catherine McWilliams

5*****

I was lucky enough to see Motown The Musical in the West End two years ago, but let me tell you that this touring production is far superior! It is a total treat, jam packed with talented young actors, full of verve and passion. And the music…. just incredible, the band led by Griff Johnson is tight and funky, the singing sublime. The audience at the Hull New Theatre was quickly on their feet at the end of last night’s performance to give the cast a more than justified standing ovation.

The performance starts in 1983 in Pasadena California as the various Motown artists gather to celebrate the 25th anniversary of the label. We are then taken back to the beginning of the story when Berry Gordy (Edward Baruwa) borrows the money off his family to start his new label. He then starts to sign artists and what talent he signs, Marvin Gaye, The Temptations, Smokey Robinson and the Miracles, Gladys Knight and the Pips, The Four Tops, Mary Wells, Martha Reeves and the Vandellas, Stevie Wonder, Diana Ross and the Supremes and the Jackson 5. The music is of course almost non-stop but feeds into the story, with over 50 songs included and yet I guarantee there will be songs that you love that aren’t in the show.

The story follows Berry Gordy’s personal relationships as well as looking at the workings of the label, but far more importantly it puts the development of the label and the artists into context by referencing what is going on around them. It is easy to forget that Motown was started in an era of segregation, but we see a concert with police on the stage and signs for a segregated audience. The use of archive video footage shows us JFK’s assassination, Martin Luther King, race riots and the Vietnam War. One of the most powerful pieces is just before the interval when the cast perform “War Child”, leading into Marvin Gaye’s (Shak Gabbidon-Williams) “What’s Going On”

Edward Baruwa as Berry Gordy is of course the central pin of the whole performance and he commands the stage, his voice powerful but sweet. Surely I wasn’t the only member of the audience with tears in my eyes as he sang “Can I Close the Door”? Breathtaking.

But this story is also about the Motown artists, Karis Anderson was stunning as Diana Ross from the naïve sweet school girl to the diva she became, her voice was beautiful and at times tear jerking. Shak Gabbidon-Williams (Marvin Gaye) has quite simply an incredible voice, I could have listened to his songs all night. Nathan Lewis was a wonderful Smokey Robinson making the perfect foil for Berry Gordy. Special mention should go to Carlo Braithwaite for his portrayal of a young Michael Jackson, what moves he had! The audience loved him.

The ensemble played the rest of the artists, musically stunning, choreography that was spot on for the era, such an incredibly talented bunch.

The costumes (Emilio Sosa) were fabulous and so many costume changes and wig changes, yet the whole performance is slick and stylish. David Korins’ sets were deceptively simple but very effective in taking us from office to home to nightclub to tv studio.

The story alone would make a good night out at the theatre, add in the fabulous music and the talented cast and it becomes a no-brainer. If you want to float out of the theatre knowing you’ve had a great night then go and catch Motown The Musical.

The Vaults, London – until 4 August 2019

Reviewed by Prachya van de Gevel

4****

What do you get if you cross Romeo and Juliet, High School Musical, Glee, Sister Act 2 and Cruel Intentions? Yes Bare – a Pop Opera embodies a lot of these into one opera musical.

The story tells of the lives of a senior class in their final term at their Catholic Boarding School, as they traverse, exploring their sexuality, drug usage and their feelings of loneliness and their confessions of their sins. Our star crossed lovers Jason (Darragh Cowley) and Peter (Daniel Mack Shand) do the majority of the heavy lifting, they feature in almost every one of the 36 numbers in this theatrical piece.

I really enjoyed watching them both perform in their roles, one the high school jock , handsome, popular and  yet mysterious with a secret, Whilst Peter is the polar opposite, he is knows who he is but struggles to accept his sexuality as in the eyes of God he doesn’t know where he stands, but he is ready to proclaim his love for Jason and shout it from the rooftops!  Their voices work extremely well together and there is real chemistry between them, from the offside glances and the scenes of a sexual nature! The school is preparing for their upcoming production of Romeo and Juliet and this theme and scenes from the iconic play. Enter our leading lady Ivy (Lizzie Emery) the popular girl with all the guys if you know what I mean… her promiscuity means I don’t have too much empathy for her character, and I felt her performance needed a little more emotion from it and every scene she was upstaged by Nadia (Georgie Lovatt) who in my opinion was a standout in the show, her songs and one liners made me think about the show on the way home and got the audience the most laughs, she has a brief scene involving self harm that I feel could have been explored deeper but maybe due to the long running of the show it was shortened, for me she is one to watch in the future!

The cast member that got the most appreciation was Sister Chantelle (Stacy Francis) her portrayal of Sister Diva/Beyonce comin atcha with all the attitude and swagger and acceptance really brought the house down! On the flip side Claire (Jo Napthine) playing Peter’s mother had me thinking of my own history and relationship with my mother, scary how accurate and real some of her scenes became for me.

The main cast is rounded out by Tom Hier in the role of Matt, the jealous always in 2^nd place behind Jason of the show his portrayal was very well done and created many scenes of tensions throughout the show

The rest of the cast with the exception of the school drug dealer Lucas (Bradley Connor) kinda faded into the background, not because they  had bad performances but because they were outshone by the main cast members!

They were integral to scenes and set changes and wow can this cast perform. For many of them this is an early roles for them and in some ways that shows, but overall I think that I would really like to see this show again however a seat further back to take in the full stage without my neck going back and forward between different sides of the set! I felt sitting too close did not give me a full view of the stage.

The songs are catchy and the themes of the play are very poignant especially as we celebrate pride month. I say go see this pop opera for the music the story and the energy of the cast and team on this high energy production. I look forward to seeing more of this cast again and I am sure I will be seeing the show again before it closes!

Playhouse Theatre – booking to 2 November 2019

Reviewed by Claire Roderick

5*****

After seeing this production in the intimate space of the Menier, ideal for staging the claustrophobia of shtetl life, I was curious to see how Trevor Nunn’s shtetl would be realised in a larger theatre. Robert Jones’ set is still sublime – a rickety and ramshackle row of wooden houses with an intricate series of doors for the inhabitants to appear through. Using just planks and crates, the cast set up different sites in the shtetl that are instantly recognisable. With the stage extended forward and a walkway through the centre of the stalls, and a screen of wooden planks and trees narrowing the side aisles, the atmosphere is intense – in the stalls at least – as the cast move amongst the audience.

Fiddler on the Roof is one of those musicals that even people who hate musical theatre can hum at least one tune from, and Jerry Boch and Sheldon Harnick’s music and lyrics just sweep you away from the moment the fiddler puts his bow to the strings. Joseph Stein’s book becomes a little episodic, but that is completely forgivable to reach the show’s lowkey ending. The story of Tevye, the poor dairyman, struggling to marry off his five daughters and the whole community clinging to tradition as a shield against the rapidly changing world is full of humour and emotion; and in the hands of this incredible cast, every word is heartfelt without being corny.

Andy Nyman is a phenomenal Tevye – capturing the frustration, sadness and love of the character in a multi-layered performance that will just blow you away. He has made the role his own. Maria Friedman joins the cast as Golde his long-suffering wife and their scenes together are extraordinary, conveying so much emotion effortlessly, and making familiar songs seem fresh and new. Friedman manages to exude frustration, resignation and hope all at once, and that voice! Anita Dobson also joins the cast as Yente and appears to be having as much fun playing the interfering old matchmaker as the audience is watching her. Molly Osborne, Harriet Bunton and Nicola Brown give each of the tentatively rebellious daughters a beautifully subtle strength and Joshua Gannon, Stewart Clarke and Mathew Hawksley are quirky and charming as their imperfect suitors. The whole cast is sublime, with tight vocals and excelling in Matt Cole’s choreography. The production keeps Jerome Robbins’ choreography for the raucous celebrations of To Life and The Wedding/Bottle Dance, with the male dancers bringing the house down with their insane dancing.

If you’re looking for a production that can pull on your heartstrings but keep you laughing out loud and tapping your feet to its irresistible rhythms, then Fiddler on the Roof is the one to see. Simply glorious.

Arcola Theatre – until 13 July 2019

Reviewed by Claire Roderick

4****

The 50th anniversary of the moon landing is fast approaching, and Audible’s revival of Al Smith’s play captures the spirit of adventure and patriotism that swelled in the US about the Apollo missions.

Adam Gillen is captivating as Charlie Fairbanks Jr, born in the dead centre of the US at the dead centre of the twentieth century. Charlie begins tentatively, almost apologetically to talk about his parents, his childhood, and his dream of becoming an astronaut and walking on the moon. As Charlie tells his story, full of homespun humour and set against important events in US history, his passion for space and science shines through, with Gillen changing from hunching self-deprecation to wide-eyed and quietly passionate philosophising and educating about light and history. Charlie’s longing to become an astronaut leads to him making a naïve and devastating decision to join up and go to Vietnam, and the scars left from his tour of duty are visible in Smith’s script and Gillen’s expert performance. The darker side of the American dream casts a long shadow over Charlie’s family, but his outrage is saved for the growing apathy of the public about the space programme. The storytelling meanders and digresses into apparent dead ends, but everyone of these leads to a stirring payoff as the play progresses. Even Charlie’s initial gentle awkwardness and his need to share his story, even though some memories are still raw and painful all become clear when you realise who he is telling his story to and will bring a lump to your throat.

With just a chair and a banner of red white and blue threads on stage, there is no hiding place for Gillen, and he keeps the audience riveted with his understated but emotive performance. Director Josh Roche has created a production that is never static, with exquisite lighting that ranges between a stark white that fixes Charlie to the spot and a languid lunar glow in which he can lose himself as he takes the audience to the moon and back.

Reviewed by Claire Roderick

5*****

Where better to watch fairies, lovers and rude mechanicals caper in the woods than surrounded by the trees of London’s beautiful squares and gardens? This year’s Shakespeare in the Squares production is A Midsummer Night’s Dream – and it is glorious.

With a cast of eight and a 1920s setting, there is a travelling circus vibe to the show, with musical hall songs and familiar favourites scattered throughout the play – when you’ve got voices as good as this in your cast, you’ve got to let them sing.

James Tobin’s Puck, dressed like Bowie does Panto, is brilliantly camp and playfully vicious – much to the delight of the children in the audience, who he interacted with whenever possible. Under Tatty Hennessy’s expert direction, there are lots of little touches as well as the over the top physical comedy. As the four young lovers argue and fight under the influence of Puck’s misplaced magic, Puck and Oberon munch on popcorn as if they are watching Netflix.

Gemma Barnett and Hannah Sinclair Robinson give Hermia and Helena a fantastic steeliness under all the mooning about after their men, and really let loose in their big confrontation. With such strong women, David Leopold and Riad Richie make the most of playing Lysander and Demetrius for laughs – highlighting their fickleness and idiocy to great effect. Under Tarit Dor’s movement direction, the two create some fantastic physical comedy as they fight for Helena’s love. Sioned Jones and Paul Giddings, looking like a fortune teller and a ringmaster, are a hoot as Titania and Oberon, but Jodie Jacobs steals the show as Bottom – channelling Matt Berry with her declaiming voice and keeping the audience in fits of laughter.

As the natural light fades, the trees are lit with purple as the birdsong builds as they fly home to roost. There may be the occasional siren, but it’s easy to ignore when you’re watching something this entertaining. The performance of Pyramus and Thisbe, so often painfully unfunny as companies try too hard, is laugh out loud hilarious. The rude mechanicals are wonderful characterisations, and the look on the children’s face as Snug found her roar was a joy to see.

The tour continues until 11 July – grab a ticket while you can for this magical madcap mayhem.

St James’s Square SW1 – 27 June

Paddington Street Gardens W1 – 28 June – matinee and evening shows

Little Wormwood Scrubs W10 – 29 June

Ladbroke Square Garden W11 – 30 June

Cornwall Gardens SW7 – 2 July

Connaught Square W2 – 3 July

Elgin & Arundel Gardens W11 – 4 July

Bedford Square WC1 – 5 July

St. Peter’s Square W6 – 6 July

The garden at Le Gothique, Royal Victoria Patriotic Building, Wandsworth SW18 – 7 July – matinee and evening shows

Formosa Garden W9 – 10 July

Cleveland Square W2 – 11 July

Stephen Joseph Theatre Scarborough – until 3 August 2019

Reviewed by Sara Garner

5*****

Directed by Paul Robinson – Richard Harris’s Stepping Out has all the characteristics of a summer sensation for Scarborough’s Stephen Joseph Theatre. The sold-out audience eagerly awaited the start of the play whilst listen to 80’s pop songs with anticipation.

Set in the 1980’s in a church hall Stepping Out is about a group of strangers who come together for a weekly tap dancing class. We are quickly introduced to all 10 characters in the first set and during the play we learn to love them, find out their secrets and will them to overcome personal obstacles.

We met 10 people who all have found their haven of escape for 1 hour a week and each person has their own reason for attending. We have a shy, unconfident student nurse, a nervous, sensitive bullied wife, a brash, funny and sassy lady who has an underlying vulnerability, a quiet and introverted, awkward and grieving man, a Naïve, nosy enthusiastic lady with OCD, a scatty a clumsy lady, a proud religious and energetic lady, a lady that appears intimidating and confident (but secretly is insecure). They are led by Mavis (Joanne Heywood) the proud and nurturing dance teacher who is accompanied on the piano by Mrs Frasier (Fenella Norman) who comes across as pompous and opinionated but really is undervalued and ultimately caring. The cast of 9 Women and 1 man illustrate their characters perfectly through their dance movements throughout the show. Claire Eden (Sylvia) and Suzanne Procter (Maxine) where the comedy characters for us throughout the play and their delivery of one liners had the audience roaring with laughter.

Panic reigns in Set 2 when the strangers try their best to practice for a public charity gala under the easy-going but frustrated guidance of Mavis. Tensions and nerves rise, disagreements happen, harsh words are said, bonds are made and secrets are exposed, but can they dance in perfect harmony and escape the reality of their lives for just a few minutes?

This is a collaborative cast, each character playing their part well. Stepping Out has laughter, humour, shock, tears, grief, disappointment, love, resilience and a bringing together of unlikely friendships at a crucial time to pull off a stellar performance.

You can see how much effort each cast member has put into this play throughout and particularly in the last scene which had several of us on our feet applauding. The audience where smiling throughout the performance, let’s face it what’s not to love about the sound of tap dancing. The set design and costumes was spot on for the 1980’s with leg warmers in abundance.

Written by Richard Harris over 20 years ago Stepping Out has the feel-good factor, it will leave you feeling uplifted and is truly FAB U LOUS. One not to be missed.

King’s Theatre, Glasgow – until 29 June 2019

Reviewed by Siobhan Wilson

5*****

This adult take on The Muppets is for the more mature audience, or should I say immature? ‘Monster’ puppets, ‘Human’ puppets and humans all living on the same street in disharmony. A new graduate moves in and immediately integrates into the neighbourly dynamic whilst trying to find his ‘Purpose’ in life. One of the monster puppets is a teacher and is working on her goal of opening a Monster School. Two good friends who have lived together since college are questioning their sexuality. An engaged human couple plan their marriage. There are also the bad idea bears who try to influence those around them into having a good time. And finally, that one Monster neighbour that is all about watching porn.

At the start of the show you are very aware that the characters are puppets. The puppeteers are singing and dancing as the puppets, but by the end of the production you are just seeing the puppets as the character and you are not aware of who is holding which puppet. The puppeteer’s ability to voice 2 different characters with such different accenting is amazing. And every one of them had phenomenal voice control with regards to the singing. The puppetry added to the characterisation such as the pointed looks at the audience.

This is a laugh a minute production and with the suggestiveness in parts, I found myself laughing at comments there were innocent. The songs are hilarious and 100% relatable from ‘It sucks to be me’ to ‘Schadenfreude’ via ‘Everyone’s a little bit racist’ and ‘The Internet is for Porn’. The only disappointment for me was that the show had to end. I cannot wait to go and see this again as it is the most I’ve belly laughed in such a long time.

Bristol Old Vic – until 29 June 2019

Review by Nicky Wyatt

5*****

What do a Boxing world champion, a singer songwriter/producer an Nfl player come actor and a leader of the Nation of Islam party have in common?

It would seem an awful lot. These four Black men were not only great friends they all shared a passion for what they believed in and were all at the top of their respective games when One Night in Miami happened.

A one bedded room at the Hampton House Motel was the venue for the get together and celebration on that February night in 1964. The night that Cassius Clay (Conor Clean) became the world boxing champion. He was watched and supported by his 3 good friends Sam Cooke (Matt Henry), Malcolm X (Christopher Colquhoun) and Jim Brown (Miles Yekinni).

The set designed by Grace Smart is really clever, we particularly liked the palm tree. Clever lighting by Ciaran Cunningham takes you through the night

First to arrive is the immensely talented Sam Cooke (Matt Henry) he is none to impressed with the low level room on first glance, he sits playing his guitar waiting for the others to arrive, closely watched by security men Jamaal (Oseloka Obi) and Kareem (Andre Squire)

Jamaal is young , wants to please and funny . Whereas Kareem is very focused and more sombre throughout. These two guys are on stage throughout , just waiting and watching and then they jump in with perfect timing and attitude.

As the new world champion arrives along with his friends the excitement of his win carries as he relives it blow by blow. Conor is good as Cassius Clay his fast words and feet mirror the legend. Throughout the celebrations Malcom (Christopher) is carrying out security checks, is this paranoia or is he danger?

Sam and Jim (Miles) want to party properly but there are no girls or booze only Vanilla ice cream. Why is this? Because the very next day Cassius Clay will become a brother of Islam and become Muhammed Ali therefore giving up alcohol and women. It seemed a good idea until that moment he won the fight against Sony Liston now he is the champ he is not so sure.

As the evening unfolds the talk gets heated as Malcom berates his friends for playing to the white mans tune and not following their beliefs and heritage. It wasn’t true they all played their own game and were all winners in their fields. The audience around me was very mixed and diverse cultures, there were many voices agreeing and saying yes, huh huh etc which makes me believe that although the play is set in 1964 the underlying message that ‘Something’s got to change’ is still apt and true.

The NFL giant Jim(Miles) was the peacemaker throughout , who was working it his own way. For me the star of the show is Sam (Matt) his voice is absolutely superb , anyone sitting in the second row is in for a real treat!

Matthew Xia Director has done a brilliant job of Kemp Powers play it is undoubtedly the best theatre I have seen in a long time.