MARYLEBONE THEATRE LONDON – UNTIL 20th APRIL 2024

REVIEWED BY JACKIE THORNTON

3***

A lone suitcase is spotlit centre stage as our nameless protagonist, played with wonderful range and subtlety by veteran Greg Hicks, walks on, dressed in off-white, to tell us how ridiculous everyone always thought he was and how much of an outsider he feels. It’s Wednesday and he’s come to the conclusion that the world has no meaning and so needs to do something about it.

Hicks is the sole performer in writer/director Laurence Boswell’s adaptation of Dostoyevksy’s 1877 political allegory and the actor skillfully changes accent and posture, using simple props to take on the guise of other characters he encounters in his tragi-comic adventure. Particularly memorable is a cap that becomes an immigrant child
asking for help who he heartlessly pushes away.

Loren Elstein’s stage design is minimalist but brings the vast backdrop of the stage to life aided by Ben Ormerod’s lighting, which takes us from rainy, traffic-filled London to an imagined paradise of sandy beaches and pink skies.

Gary Sefton’s sound design startled me more than once with loud clashes of thunder and kept tension alive with an overall unsettling mood. Humour is evoked as our protagonist tells us how he forged a career, lost a career, got married, got divorced, reminding us of life’s inevitable losses and gains. This modern day ridiculous man, an unemployed introverted loner living in East London takes us through his despair with life and growing need to end it all. Boswell makes it relevant without feeling like a sermon, observing that, “polarisation and condemnation” seem to be “the dominant form of interaction between people” these days.

Just how ridiculous is this man’s dream of a world filled with kindness, compassion and love and why does it still feel impossible?

Hampstead Theatre – until 27th April 2024

Reviewed by Celia Armand Smith

4****

Sarah Siddons was known as the Queen of Drury Lane and was one of the most respected and celebrated actors of the 18th and 19th centuries. April De Angelis’ new play, thought to be the first written about Siddons, takes us back to 1800 when the 40 (ish) year old actress is battling grief, boring roles, and powerlessness in a man’s world.

In this backstage comedy, we see Siddons (as she was referred to by most and played by Rachael Stirling) at the mercy of her brother, John Philip Kemble (Dominic Rowan), who owned the theatre, managed the plays, and chose her roles, while her husband collected the money and invested it badly, and signed all her contracts. After one too many roles playing sad adulterous women, she decides to engage some main character energy and take control of her life.

The play opens on Siddons and Kemble on stage performing. Kemble is bellowing out his lines and emphasising all the wrong bits – it’s panto-esque and I can’t help but snort with laughter. The set by Lez Brotherston centres the dressing room used by Siddons, with stage flats, and a curtain behind. The curtains open and close for performances and we see the back of the actors as they play to an imagined audience. It is a great device for setting the backstage action.

Whilst desperate to escape the monotony and grief of her life, Siddons, aided by her sweet new maid Patti (Anushka Chakravarti), meets a female playwright, Joanna Bailie (played by a fantastic Eva Feiler), who writes proper female characters. However, things go awry not once but twice when her brother’s fragile male ego put a stop to her efforts.

The plot at times stumbles, but the brilliant cast does not. Rachael Stirling is mesmeric in the role of Siddons, and is a calm and comedic counter to the loud and ridiculous Kemble played by Dominic Rowan. Eva Feiler is fabulous in many roles from the female playwright, to a fencing instructor, to a desperate wife on the run from her abusive husband. Anna Mackmin’s production is exaggerated and over the top, everyone playing a caricature with fun effect. The laughs are plentiful and the comedy doesn’t grow old. Do I feel like I know more about Sarah Siddons at the end? Not really. However, it’s a highly enjoyable couple of hours spent watching incredible talent, plus it highlights how little has changed for women on stage (and screen). Men are still largely in charge and there is still a scarcity of central roles of women past a certain age, even now, 200 years later.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 30TH MARCH 2024

REVIEWED BY MIA BOWEN

4****

“My Beautiful Laundrette” is a British romantic comedy-drama film released in 1985. The screenplay, written by Hanif Kureishi, received an Oscar nomination. Although originally planned for release in 2019, the UK tour of the film has only just begun due to various reasons and this stage production is being directed by Nicole Behan.

In this cleverly crafted screenplay, Kureishi effectively addresses universal themes that sadly remain significant in the twenty-first century. The script explores racism, conflict between social and economic classes and misogyny through the lens of a same-sex, mixed-race relationship. It skilfully presents these issues with a blend of realism and compassion, making the story feel current and relatable.

The story is set in London during the Thatcher era, exploring the intricate and often amusing relationships between members of the Pakistani and English communities. The plot follows Omar, a young Pakistani residing in London, as he reconnects with his childhood friend Johnny, who is now a rebellious street punk with neo-fascists beliefs. They work together as caretakers and managers of a launderette which was previously owned by Omar’s uncle, Nasser. However, the main focus is on their romantic relationship.

Lucca Chadwick-Patel’s portrayal of Omar is charismatic and captivating, effectively holding our attention on the main character. Sam Mitchell playing Johnny, skilfully uncovers the vulnerability beneath his tough exterior, gradually revealing more depth to his character, and is unafraid to show some skin in the process. The duo has a fantastic connection. Their relationship feels authentic, and it really draws the audience in, making them cheer for the pair.

The performance that really stood out to me was by Gordon Warnecke, who portrayed Papa, Omar’s father. He originally played the role of Omar in the movie, so it’s a wonderful nod to the past to see him in this production.

You find yourself firmly in the realm of the 1980s, with the original music by the Pet Shop Boys connecting the different scenes. Against the stark, grey concrete backdrop created by Grace Smart’s set, it breaks the heavy atmosphere but also adds to it.

The story is relevant and significant, and this production offers a beautiful new interpretation of an iconic and compelling tale.

Hull Truck Theatre – until 13th April 2024

Reviewed by Catherine McWilliams

5*****

Upon entering Hull Truck Theatre, the scene is instantly set for this production of Animal Farm with discordant music playing, strange animal headpieces dangling down and a dark and smoky stage, resulting in a very unsettling feeling. Hull Truck Theatre is an intimate space and proved to be the perfect venue for this Hull Truck Theatre, Octagon Theatre Bolton & Derby Theatre production of Animal Farm directed by Iqbal Khan. Animal Farm is based on the novel by George Orwell and has been adapted for the stage by Ian Wooldridge.

The animals of Manor Farm are overworked and badly treated by the drunken farmer Mr Jones and after a stirring speech by Old Major (Polly Lister) begin to think about overthrowing him. Led by the pigs Snowball (Samater Ahmed) and Napoleon (Ida Regan) they overthrow the farmer and are ready to live a life where they will all be free and have equality. However, Snowball and Napoleon and the other pigs gradually manipulate the other animals and take control of the farm and the animals find that this is not a better life after all. Ending with only one maxim “All animals are equal, but some animals are more equal than others”.

This is a production with a small cast, where their eyes will bore into you as they consider what they are suffering, you feel their pain and worries along with them as life does not turn out as expected. Polly Lister was impressive delivering Old Major’s stirring speech, the audience was held by her words. Ida Regan’s Napoleon is a little unexpected as she appears a little unsure at first but develops into her leadership role, with a voice that is uncannily like that of Margaret Thatcher. Samater Ahmed is wonderful as Snowball, the more idealistic of the pigs and then as the world-weary donkey, dropping effortlessly into the new character he is playing. Sam Black is simply magnificent as the cart horse Boxer, his whole body oozes the character, it was difficult to take your eyes off him and his voice is beautiful to listen to. Killian Macardle was mesmerising as Squealer delivering political spin in such a convincing way, clearly the power behind Napoleon. Special mention should go to understudy Olivia Chandler who played Mollie the horse beautifully and was also a superb crow.

All the actors moved convincingly as the animals they portrayed and this production is very physical, movement director Shelley Eva Haden is to be commended. The set and lighting design by Ciarán Bagnall produces an oppressive atmosphere which is supported by the music composed by Dylan Towley. The animal headpieces developed and constructed by Sarah Worrall added to the atmosphere, being skeletal in their construction.

Orwell’s novel (published in 1945) was a satirical allegorical work based around the events of the Russian revolution in 1917. Sadly, this production emphasises that we have not moved on from this era and in fact there are clear links to the current political situation in our country (and others) with political spin and misinformation galore.

This is a thought-provoking chilling production; it pulls no punches and is not always an easy watch but it is still so relevant to today’s world. The two hours flew by and left me considering the world we now live in and wondering how this play is still so relevant today.

Rose Theatre Kingston – until Sunday 14th April 2024

Reviewed by Carly Burlinge and Daughter Sarah-Jane aged 11

5*****

The Rose Theatre presents The Lion Inside by Rachel Bright and Jim Field, a popular story known to many, brought to life and what a fantastic performance it was.

It tells the story of a quiet, meek mouse who longs to be seen but, because of his size, he never gets a look in  – forever is along time to feel incredibly tiny and when he wants to be noticed, no one seems to see him at all, making him feel incredibly small. Being little really isn’t easy at all. Whilst alone by himself a thought pops into his head – I may be small but I just need a rather large roar. That will get him noticed for sure, no longer will he be lonely but will have many friends to join him and feel happy. So he decides to go on a journey to find the head of the pack, the mighty king cat, he’s tough and strong and has a roar that goes beyond. But when the fear sets in, will he teach me to roar, or eat me for his supper so that I’m nothing at all?!

But he soon finds the strength to approach the king, only to see him whimpering – the lion is shaking as he’s scared of  mouse! Making the mouse not feel small at all, forming a friendship that will last above all. With both of them learning that, no matter your size, we all have a mouse and a lion inside.

The whole performance was magical from start to finish with the use of puppets. The opening scene of a cricket – tick tick tick – listen, can you hear the sound of the wilderness  there’s music everywhere, going into a fabulous song with the simplicity of props such as zebra legs, beaks and horns controlled by the cast, which caught the children’s attention as well as the adults, immediately so effective, creative and magical.

James Keningale – Mouse, showed some amazing puppetry even down to Mouses little hands and little feet and what great ears mouse had! to then go onto a bigger puppet and then become mouse himself in different stages of the story this kept his character alive keeping everyone entertained.

Caitlin Mallory – Lion, she gave such an outstanding performance, with much attitude and rhythm, was so much fun, let’s rock its Lion O’clock getting the whole audience to join in – Well cubs can you do a roar with your claws? It was lovely to see the whole audience take part and even more magical to see so many little smiles as well as big ones.

Clarke Joseph-Edwards – Storyteller, kept the whole show running smoothly whilst taking us through the story he was energetic and fun and a delight to watch.

Between the three you could see that they had a great connection on stage for all to see.
The stage was done amazingly well with the lions rock turning into the mouses house and with all the animal props setting the scene so simple but effective. Great songs to keep all entertained and the use of animals noises that added great impact to the show.

What an enjoyable show that had everyone smiling from start to finish. Definitely a must see.

FULL CAST ANNOUNCED FOR

THE JAMIE LLOYD COMPANY’S

ROMEO & JULIET

STARRING TOM HOLLAND

The Jamie Lloyd Company today announces the full cast for the new West End production of William Shakespeare’s Romeo & Juliet, directed by Jamie Lloyd.

Tom Holland (Romeo) is joined by Francesca Amewudah-Rivers as Juliet. Freema Agyeman (Nurse), Michael Balogun (Friar), Tomiwa Edun (Capulet), Mia Jerome (Montague), Daniel Quinn-Toye (Paris), Ray Sesay (Tybalt), Nima Taleghani (Benvolio), Joshua-Alexander Williams (Mercutio) and Callum Heinrich and Kody Mortimer (Camera Operators) complete the cast.

Romeo & Juliet opens at the Duke of York’s Theatre, on Thursday 23 May, with previews from Saturday 11 May, and runs until Saturday 3 August 2024.

Tom Holland said today, “Beyond excited to announce our cast for Romeo and Juliet. I can’t wait to get started and I know we’ll create something really special together.”

Francesca Amewudah-Rivers said today, “I’m so grateful to be making my West End debut as Juliet with The Jamie Lloyd Company. It’s a dream to be joining this team of incredible artists with Jamie at the helm. I’m excited to bring a fresh energy to this story alongside Tom, and to welcome new audiences to the theatre.”

Jamie Lloyd also commented, “I’m very excited to introduce the amazing cast who will be joining the incredible Tom Holland in Romeo & Juliet, including Francesca Amewudah-Rivers— an exceptional young artist.”

As part of The Jamie Lloyd Company’s commitment to accessibility, there are 5000 tickets available at £25 exclusively for under 30s, key workers and those receiving government benefits, across the run and on every level of the auditorium – including the front row. These seats will be on sale from Wednesday 10 April at 10am. For full ticketing information please visit: www.romeoandjulietLDN.com.

The Jamie Lloyd Company presents

ROMEO & JULIET

By William Shakespeare

Directed by Jamie Lloyd

Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham;Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael ‘Mikey J’ Asante; Casting Director: Stuart Burt CDG;Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate; Associate Costume Designer: Anna Josephs

Duke of York’s Theatre

Saturday 11 May – Saturday 3 August 2024

Violent delights have violent ends.

Tom Holland is Romeo in Jamie Lloyd’s pulsating new vision of Shakespeare’s immortal tale of wordsmiths, rhymers, lovers and fighters. 

Romeo & Juliet is produced by The Jamie Lloyd Company.

www.romeoandjulietLDN.com

Instagram:           @RomeoJulietLDN

X:                           @RomeoJulietLDN

Facebook:            /RomeoJulietLDN

Tom Holland plays Romeo. He is a global star as a result of his iconic portrayal of ‘Peter Parker’ in the box office record-breaking franchise Spider-Man in Spider-Man: Homecoming, Spider-Man: Far From Home and Spider-Man: No Way Home as well as the installments of the Marvel Cinematic Universe including Captain America: Civil War, Avengers: Infinity War and Avengers: Endgame. Other film credits include Uncharted with co-stars Mark Wahlberg and Antonio Banderas and directed by Ruben Fleischer; Cherry for directors Joe and Anthony Russo; Chaos Walking for director Doug Liman, opposite Daisy Ridley, Mads Mikkelsen, David Oyelowo and Demián Bichir; The Devil All The Time directed by Antonio Campos, also stars Robert Pattinson and Mia Wasikowska; Alfonso Gomez Rejon’s The Current War, alongside Benedict Cumberbatch and Michael Shannon; Juan Antonio Bayona’s The Impossible, for which he was awarded ‘Breakthrough Actor of the Year’ by the National Board of Review, received the ‘Spotlight Award’ from the Hollywood Film Awards and was nominated for the ‘Best Young Actor/Actress’ BFCA Critics’ Choice Award; James Gray’s Lost City Of Z with Charlie Hunnam, Robert Pattinson and Sienna Miller; Ron Howard’s In The Heart Of The Sea; Kevin MacDonald’s How I Live Now opposite Saoirse Ronan; Steven Knight’s Locke with Tom Hardy; and Rob Connolly’s Edge Of Winter opposite Joel Kinnaman.

Television credits include The Crowded Room (Apple TV+), for which he serves as an executive producer and received a Critics Choice Award nomination for his performance; and Wolf Hall (BBC), alongside Mark Rylance and Claire Foy.

He has appeared as a featured voice in the PIXAR animated film, Onward, opposite Chris Pratt; Disney action-adventure animated film, Spies In Disguise; and the feature adaptation of Dolittle, opposite Robert Downey Jr. and Antonio Banderas.

Holland made his stage debut as the title role in Billy Elliot The Musical (Victoria Palace Theatre).

Francesca Amewudah-Rivers plays Juliet.

Theatre credits include: School Girls; Or, The African Mean Girls Play (Lyric Hammersmith), The Kola Nut Does Not Speak English (Bush), Macbeth (Shakespeare’s Globe), Antigone (Colchester Mercury), Othello (National Youth Theatre REP Company), Animal Farm (National Youth Theatre REP Company), Ordinary Miracle (National Youth Theatre REP Company)

Television credits include: Bad Education Series 4 and 5 (BBC)

Freema Agyeman plays Nurse.

Theatre credits include: God of Carnage (Lyric Hammersmith), Apologia (Trafalgar Studios)

Film credits include: The Matrix Resurrections, Eat Locals, North v South, Rulers and Dealers, Aisha The American

Television credits include: Dreamland, New Amsterdam (Nominated for Best Actress in a Broadcast Network or Cable Series, Drama, Hollywood Critics Association), Sense8, Rubenesque, The Carrie Diaries, Old Jack’s Boat, Law and Order: UK (Nominated for Best Actress, TV Choice Awards), Survivors, Little Dorrit, Dr Who (Nominated for Outstanding Actress in a Drama Series, Monte Carlo TV Festival; Most Popular Actress, National Television Awards; and winner of Nokia Newcomer, Glamour Awards), Torchwood, Silent Witness, Crossroads

Michael Balogun plays Friar.

Theatre credits include: The Lehman Trilogy (Gillian Lynne Theatre), Blue Orange (Royal & Derngate), Henry VI Part 1 (Royal Shakespeare Company), Death of England: Delroy (National), Macbeth (Chichester Festival), Barbershop Chronicles (UK tour), The Dark (Ovalhouse), People, Places and Things (UK tour)

Television credits include: Sherwood, Top Boy, You Don’t Know Me, Vera, War of the Worlds

Tomiwa Edun plays Capulet.

Theatre credits include: Macbeth (National), The Deep Blue Sea (National), Translations (National), Romeo & Juliet (Shakespeare’s Globe), Botticelli In The Fire (Hampstead), The Mountaintop (Royal Exchange), Lionboy (Complicité) But I Cd Only Whisper (Tabula Rasa / Arcola) Often, Mud Sits On The Throne (Nabokov), Slaves (Theatre503), Proper Clever (Liverpool Playhouse Theatre), Tiata Delights ‘08 (Almeida)

Film credits include: Cinderella, Dying of The Light, What Happened to Monday, Eyimofe, Argylle
Television credits include: Trigger Point, Young Wallander, Merlin, Trying, The Chelsea Detective, A Discovery Of Witches, Bates Motel, Lucifer, Elementary, Dr Who Christmas Special, The Hour, Legends, Law And Order: UK, The Fixer II

Callum Heinrich as Camera Operator.

Theatre credits include: MAMMA MIA! (Novello), The Pirate Queen (London Coliseum)  

Television credits include: Renegade Nell, Masters of the Air, Breaking The Band: Foreigner 

Mia Jerome plays Montague.

Theatre credits include: Treasure island (Hall for Cornwall), Lost Lending Library (Punchdrunk Enrichment), A Christmas Carol (Goblin), Tales from The Thames (Queen’s), Bloodrites (Vault Fest), Legend of the Jazz Penguin (Goblin), Small Wonders (Punchdrunk Enrichment), Bing Live (Minor Entertainment)

Film credits include: The Third Day: Autumn

Kody Mortimer as Camera Operator. 

For The Jamie Lloyd Company:Sunset Blvd. (Savoy) 

Theatre credits include: Assassins (Chichester Festival), Hex (National), 101 Dalmatians (Regent’s Park Open Air), Hairspray (London Coliseum), Gypsy (Royal Exchange) 

Daniel Quinn-Toye plays Paris.

This marks Daniel’s professional stage debut.

Training: LAMDA

Ray Sesay plays Tybalt.

Theatre credits include: Anna Karenina (Bristol Old Vic & Royal Lyceum Edinburgh), Romeo & Juliet (Lyric Belfast), Seeds (Pleasance), The Merchant of Venice (Royal Shakespeare Company), Book of Actions (Nouveau Riche), 13 (Tobacco Factory), Chicken Palace (Theatre Royal Stratford East), Sons Without Fathers (Arcola), Red Helicopter (Arcola)

Television credits include: Doctor Who, Endeavour, Cheaters, Holby City, Doctors

Nima Taleghani plays Benvolio.

For The Jamie Lloyd Company: Cyrano de Bergerac (Brooklyn Academy of Music/Playhouse/Harold Pinter)

Theatre credits include: Hope Has A Happy Meal (Royal Court), Macbeth (Royal Exchange), Armadillo (Yard), Romeo and Juliet (Royal Shakespeare Company), The Merry Wives of Windsor (Royal Shakespeare Company), The Plough and the Stars (Abbey), The White Whale (Slung Low)

Film credits include: Femme, 90 Minutes, Dublin Oldschool

Television credits include: Heartstopper, Danny Boy, Hatton Garden, Casualty

Joshua-Alexander Williams plays Mercutio.

This marks Joshua-Alexander’s professional stage debut.

Training: Arts Ed

Jamie Lloyd directs. His credits for the company include Sunset Blvd. (Savoy Theatre – Evening Standard Theatre Award for Best Director; nominated for 11 Olivier Awards including Best Director and Best Musical Revival), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

LISTINGS

ROMEO & JULIET

Duke of York’s Theatre

Saturday 11 May – Saturday 3 August 2024

Box Office: www.romeoandjulietLDN.com

Everyman Theatre, Cheltenham – until 30th March 2024

Reviewed by Jacqui Radford

5*****

This production of a timeless comedy brings Shakespeare to an accessible level, regardless of any previous experience or persuasion. As an Everyman Theatre Company production incorporating Tweedy, a celebrated local clown, Cheltenham is a perfect start for a tour that will move on to Malvern, York, Southampton and Coventry.

Most people attending this production will either be there because they love the play or because they’re hoping to see it portrayed in a format that leaves them with a sense of at least an understanding the play. For me, it was apparent that the classic Shakespeare text and modernised rhyme exceeded expectation. Tweedy’s clowning around and the effect it had on the production reminded me how much Shakespeare’s clowns contributed to the enjoyment factor in so many of his plays.

The plot unfolds from a setting in Athens and is delivered by a cast of just ten people: each of them playing a role either as a lover, member of the court, fairy, or artisan performer. Tweedy, cast as Bottom enhances the comedy value of the performance and as the most recognisable is the thread between scenes.

The brilliance of this performance lies in the cast’s ability to flex between roles, interpreting the multiple expressions of them and delivering perfect comedy and slapstick. Mention should be given to Laura Noble (Helena/Flute/Mustardseed), Jeremy Stockwell (Egius/Puck/Snug), Oliver Brooks (Lysander/Starveling/Moth) and Nadia Shash (Hermia/Quince/Peaseblossom).

If you love this Shakespeare classic or want to understand the influence of Shakespeare or understand his plays in a modern context, book your seats now

Festival Theatre, Malvern – until 30th March 2024

Reviewed by Courie Amado Juneau

5*****

Tennessee Williams’s The Glass Menagerie, written in 1944, was the play that turned him into a major force to be reckoned with. It’s an interesting work which tells the story of the Wingfield’s, a family who live within financial constraints that the matriarch is not used to or reconciled with. Her constant interfering in her children’s lives (to avoid the situation perpetuating) causes more than a little friction and heartache.

Amanda Wingfield, a former southern belle whose star has faded after a misjudged union (we’ve all been there – love is, after all, blind), was wrought in sparkling form by Geraldine Somerville. I loved the way she pivoted from old school charm and reverie to explosions of anger, disappointment and frustration – in an intense performance that was at once both quiet and yet turned up to full blast.

Kasper Hilton-Hille played Tom (Amanda’s son). A poetic soul who is suffocated by his home life (specifically living under his mother’s tyrannical thumb) but also an uninspiring job in a factory. Kasper squeezed every ounce of emotion off the page, giving us a character who we totally empathised with and ended up liking enormously in a richly nuanced portrayal.

Laura (Amanda’s daughter) is socially awkward and she increasingly takes comfort in the private refuge of her own crystaline world – the glass menagerie of the title. Like the small glass unicorn that features prominently, she is unique and fragile. Natalie Kimmerling gave us a beautiful reading, showing great range from incredible vulnerability to wonderfully joyous. The superb use of music to symbolise various states like retreating into a cocoon (headphones on) and dance to symbolise finally cracking open her protective shell was particularly effective throughout. Natalie was simply sensational in a performance that was full of motion and emotion.

Zacchaeus Kayode played former star of the high school Jim O’Connor whose athleticism and great voice had caught Laura’s attention years before. A charming, charismatic portrayal that was creditably subtle showed a real understanding of character that does this young actor much justice and rounds out a fine cast.

With wonderful use of light (including candles) allowing a palette of shifting emotions, an interesting circular stage evoking (to me) the cyclic drudgery of life or perhaps the protagonists endless spiral downward emotionally and music like a movie soundtrack setting the mood perfectly the production team should feel justifiably proud of the world they created.

The “One Moment In Time” dance (between Laura and Jim) was the absolute highlight for me. It was the romance I’d been longing for. Just how I remember it is supposed to feel in real life. If only! If this had been on TV I’d have rewound it numerous times.

This play is richly nuanced with many universal echoes that resonate loudly within us. I found myself sitting in my seat at the conclusion wondering just what I had seen. It seemed that I had added as many layers to the play from my own experience as there were already on stage. I could quite happily see this masterpiece again and again and I urge you all to catch it while you can.

The Lyceum Theatre, Sheffield – runs until 30th March 2024

Reviewed by Sophie Dodworth

5*****

The majority of parents will know about Bluey, it’s a huge hit TV show, made in Australia with some fantastic characters. In fact, most parents will probably tell you that they would watch Bluey, even if the kids were not awake! It’s a common joke that this show is aimed more at the parents, than the little ones. It has a reputation for having some real deep and meaningful undercurrents, in each episode (including this stage version), teamed with a lot of laughter.

In this show we find Dad drawn towards sitting on the bean bag, looking at his phone, and not really wanting to play with the kids. He is trying everything he can to stay there, even concealing his phone behind a book he is pretending to read! The kids just want him to play with them. Eventually Bingo hides her dads phone, under instruction from Bluey, and we follow the search for it.

The whole cast work extremely hard on the stage and it’s admirable to watch, as they are working with pre-recorded vocals for all the puppets. Usually the vocal aspect would be live from the actors, but not one made a sound. Staying engaged and looking engaged must be a little laborious maybe at times, so hats off to them all. Maybe, being in the audience you may be a little disappointed at the fact that things are recorded but actually, it added to the authenticity.

The set was really well thought out, for small eyes to be able to see from the auditorium. The lighting was super effective and really enhanced some moments, like the funny dance section where everything was very loud, including the lights. Well done to head of lighting Liam Search.

I am sure that many parents who are theatre lovers will agree, that when your little one comes to see a show with you, you are getting just as much enjoyment from the smiles on their faces as you are the performance, if not more. Well, this show will give you that; Bluey’s Big Play is potentially the best kids show that has been on at the Sheffield Lyceum in a long while, go see it if you can, 50 minutes of heart-warming fun and giggles

Theatre Royal, Windsor- until 30th March 2024

Reviewed by Liberty Noke

5*****

12 Angry Men is a popular play and also movie first performed in 1954 audiences have been enjoying it for 60 years now and this performance made it clear why modern audiences still resonate with the messages of humanity within the play.

The play opens with the 12 men of the jury and a voiceover explains that it is their job to determine whether a man is guilty or not. It is explained that they must be certain he is guilty beyond reasonable doubt as if he is sentenced he will be put to death. The 12 jurors then walk to a room to discuss. The set is simple- a large table, 12 chairs, a watercooler. All very basic. The jurors are all dressed smartly in a muted colour palette but there are differences between their outfits showing that we have men here from all walks of life.

The foreman, played by Owen Oldroyd, conducts a vote and eleven men vote guilty but one votes not guilty. To the eleven it seems easy to vote guilty, they explain that the man stabbed his father to death, but Juror 8 (Jason Merrells) explains that sending someone to their death is an incredibly serious matter and that he thinks it should be discussed. The eleven then begin to lay out the evidence and the audience can start to decide for themselves if they think the accused is guilty or not. Some minds are changed as the play progresses but some of the men are stubborn Juror 3 (Tristan Gemmill) in particular seems certain of the accused’s guilt and seems to take every not guilty vote as a personal loss.

As the men discuss their verdict the table rotates very slowly on the stage. So slowly that you don’t notice at first this enables you to see different angles but I believe it draws a parallel in how your mind is being changed without you even realising it.

Watching this play in 2024 brings different context the accused man is said to be from the slums and it is heavily inferred that he is not white. Juror 5 (Samarge Hamilton) is the only member of the jury who also grew up in the slums. When other members of the jury mention that being from this background is a reason for committing violent crime, suggesting that ‘they’ are all the same Juror number 5 stands up for himself. The fight that ensues is a poignant moment in the play as Juror 5 leaves the room and stands in the corner of the stage simply looking down. Juror 11 (Kenneth Jay) follows him in a protective manner. It’s such a small part of the play but it really stayed with me. The audience is reminded that these generalisations and racism are still around today. It is also evident that in 1954 a jury of only men was not unusual, showing that times have changed.

Reginald Rose’s incredible writing makes this play wonderful. It is rare that a play set in one room featuring a only one long discussion on one topic can engross audiences but I found myself thoroughly invested in the drama. All of the actors gave incredible and believable performances. With themes like morality and humanity as well as the obvious question of “is he guilty?” this play makes for an interesting journey home discussing your thoughts and your own morality. I would recommend to everyone as it is gripping and thought-provoking with themes that resonate.