There’s a haunting sorrow and yearning to Farah Najib’s tale of neglect, dereliction of duty and lost community in her latest play Maggots.
The title in itself is enough to make one squirm and over 65-minutes we are certainly not being comforted but rather taken to task for failing to look out for our fellow humankind.
Set in a block of flats in an unremarkable corner of London, we’re told this story could happen anywhere. It could happen to you, although the narrators hope not. Jess Barton’s agile direction shifts the storytelling between three talented actors, utilising repetition and the power of three to hit home Najib’s well-crafted synonyms and obvious love of the spoken word.
Sam Barker Jones, soon to feature in Dear England for the BBC, Marcia Lecky, known for Eastenders and Ted Lasso, and Safiyya Ingar, fresh from a stunning lead role in indie feature Brides, keep the story flowing as they jump in and out of characters with wit, humour and pathos.
Caitlin Mawhinney’s simple staging refrains from showing us any evidence of decomposition but we are reminded of nature’s inevitable cycle through dried flowers hung plentifully from the lighting rig.
There are no real surprises in this portrait of community gone wrong. It’s no spoiler to say that the stench coming from number 61 reported by one dutiful neighbour is exactly what we imagine it to be. Spotlighting a mother and son, a father and daughter, a young mum and her baby and a widow, we see the possibility of a community pulling together through a shared problem, but will their connection last?
A chilling social commentary reminding us of the power and necessity of community
New Wimbledon Theatre – until Saturday 21st February 2026
Reviewed by Carly
5*****
Wimbledon brings you The Bodyguard Based on the well-known film that we all know and love!
Rachel Morron (Sidonie Smith) is a well know superstar, singing her way up to the top! But when her security is under threat due to a stranger/stalker (James-Lee Harris) who manages to get into her dressing room whilst at a gig and without being detected, leaving her a threatening note that is personal and scary. Her manager Bill Devaney (John Macaulay) thinks that it’s now gone way too far with her current security Tony Scibelli (Johnathan Alden) not being able to offer her the security and safety that she clearly desperately now needs. He enlists the help of a bodyguard known as the best in the business Frank Farmer (Adam Garcia). Although reluctant to help as he doesn’t normally do pop stars and all the drama that comes with it. He soon realises after being handed a note left by the Stalker, that Rachel is indeed under serious threat and when he discovers that she has a young son at home by the name of Fletcher (Cale Cole) and a sister Nicki (Sasha Monique), he agrees to come take a look at her situation, only to stay on and protect her. With Both Rachel and Frank being strong headed characters that both like being in charge and taking control of a situation. Sparks start to fly and with Rachel Slowly letting her guard down, something she doesn’t normally do, showing her real self to Frank with him also letting Rachel in. Feelings and emotions become very apparent and a love is formed. But can Frank continue to protect her and keep her safe with his head being clouded by the love he holds for her and Fletcher?
This show was fantastic from start to finish offering a romantic storyline that slowly unravels before our eyes as well as a thriller, with its dark tense and threatening moments showing control and vulnerability of obsessive love and danger.
Then packing a punch with some amazing songs and vocals from the cast that were just spectacular to watch
Sidonie Smith as Rachel was very captivating. Her vocals were on point, she had the ability to deliver throughout, she also had the audience singing along to her performance. Alongside Sasha who plays her sister Nicki Monique they both take to the stage to sing the iconic song “I will always love you” and what a performance it was. The energy and passion shown by both was just exceptional their voices filled the theatre moving between high and low notes two very powerful and beautiful voices making the song a pure delight to take in and just listen too.
Adam Garcia played his part as the bodyguard with professionalism always there when things were escalated jumping in and keeping all protected had good character traits showing authority and gave a very convincing roll throughout.
The last song I Wanna Dance with Somebody was just remarkable with the whole cast getting involved showing high-energy dancing, great singing that had the whole audience jumping up and off their seats desperate to just join in and sing along. What an amazing show this was just a pleasure to watch. If you fancy a great evening out, then get yourself down to Wimbledon to watch The Bodyguard one not to be missed!!
God Is A DJ, a brand new, electrifying musical in development, is set to bring the world of DJs and club culture to the stage. Blending a live DJ, live band, and iconic dance hits, it reimagines the pulse of electronic dance music in a bold theatrical experience.
Written by Olivier Award winner Jessica Swale, God Is A DJ will be directed by Olivier Award winner Vicky Featherstone, with Musical Direction by BAFTA-winning Matthew Brind.
With a live band, DJ, and featuring some of the greatest iconic dance anthems, God Is a DJ is a tale about the endurance of love and human connection, the ecstasy and pain of superstardom and the power of music to heal across the dance floor.
An intimate story about meeting across the divide of classical music and dance club culture, God Is a DJ begins as a play yet climaxes in a euphoric live DJ set, inviting the audience to dance as the story spills out from the stage and into the auditorium. The story has been developed by Vicky Featherstone, Matthew Brind and Jessica Swale.
The title song “God Is A DJ” has been written exclusively for the show by Grammy and Emmy Award-winning composer David Arnold with acclaimed British songwriter Karen Poole, alongside Sam Harper, an emerging talent in the dance world.
Jessica Swale said: “How could I resist the opportunity to join Vicky and Matthew, two such inspiring creative forces, in making a piece of work which truly challenges the boundaries of conventional playmaking. I’ve always loved collaborating with live musicians, but we’re exploding those boundaries to see what happens when you mix intimate storytelling with heart-stopping immersive sound. I can’t wait!”
Vicky Featherstone said: “Having fallen deeply in love with clubbing and dance music at the Haçienda and the Paradise Factory in the Manchester of the 90’s, the opportunity to bring that experience to the stage in a musical which celebrates our eternal search to belong and to exist as one, even for a moment, feels very special. Nothing can ever replace the feeling as we all raise our arms in the air, forgetting the world outside and are taken to a different place by the skill of the DJ and the music.
Fusing that with theatre alongside such great collaborators, where we can also explore the dark heart which lurks within that world, is a real adventure.”
Matthew Brind said: “Electronic Dance Music has been one of the leading musical genres of the 21st century. The challenge of bringing this amazing cultural musical language to a theatrical setting is thrilling. EDM is both heartfelt, euphoric and everything in-between, which is what I believe the best theatre is too. God Is A DJ promises to be a musical and emotional rollercoaster. It’s a huge challenge but a very exciting challenge”.
David Arnold said: “Sometimes music is the only thing that can make sense of how we feel – it is its own church – and for some it’s the only place to go to be understood and fling our arms to the heavens to invite something, anything, to help us understand. It is a joy to be a part of this story. It is a show that’ll be unlike any other and will surprise those who think they know what a musical that holds hands with dance music will be.”
God is a DJ is an original concept conceived by producer Irit Ten Hengel. Following her work on the upcoming musical Obsessed, based on the life and songs of legendary songwriter Diane Warren, Ten Hengel injects her innovation, creativity and passion from the music business directly into the world of theatre.
Donna Munday will serve as Executive Producer.
Further details will be announced soon.
To be the first to hear news about the new musical, sign-up at www.godisadjmusical.com
Producers ROYO, Runaway Entertainment and Curve are delighted to announce the full cast for the brand-new production of the Olivier, Tony® and Grammy® Award-winning KINKY BOOTS The Musical. The show will strut into the spectacular London Coliseum for 17 weeks from 17 March 2026 to 11 July 2026. Tickets are on sale now.
KINKY BOOTS will host a special Gala Night at London Coliseum on Sunday 29 March in support of international charity WaterAid. St Martin’s Lane will close as the biggest night in theatre steps out onto the street, in full glamour, with a star-studded guest list.
Joining the West End production will be Courtney Bowman (Pretty Woman, West End; Legally Blonde, Regent’s Park Open Air Theatre) as Lauren, Billie-Kay (Burlesque, West End; Anything Goes, Barbican/UK Tour) as Nicola, Billy Roberts (Military Wives the Musical, York Theatre Royal; Mrs Doubtfire, West End) as Don, Rachel Izen (Funny Girl, UK Tour; Mary Poppins, Broadway) as Pat, Jessica Daley (Military Wives, York Theatre Royal; I Should Be So Lucky, UK Tour) as Trish, Jonathan Dryden Taylor (The Wizard of Oz, Curve/West End; Billy Elliot the Musical, Curve) as Mr Price, Scott Paige (I Should Be So Lucky, UK Tour; The Great British Bake Off The Musical, West End) as George and Liam Doyle (Heathers, The Other Palace; Legally Blonde, UK Tour)as Harry.
The cast is completed by Andy Barke (My Fair Lady, Curve; Jersey Boys, West End), Kathryn Barnes (Guys & Dolls, Bridge Theatre; Curtains – A Musical Comedy, West End), Cerys Burton (The Odyssey, Unicorn Theatre), Kaya Farrugia (There’s No Place Like Home, West End; Hair, Playground Theatre), Nay-Nay (MJ The Musical, West End; Disney’s Aladdin, UK Tour), Keith Alexander (The Herds, Sadler’s Wells; The Colour Purple; Warner Bros), Nathan Daly (Starlight Express, Bochum), Kofi Dennis (The Wiz, Hope Mill Theatre; Scenes from Rent, Curve), Ru Fisher (Something Rotten in Concert, West End; Ayla the Musical, Sadler’s Wells), Darnell Matthew-James (MJ The Musical, West End; Wicked, West End), Liam McEvoy (Legally Blonde, Regent’s Park Open Air Theatre; Oliver! UK & Ireland Tour), Ashley-Jordon Packer (Crazy For You, West End; A Chorus Line, Curve/UK Tour), Cole Dunn (50 First Dates, The Other Palace; The Wizard of Oz, West End/UK & Ireland Tour), Annell Odartey (TINA – The Tina Turner Musical, West End; Pretty Woman, UK Tour), Jordan Isaac (Evita, Curve; Grease, West End) and Tori McDougall (Billy Elliot The Musical, Curve).
They join the previously announced Johannes Radebe as Lola, Matt Cardle as Charlie Price and Tosh Wanogho-Maud as Alternate Lola*.
The young company includes Sean Garcia Madiba, Noah Ronkainen Phillips and Rio-Blake Power as Young Lola and Archie John Allen, Joshua Beswick, Louis Cohen and Callum George as Young Charlie.
KINKY BOOTS The Musical features a book by Harvey Fierstein and a score by Cyndi Lauper. It will be directed by Curve’s Artistic Director Nikolai Foster (My Fair Lady, A Chorus Line, Billy Elliot).
KINKY BOOTS The Musical is a Broadway and West End phenomenon based on a true story and movie of the same name released in 2005.
When Charlie Price inherits his family’s failing shoe factory, saving the company – and his love life – feels like an impossibly tall order. Until, that is, he meets Lola, the sparkling, larger-than-life drag queen with the unlikeliest of answers. Can they work together to reboot the business and save the day? Perhaps they just need to help each other – and everyone around them – to stand a little taller…
A glorious celebration of friendship and individuality, let Kinky Boots raise you up higher than ever at the
legendary London Coliseum for 17 weeks only.
KINKY BOOTS is directed by Nikolai Foster with choreography by Leah Hill, set design by Robert Jones, costume design by Robert Jones & Tom Rogers, musical supervision by George Dyer, lighting design by Ben Cracknell, sound design by Adam Fisher, casting by Harry Blumenau CDG CDA, wigs, hair and make-up design by Campbell Young Associates, associate direction by Michaela Powell, Musical Direction by Grant Walsh with production management by Setting Line.
KINKY BOOTS is produced by ROYO, Runaway Entertainment and CURVE with Timothy Laczynski, Fiery Angel, Pascal Ultee, Rutland Street Productions, Roast Productions, P3 Productions, Tulchin/Bartner Productions, Robin Gorman Newman, Nick Padgett, Jonathan Demar, TILTED, Center Ring Theatrical, Willette and Manny Klausner, WE R Broadway Artists Alliance, Howard Alter, Shannon Fillion and Gabriella Knapp.
Preview performances: Tuesday – Saturday 7:30pm, Thursday and Saturday 2:30pm
Performances: Monday – Saturday 7:30pm, Thursday and Saturday 2:30pm
Tickets from: £20
Box Office: 020 7845 9300 *Tosh Wanogho-Maud will play the role of Lola on all Monday performances from 6April 2026. Patrons are advised to check the website for further information
and directed by Felix Barrett, visionary director behind Punchdrunk
Based on the Paranormal Activity films, first written and directed by Oren Peli and brought to the screen by Blumhouse and Solana Films
Following phenomenal demand, Melting Pot is delighted to confirm that Paranormal Activity will return to its Ambassadors Theatre home this August after a brief hiatus, marking a third extension for the hit production. Currently playing through until Saturday, 25 April 2026, the nerve-shredding West End scare-fest returns to the capital from Saturday, 8 August2026, where the first booking period of its new season runs through until Saturday, 3 October. For tickets visit www.paranormalonstage.com.
Please note that, from Saturday, 8 August 2026, the show’s performance schedule will be evenings Monday – Saturday at 7.30pm with Friday and Saturday matinees at 2.30pm.
Blurring the line between cinema and live theatre, Paranormal Activity has been hailed as a ‘relentlessly frightening – arm-clutchingly, stranger-embracingly so ’(Metro) theatrical experience— leaving audiences jumping out of their seats and questioning what’s lurking in the dark long after the curtain falls.
Full casting to be announced.
Praised for its inventive storytelling and terrifying atmosphere, Paranormal Activity is a must-see event for thrill-seekers and theatre lovers alike. Paranormal Activity began a North American tour last autumn, with dates including the Chicago Shakespeare Theatre and the Center Theatre Group, Ahmanson Theatre, Los Angeles. It has recently opened at the Shakespeare Theatre Company, Washington DC and begins performances for its final date, the American Conservatory Theatre, San Francisco later this month.
James and Lou move from Chicago to London to escape their past, but they soon discover that places aren’t haunted, people are… Inspired by the iconic, terrifying film series, Paranormal Activity is a new story live on stage.
A new story inspired by the worldwide horror phenomenon, Paranormal Activity, is directed by immersive theatre pioneer and Punchdrunk’s Founder and Artistic Director, Felix Barrett and written by playwright Levi Holloway, whose pulse-pounding theatrical thriller Grey House chilled Broadway audiences.
Paranormal Activity reimagines the modern ghost story with an unsettling intimacy only theatre can provide. Immersing audiences in an atmosphere of creeping dread, unseen forces, and psychological tension, Levi Holloway’s script offers a bold reinterpretation of the original, blending domestic horror with mind-bending theatricality. Felix Barrett, known for breaking boundaries between audience and performer, brings his signature visionary style to the production. With innovative staging and chilling soundscapes, Paranormal Activity invites audiences to witness the inexplicable up close—and feel the fear in real time.
The creative team also includes Fly Davis as Set and Costume Designer, Illusions by Chris Fisher, Anna Watson as Lighting Designer, Gareth Fry as Sound Designer, Video Design by Luke Halls and Casting Direction by Stuart Burt CDG and Ginny Schiller CDG.
‘Will I be scared? Yes. How scared? Very. Cleverly, too.’
Chicago Tribune
Released by Paramount Pictures in 2009, the original Paranormal Activity is a master class in psychological terror. Reimagining the found footage genre for a new generation, the film became a global sensation, grossing nearly $200 million worldwide and kicking off a blockbuster franchise spanning seven feature films. Now, the legacy of fear comes to the intimate world of the theatre as the terrifying phenomenon transitions to the West End stage. Get ready to experience Paranormal Activity in real life.
Paranormal Activity is produced by Simon Friend & Hanna Osmolska for Melting Pot in association with Gavin Kalin, Ken Davenport, Jenny King, Patrick Gracey, Jonathan & Rae Corr and Leeds Playhouse.
FACTORY INTERNATIONAL, IMPROBABLE AND NICA BURNS PRESENT
THE WEST END PREMIERE OF
TAO OF GLASS
BY PHILIP GLASS AND PHELIM MCDERMOTT
OPENING @SOHOPLACE FROM 24 JULY 2026
Factory International, Improbable and Nica Burns today announce the West End premiere of Tao of Glass, composed by Philip Glass, written by Phelim McDermott. The production originally opened at Manchester International Festival and will run at@sohoplace theatre, 24 July – 12 September 2026.
An exploration of life, loss and a single question: Where does true inspiration come from?
Composer Philip Glass and performer-director Phelim McDermott (Improbable) have worked together on acclaimed opera productions in London, New York and beyond, and Tao of Glass is their most personal collaboration yet. Inspired by a dream, this West End premiere marries ten meditations on life, death and Taoist wisdom with ten brand new pieces of music from Glass, presented by McDermott with an ensemble of musicians and puppeteers.
Part-concert, part-performance, Tao of Glass is a storytelling tapestry, soundtracked by Glass’s mesmerising music and shot through with Improbable’s trademark theatricality.
Philip Glass said, “I am pleased that Tao of Glass will receive its London premiere this summer. It’s always a pleasure to work with Phelim. Tao of Glass is a true theater collaboration, the culmination of many years of deep admiration and respect for each other.”
Phelim McDermott said, “Bringing Tao of Glass to @sohoplace feels like completing a full circle. This show was devised through a deeply collaborative process — Philip and I playing together in downtown New York, riffing and discovering how music, story, and image could grow from the same source.
To now share his specially composed music in such a beautiful space — designed for intimacy, sound, and connection — feels perfect. @sohoplace has that rare combination of openness and focus that invites the audience into the dream with us: a place where imagination, storytelling, and sound can truly resonate.”
Nica Burns said, “An utterly original, fascinating piece of theatre with the most beautiful music, by world famous composer Philip Glass, performed by the exceptional Phelim McDermott accompanied by a talented ensemble of musicians and puppeteers. Perfect in the beautiful, intimate auditorium of @sohoplace. What an extraordinary and exciting collaboration by two internationally celebrated artists.”
John McGrath, Artistic Director and Chief Executive of Factory International said:“Tao of Glass was a massive hit when it premiered at Manchester International Festival in 2019, and we’re really proud to have produced it and taken it around the world with Improbable. We’ve always wanted the show to be seen in London, and we are thrilled that it will be opening in the West End @sohoplace. Philip and Phelim are artists we are so proud to work with, and this is one of their most extraordinary creations.”
The creative team are Composer: Philip Glass, Writer & Co-Director: Phelim McDermott; Co-Director: Kirsty Housley; Designer: Fly Davis; Lighting Designer: Colin Grenfell; Sound Designer: Giles Thomas; Musical Director: Chris Vatalaro; Puppet Designer & Puppet Maker: Lyndie Wright.
Commissioned by Factory International, Manchester, Improbable, Perth Festival, Ruhrfestspiele Recklinghausen, Hong Kong New Vision Arts Festival and Carolina Performing Arts – University of North Carolina at Chapel Hill in association with Naomi Milgrom AO. Tao of Glass originally premiered at Manchester International Festival 2019.
Philip Glass | Composer
Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects creating a large collection of new music for The Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Musician Twelve Parts and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Glass’s memoir Words Without Music was published by Liveright Books in 2015. Glass received the Praemium Imperiale in 2012, the U.S. National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018. Glass’s recent works include a circus opera Circus Days and Nights, Symphony No.13, and Symphony No14.
Phelim McDermott | Writer & Co-Director
Phelim is a founder member of Improbable and the company’s co-artistic director. In addition to Tao of Glass Improbable credits include: 70 Hill Lane; Lifegame; Animo; Coma; Spirit; Sticky; Cinderella; The Hanging Man; Theatre of Blood (in collaboration with the National Theatre); Panic; Beauty and the Beast (in co-production with ONEOFUS); The Tempest (a co-production with Northern Stage and Oxford Playhouse); Opening Skinners Box (a co-production with Northern Stage and West Yorkshire Playhouse); Lost Without Words (a co-production with the National Theatre), My Neighbour Totoro (RSC and Nippon TV at Barbican) winner of six Olivier Awards including Best Director and Best Entertainment of Comedy Play and five WhatsOnStage Awards also including Best Director. Opera credits with Improbable include: Philip Glass’s Satyagraha (ENO, LA Opera); The Perfect American, the Olivier and Grammy Award-winning Akhnaten, Mozart’s Cos? fan tutte (ENO and Metropolitan Opera, NY); Aida (ENO) and; BambinO, an opera for babies (originally co-produced with Manchester International Festival and Scottish Opera, now with LA Opera); The Hours (Metropolitan Opera). Other productions as director include: the Olivier Award-winning Shockheaded Peter; Alex (The Arts Theatre); The Ghost Downstairs (Leicester Haymarket); Dr Faustus, Improbable Tales (Nottingham Playhouse); The Servant of Two Masters, The Hunchback of Notre Dame; The Government Inspector (West Yorkshire Playhouse) and Artistic Collaborator on She’s Leaving Home (produced by 20 Stories High). Phelim is a recipient of the International Society for the Performing Arts’ Distinguished Artist Award, NESTA Fellowship and OBIE Award Winner for Outstanding Achievement in Off Broadway Theatre for 70 Hill Lane.
Kirsty Housley | Co-Director
Kirsty is a director, writer and dramaturg working across theatre, film and digital. Recent work includes RISE (opening of Bradford City of Culture with Dynamo/Steven Frayne); Macbeth, Macbeth, Macbeth, Macbeth, Macbeth (National Theatre Connections, as writer) Public Interest (Common/Wealth, as dramaturg); Cutting The Tightrope: The Divorce of Politics and Art (Arcola Theatre/Edinburgh International Festival); ECHO (Royal Court, as dramaturg), Drive Your Plow Over The Bones Of The Dead (Co Director, Complicit?); Jekyll & Hyde (National Theatre tour); Horse (Matthew Herbert/Edinburgh International Festival/Barbican); Hope (Clean Break), Can I Live? (Complicit? Theatre, as Dramaturg); Extinct (Theatre Royal Stratford East); The Long Goodbye Livestream (Riz Ahmed/MIF/BAM), Avalanche: A Love Story (Barbican/Sydney Theatre, as dramaturg) Rich Kids: A History of Shopping Malls in Tehran (Traverse Theatre/Sundance Film Festival/Under The Radar fest NYC); Mephisto: A Rhapsody (Gate Theatre); Tao of Glass (Manchester International Festival/Royal Exchange); I’m A Phoenix, Bitch (Battersea Arts Centre); The Believers are But Brothers (Javaad Alipoor Company), Misty (Bush/West End, as dramaturg). Myth (RSC, also as co writer) and The Encounter (co director with Simon McBurney for Complicit?).
The theatre has a large cloakroom that can be used by all patrons free of charge. Out of respect for patrons and the auditorium, we request that large bags are checked into the cloak room.
Feedback @sohoplace
We welcome all feedback on patrons’ experience with the venue and encourage patrons to email us feedback@sohoplace.org
Joseph Rowntree Theatre, York – 14th February 2026
Reviewed by Lauren Fordham
5*****
Jesus Christ Superstar is a rock opera conceived in 1970 by famed musician Andrew Lloyd Webber and lyricist Tim Rice. It dramatises the rise of Christ in Jerusalem, his relationship with Mary Magdalene, Judas’ betrayal and events leading up to Christ’s crucifixion.
In its promotional material Dan Crawfurd-Porter’s production promised a darker version of ‘Superstar’ than ever seen before, and this is visually very evident in both costume, and makeup choices by Chloe Morgan-Fennings, Jasmine Barnard and the multi-talented Gi Vasey (who was Production Designer and also plays Annas.) The High Priests of Israel, led by Caiaphas (Joseph Hayes) wear thick black eyeliner against chalk white faces, reminiscent of many heavy metal bands, and they also wear black robes, recalling to me the scenes of Death Eaters in the Harry Potter franchise plotting his murder.
Judas also wears black robes from the opening moments ot the show, foreshadowing (were the ending not already known to the audience) the betrayal of Jesus (Iain Harvey.)
An atmosphere of tension, fear, threat and violence is expertly executed by Lighting Designer Daniel Grey’s use of red and black flashes and spotlights to effectively evoke feelings of agony and symbolic bloodshed, particularly when Christ is being whipped.
Between Grey’s lighting and Production Designer Gi Vasey’s set of simple wooden pallets moved by the cast at various points to form an inverted cross, there is a wonderful synergy that dovetails perfectly with Rice’s lyric ‘like his father carving wood…tables, chairs and oaken chest would have suited Jesus best.’
I also liked the fact that Pilate’s Dream took place with Josh Woodgate standing on the symbolic inverted cross, embodying the same ‘haunted, hunted look’ that he dreamt of Jesus wearing, making Pilate seem actually just as vulnerable as Jesus and as guilty as Judas, accentuating the effect of the line ‘leaving me the blame.’
Iain Harvey’s Jesus physicality evoked Alfie Boe and a pious Jean Valjean and his falsetto rivals that of Ted Neeley. I could definitely see him heading the cast of Les Miserables in the not-too-distant future.
Rianna Pearce’s Mary Magdalene is more maternal than meretricious, addressing the Apostles as well as Jesus in ‘Everything’s Alright’, but I enjoyed this interpretation as it made her have more of a relationship with the Apostles as well as Jesus, which made Could We Start Again Please a particular highlight for me, over the popular yet still deftly delivered I Don’t Know How To Love Him.
I also want to pay tribute to Mickey Moran’s mesmerising, queer David Bowie-esque Herod, whose performance was once again enhanced by Daniel Grey’s lighting choices, this time in the form of a flashing disco ball effect.
The way the lighting design could have been improved further is if in the scenes where Judas and the High Priests are wearing black, if a follow spot could have been placed on the soloists, because I found it very difficult to follow who was singing at times. I also found some of the dialogue difficult to hear. I wish regional theatre productions could fund captioned performances.
But for me, the absolute superstar of this show (please forgive the pun) was Kelly Ann Bolland as Judas. Dan Crawfurd-Porter’s decision to gender flip this role was absolutely inspired and Bolland ran with it, making her criticism of Mary Magdalene particularly cutting as an attack by a woman on another woman, her Judas showed no mercy or sisterhood. In my mind Crawfurd-Porter’s bravery echoed Sheffield Crucible Theatre’s decision to cast Joanna Ampil in the role of the Engineer in their 2023 production of Miss Saigon, and Crawfurd-Porter’s decision and Bolland’s complex portrayal was just as powerful and thought-provoking.
Bolland also had a captivating hateful rivalry with Gi Vasey who played Annas, coupled with Annas’ makeup it put me in mind of Bellatrix Lestrange and Narcissa Malfoy if you’ll grant the continued analogy. Her white blonde hair accentuated her gothic makeup and she definitely could have passed for a Malfoy. I also loved the symmetry in Dan Crawfurd-Porter’s decision to have Judas commit suicide by drinking poison rather than hanging himself, to mirror Jesus’ ‘Gethsemane’ lyric: take this cup away from me, I don’t want to taste its poison.’
Bolland’s defiant, acrobatic and powerful vocal was impressive and impactful and could easily earn her a role in a show like We Will Rock You in the future. Her acting skills also impressed me as she cut a Lady-Macbeth-like figure during Damned For All Time, trying frenetically to physically wash off the ‘blood money’ she has accepted.
But there are some moments, especially in theatre, when music speaks louder than words, and the simple power of that is demonstrated beautifully in the instrumental version of Gethsemane that is played after Jesus is crucified, just before the curtain falls. Credit goes to the wonderful live musicians: Matthew Peter Clare on keyboard, Katie Maloney on the enormously effective, plaintive Reed, paired with Elizabeth Dixon on horn, James Lolley on trumpet and Lauren Jones on cello.
After seeing this wonderful, innovative show, I am definitely a new disciple of Inspired by Theatre and eagerly look forward to reading their next chapter.
Hull Truck Theatre, Octagon Theatre Bolton and Derby Theatre present Macbeth, written by William Shakespeare and Directed by Mark Babych.
I have seen ballets adapted from Shakespeare’s plays, quite a lot of actors performing parts of his plays and The Royal Shakespeare Company but until yesterday I hadn’t seen a full play and what a brilliant one to start with.
The set (designed by Rachael Canning) really set the tone of this production. It was dark and industrial looking with broken windows, metal stairways and landings and along with the sounds (designed by Annie May Fletcher) including gunfire and the lighting (designed by Sally Ferguson) it really added to the dark and depressing tone of the play. A lot of the costumes (designed by Rachael Canning) were modern dress as well as Army uniforms and the fabulous costumes for the three witches.
The play starts with the three witches (Livie Dalee, Josie Morley and Deb Pugh) whose prophesy say that Macbeth (Oliver Alvin-Wilson) will be King of Scotland so he murders the then King, Duncan (Colin Hurley). so that Banquo’s (Daniel Poyser) descendants will, as also prophesied, will reign. Lady Macbeth (Jo Mousley)) manipulates her husband to get the power that she thinks they deserve by persuading him to murder Banquo. Ultimately Lady Mcbeths guilt overtakes her and she descends into madness. Macduff’s cousin Ross (Benjamin Wilson) delivers the news to Macbeth and changing his loyalty from King Duncan to Macbeth and then to the rebellion.
King Duncans heir, Malcolm (Cayvan Coates) after fleeing to England after his father’s murder, returns to Scotland with an Army to overthrow Macbeth. But as the story descends into violence and horror Macbeth gets his comeuppance at the hands of Macduff (Simon Trinder).
Macbeth (Oliver Alvin-Wilson) played the character with sensitivity and with more than a hint of menace and unpredictability and he commanded the stage.
And I must mention the actors from the young company who played the parts of Fleance and Young Macduff.
I think a lot of modern-day life could be seen played out in Macbeth, an ambitious man looking to stop anyone who gets in his way by any means possible. Putting on a front and trying to prove that everything is alright when everything around him is actually falling into disarray.
This was a thought-provoking production, brilliantly acted by all the cast who a brought the story of Macbeth alive.
Seasoned playwright Karim Khan has captured the essence of a burgeoning romance between two older souls in their 60s that believed all that was behind them.
Battling with type two diabetes and the unceasing grief for their lost partners, Hema (Shobu Kapoor) and Liaquat (Rehan Sheikh) meet at a diabetes workshop. It feels like you are watching through a window, peeking into their private thoughts and interactions. They acknowledge their differences and what it means, to be Indian and Pakistani. It doesn’t get in the way, anymore than the sweetmeats that are their nemesis!
Kapoor (Hema) lives the part, as if the mannerisms, doubts and opinions are her own and she is playing herself, it feels so real. Sheikh (Liaquat) has a natural, bumbling way, with a dusting of irreverence which brings humour in unexpected places. Together they reflect a depth of emotion in one another, that the audience is surprised to feel with them. My favourite scene is Hema (Kapoor) teaching Liaquat (Sheikh) to cook, getting to know one another in a different way. The seamless flow of the actors gives you a sense of being in your own family kitchen, watching on.
The set is well constructed with clearly defined scenic areas. The on the round staging does reduce the sightline and audibility for those seated to the side. Some of this was counteracted within scenes but not completely.
Nevertheless, a beautifully sculpted piece of writing expertly delivered, with heart and passion.
A great evening was had at the Mill in Sonning. Directed by Ron Aldridge and written by Michael Cooney this farce concerns the hot topic of Benefit Fraud. From the off, the fraudster sets the scene and layers of deceit are built upon one by one. Dead bodies, different identities, comic timing and great physical comedy led to bouts of laughter all through the performance enabling the replacement of the current UK dreary with the cheery!
Actors consisted of Mill regulars and less frequent performers. The modest home set with its many doors allowed for all the comings and goings between rooms, including a staircase which gave the illusion of a two-story dwelling.
Eric Swan (Stephen Pinder) has lost his job but hides this fact from his wife Linda (Natasha Gray). He seizes on an opportunity to get money when his lodger passes away by receiving the deceased’s benefit payments and selling on delivered NHS supplies with his partner in crime Uncle George (Michael Shaw). As Eric’s conscience finally surfaces, he attempts to stop the payments but as is typical, getting through the right person eludes him.
This prompts a visit from the Department of Social Security Inspector Mr. Jenkins (Harry Gostelow). Jenkins, keen to bring matters to a conclusion and afraid of his superior, the formidable Ms. Cowper (Felicity Duncan) ends up spending the entire day at the Swan household trying to establish the truth and obtain a signature on a document. Eric’s new lodger Norman Bassett (James Bradshaw) gets reluctantly pulled into the cover up even though he is due to marry Miss Dixon (Melanie Gutteridge) that Saturday. As the day progresses this becomes less likely and things become more bizarre.
The body upstairs and on the sofa are not necessarily dead but require an undertaker Mr. Forbright (Titus Rowe) and a support counsellor Sally Chessington (Rachel Fielding), both never quite understanding what is really going on. In the meantime, Eric’s wife has become suspicious of her husband’s recent behavior and a discovery in the cupboard under the stairs leads to a visit from therapist Dr. Chapman (Oscar Cleaver) who tries unsuccessfully to help
Linda come to terms with the revelations. Then with the arrival of Ms. Cowper, Eric confesses his crimes leading to a final twist in the tale.
As always with a farce, there is so much going on all at once – the delivery of dialogue and the amazing physical comedy which requires brilliant timing together with fast and furious in and out of rooms! High praise to all the actors who worked hard to portray their characters with gusto. A good play to brighten up the winter grey skies.
