The full list of partners has been announced ahead of the Olivier Awards 2023 with Mastercard, which take place on Sunday 2 April at London’s Royal Albert Hall. Public tickets for the star-studded ceremony, widely considered the biggest night in British theatre, are now available exclusively to Mastercard cardholders via priceless.com.
Mastercard returns as headline sponsor this year, having held this position for over a decade. The Olivier Awards is hugely grateful for Mastercard’s invaluable support, without which the Awards could not take place, and for the company’s wider year-round championship of theatre and the arts.
Agnes Woolrich, Vice President Marketing & Communications, UK and Ireland, Mastercard said:
‘We are delighted to partner once again with the Olivier Awards to celebrate the best talent and performances British theatre has to offer. Our partnership continues to bring fans closer to their passion for theatre and special moments such as these.’
Cunard returns to sponsor the Best Revival category for a 4th year, as well as the nominees’ celebration, which is hosted at The Londoner by hotel partner Edwardian Hotels, who have also supported the Awards for several years. Long-time car partner Audi will provide its top-of-the-range fleet of cars to chauffeur VIP guests to the ceremony and afterparty. Refreshments will be courtesy of returning Champagne partner Taittinger and luxury biscuit maker Biscuiteers.
For the first time, the Lynne & Land Foundation has come on board as an Olivier Awards partner. Established by legendary choreographer Gillian Lynne (who died in 2018) and her husband Peter Land, the foundation will be sponsoring the choreographers’ award, which has been renamed the Gillian Lynne Award for Best Theatre Choreographer.
The Noël Coward Foundation will again sponsor the Best Entertainment or Comedy Play category, which is named in honour of the great British playwright.
ITV returns as broadcast partner for the Awards, and will be showing a highlights programme on the evening of the ceremony. YouTube also returns as a partner and viewers from outside the UK will be able to watch the ceremony in full on the Official London Theatre YouTube channel.
Additional partners include Global, Heart of London Business Alliance, Newman Displays, See Tickets and TikTok.
The production partners for the ceremony are Blue I Theatre Technology, d&b audiotechnik, TAIT, Unusual Rigging and White Light.
Theatre Royal Brighton – until Saturday 28 January 2023
Reviewed by Sue Bradley
4****
The Shawshank Redemption is an adaptation of the film, itself based on a short novel by Stephen King, and tells the story of Andy Dufresne; a wrongly convicted man serving two life sentences for crimes he did not commit, in the notoriously harsh Shawshank Prison.
That’s the top-line. But the real story unfolds as fellow lifer Ellis ‘Red’ Redding takes the role of narrator and helps us to understand the effect that the gentle, clever and essentially honest Andy has on his fellow inmates as well as the prison itself.
Joe Absolom (Eastenders, Doc Martin and many other TV roles) brings a sort of wide-eyed desperation to the part of Andy, staying true to his core beliefs whilst dealing with the unrelenting harshness of the penitentiary. But it is Ben Onwukwe (Eastenders, Coronation Street, Holby City) as Red who really holds our attention. Perhaps channelling some of the gravitas that Morgan Freeman brought to the role in the original film version of the story, Ben has a charismatic deep and resonant voice that perfectly suits the role and made it an absolute pleasure to listen to, despite the lack of hope portrayed in the prison setting.
As part of this excellent cast, notable roles are played by Mark Heenehan as the unscrupulous Warden Stammas, Joe Reisig as the vicious prison guard Hadley and Leigh Jones as Rooster, the hair-trigger con with a maddening laugh.
Set and lighting design by Gary McCann and Chris Davey is simple and effective – we are never left in any doubt that this is a cheerless place to serve out your time.I have seen the film several times over the years and occasionally wondered about the title. If Andy is an innocent man, then why does he need redemption? It came home to me last night that this is as much Red’s story as it is Andy’s, and it is Red’s transformation through his long friendship with Andy that gives the story its name. This is a very fine production and, on a bitterly cold January night, we were, in a way, glad to be ‘inside the Shank’ with Andy, Red and their fellow inmates
New Victoria Theatre, Woking – until 28th January 2023
Reviewed by Heather Chalkley
5*****
Photography: (c) Brinkhoff-Moegenburg
Joel Horwood’s adaptation of this epic adventure is an all encompassing roller coaster of emotion. Combine that with the genius direction of Katy Rudd and you have a production worthy of more than 5 stars! In Gaiman’s words “There’s magic waiting for you. And Old Mrs Hempstock”.
You are drawn in by the dense forest setting as soon as you walk into the theatre. The constant darkness of the stage focuses your mind on the cleverly lit detail of each scene, waiting for the unexpected and still jumping out of your skin! Within the first few minutes there is a suicide that sets off a series of events to take you on the journey of The Boy (Keir Ogilvy) and his new friend Lettie (Millie Hikasa). You are drawn into his young life by Ogilvy (Boy), to experience the angst of losing his mother, the wide expanse of his imagination and the trepidation of what he has to face to survive. The quirky, funny nature of Lettie (Hikasa) pulls you in to her magical world at the Hempstock Farm, unchanged since Doomsday. Charlie Brooks (Ursula) with her bubbly, sunshine smile is excellent in her duplicitous nature, revealing herself as a Skarthatch, a dark magical being from across ‘the edge’. Her desperation to stay in this world and stop The Boy, is played out in scenes that trick your mind and raises the hair on the back of your neck. The jewel in the crown is the duck pond at the farm, The Ocean at the End of the Lane. Clever use of flowing silks and beautiful puppetry takes you beneath the waves to where Lettie really belongs. My favourite character has to be Old Mrs Hempstock (Finty Williams), the grandmother we all wish for, with her earthy wise words and the art of using the old ways. You believe in Williams as the character straight away.
The magic is completed by the ensemble who move the characters around the stage during battle scenes and bring in puppetry both small and large. The Hunger Birds and Flea are truly horrifying, bringing a physicality to the performance that is awesome!
A performance for all ages, it’s impossible not to shed a tear, jump out of your seat or exclaim out loud – so good I want to see it all again!
It was a pleasure to go and watch opening night of ‘Home I’m Darling’ written by Laura Wade, an intriguing comedy about a couple’s choice to play out the wife’s fantasy as the 1950s housewife while surrounded by the 21st century world outside.
The play is set in their Welwyn Garden City house, complete with retro décor of formica worktops and kitchen table, bold wallpapers, a ‘tube’ tv with spindly legs and, as if to bring the furnishings up to date, a cocktail bar.
Judy, played by Jessica Ransom, dutifully prepares breakfast for her bread-winner husband Johnny, Neil McDermott, before he leaves for work. A brief encounter which only serves to demonstrate Judy’s subservient role, cooking, cleaning, serving, and yet the two of them exclaiming how ‘awfully sickeningly happy’ they are.
However, piece by piece, the fantasy 1950s lifestyle begins to unravel. Fran, played by Cassie Bradley, reveals seeing Johnny and another women dining on a 20th century pizza. Marcus, Fran’s husband played by Matthew Douglas, finds his over-tactile manner gets him into trouble at work, crying ‘you can’t do anything these days’, and Johnny’s career path as the sole income provider comes off the rails when he gets a new boss, Alex played by Shanez Pattni, a women of all things. The world outside is certainly not conforming to the 1950’s fantasy, nor was the 1950’s as romantic as they imagined, so eloquently put by Judy’s mum Sylvia, played by Diane Keen, with the notion ‘Nostalgia ain’t what it used to be’.
A disturbingly accurate set, a wonderful cast, some good laughs and occasionally a thought-provoking stereotype that you will be discussing well into the following day. An altogether enjoyable evening in Windsor – highly recommended.
Mark Stratford’s engrossing solo adaptation of Robert Louis Stevenson’s novella is impressively faithful to the original, dispensing with any romantic subplots introduced in other stage productions and keeping the focus on Stevenson’s fascination with the duality of human nature.
Framed as a presentation on the case by unflappable Inspector Newcomen of Scotland Yard following the death of Mr Hyde, Newcomen sets the scene by describing the layout of Dr Jekyll’s house, assuring us that it is important, before handing over to Gabriel Utterson, a lawyer and good friend of Dr Jekyll. His concerns over the strangeness of the will Jekyll prepared were compounded when he heard of a violent incident involving Mr Hyde which was smoothed over by Jekyll. Convinced that his friend is being blackmailed, Utterson tries to find out more about Hyde, but Jekyll insists that their relationship is not as Utterson fears. Hyde later commits a brutal murder and disappears, while Jekyll becomes increasingly distant and goes missing himself. When Utterson and Jekyll’s desperate staff break down his laboratory door and find Hyde dead, a written confession from Jekyll is left behind, which Newcomen reads to his audience.
Stratford’s portrayal of each character is composed and intelligent, using props, accent changes and very subtle physical differences , making the transformation into Hyde seem more extreme and shocking as he crouches and sneers like a vicious goblin. The play first relates events from the point of view of concerned friends who don’t understand the changes in their friend. Stratford keeps Utterson and these characters sensible, calm and perplexed as a whole, but builds to near hysteria as Utterson and his friend relate Hyde’s diabolical behaviour. Jekyll and Hyde are almost minor characters in the first part of the play, but as Newcomen starts Jekyll’s confession, Stratford swiftly switches to Jekyll to tell his own story. This is where the energy and tone shift and the transformations between Jekyll and Hyde become graphic and unsettling. The events related by Newcomen and Utterson are now explained by Jekyll, horrified at his baser self, and also by his evil side revelling in what he has done. Stratford transforms in a breath between the two men, always catching the audience of guard and elicits nervous laughter as he threatens the audience. His Hyde is truly odious and the feelings of revulsion voiced by the characters no longer seem hyperbole under Stratford’s glare.
This is a wonderfully accessible and faithful version of the story – the students sitting next to me were thrilled “I was not expecting that!” – performed with skill and precision. Stratford delivers an acting masterclass.
The visitors to the Empire this week are Bulgaria’s prestigious Varna International Ballet and orchestra, who are in the midst of a debut UK tour with not one but four ballets: The Nutcracker, Swan Lake, Coppélia and Giselle. Last night I was lucky enough to witness their production of Swan Lake, one of the most magnificent ballets of all time. I was treated to a beautiful and spellbinding performance of this compelling tale of tragic romance, set to Tchaikovsky’s unforgettable score.
Founded in 1947 and currently celebrating their 75th anniversary, the critically acclaimed Varna International Ballet has been delighting audiences for decades at home and abroad with its performances of excellence.
The ballet, composed by Pyotr Ilych Tchaikovsky in 1875-76, premiered in 1877 under Moscow’s Bolshoi ballet company. Although it was initially a failure in the eyes of most critics, it has since established itself as one of the most popular ballets in the world. Albeit done to death, when performed veraciously, Swan Lake is a treat for ballet newcomers and dedicated fans alike. This rendition of the timeless ballet, choreographed by Marius Petipa, Lev Ivanov and Sergey Bobrov, does just that – honouring the art of ballet without making it dull.
The principal soloist Anastasia Lebedyk (born in Ukraine) who performs Odette, was mesmerising. Perhaps the most difficult portrayal in all ballet because of the technically and artistically demanding double role of Odette (White Swan) and Odile (Black Swan). Lebedyk executed both roles impeccably, it’s a potentially heart-breaking portrait of two complex and very different women.
Prince Siegfried, performed by lead soloist Marcello Pelizzoni (born in Italy) is a very talented dancer and the audience celebrated his outstanding solo’s with loud cheers.
For me the true standouts of the evening, were the full complement of swan maidens, a magnificent sight of tutu-clad ballerinas moving in unison on stage, they were faultless, synchronised and disciplined.
Swan Lake is a classic and luckily a lot of people know the story without necessarily having seen it. With no dialogue, the storytelling can sometime be difficult to follow but last night it was very clear and easy to follow.
The orchestra needs commending, they brought to life the ballet with Tchaikovsky’s moving and indelible score, conducted by Peter Tuleshkov. I cannot imagine why Swan Lake was once tepidly received, as Tchaikovsky’s ballets astound every time. It truly was before its time.
Showpath Entertainment are delighted to announce Gareth Gates and Divina de Campo will star in the UK Premiere of the Tony Award nominated, award-winning THE SPONGEBOB MUSICAL which opens at the Mayflower Theatre, Southampton* on Wednesday 5 April 2023. The production then visits Birmingham*, Bradford, Oxford*, Dublin*, Manchester, Belfast*, Cardiff*, Blackpool*, Peterborough, Wolverhampton, Norwich*, Leicester, Aberdeen ahead of spending five weeks over the summer at theSouthbank Centre’s Queen Elizabeth Hall prior to visitingPlymouth. Full tour details and listings below www.spongebobstage.com
*Venues where Gareth Gates will be performing as Squidward. Further casting, including for the role of Squidward at other venues, to be announced.
THE SPONGEBOB MUSICAL cast stars Gareth Gates (he/him) as Squidward, Divina de Campo (she/her) as Sheldon J. Plankton, Lewis Cornay (he/him) as SpongeBob, Irfan Damani (he/him) as Patrick, Chrissie Bhima (she/her) as Sandy, Richard J Hunt (he/him) as Mr Krabs, Sarah Freer (she/her) as Pearl, Eloise Davies (she/her) as Mrs Puff, Hannah Lowther (she/her) as Karen and Rebecca Lisewski (she/her) as Mayor. They are joined by Sam Beveridge (he/him), Jeremiah Olaleye (he/him), Eleanor Turiansky (she/her),Rhys Batten (he/him) and Reece Kerridge (he/him).
Gareth Gates (Squidward) shot to fame in 2002, coming runner up in the UK’s first Pop Idol. He went on to sell over 5-million records worldwide including five UK number-one singles. His theatre credits include playing Marius in the both the West End and 25th Anniversary Tour of Les Misérables, Joseph in Joseph and the Amazing Technicolor Dreamcoat in the West End and on tour, Warner in the UK tour of Legally Blonde and Willard in the UK tour of Footloose.
Divina De Campo (Sheldon J. Plankton) is a seasoned British drag queen and singer who was recently crowned runner up on the first Series of RuPaul’s Drag Race UK. Known for her high soprano and four -octave range, Divina has been featured on ITV’s The Voice and the BBC’s All Together Now. Her critically acclaimed theatre credits include Mary Sunshine in Chicago and most recently her award nominated performance as Hedwig in Hedwig and the Angry Inch.
Lewis Cornay (SpongeBob) was most recently seen as Amos in Whistle Down The Wind at The Watermill. His West End credits include The Book of Mormon, The King and I, The Sound of Music and Mary Poppins. As a writer, Lewis had his debut play Daddy Issues premiere at the Seven Dials Playhouse last year.
Irfan Damani (Patrick Star) was most recently seen in The New Musketeers and The Aliens Who Saved Christmas as part of Trinity Theatre Christmas Rep. His West End credits include Raj in Billionaire Boy at the Garrick Theatre and Father in Ishq the Musical at Sadler’s Wells Theatre. On television he has appeared as Saleem in BBC One’s EastEnders and on film in Mamma Mia: Here We Go Again.
Chrissie Bhima (Sandy) graduated from ArtsEd in 2022. Her theatre credits include Candy in Whistle Down The Wind at The Watermill, Jennifer in The Witches of Eastwick in Concert at the Sondheim Theatre and Avatar in Lift at the Southwark Playhouse.
Richard J Hunt (Mr Krabs) most recently appeared as Mudge in Dolly Parton’s Smoky Mountain Christmas Carol at the Southbank Centre. His other theatrical credits include Bromance The Dudesical at The Other Palace, the UK and European Tour of Jesus Christmas Superstar, Mack and Mabel at the Southwark Playhouse, Me and My Girl at the London Palladium and the UK and European Tour of Joseph and the Amazing Technicolor Dreamcoat. On television he has been seen BBC2’s Beautiful People, RTE’s The Late Late Show and Channel 4’s Teachers.
Sarah Freer (Pearl) has recently appeared in Jack and the Beanstalk at Sheffield Lyceum as well as in the UK Tour of Zog and the Flying Doctors. She has also appeared in The Color Purple at Cadogan Hall.
Eloise Davies’ (Mrs Puff) West End credits include 42 Balloons at the Vaudeville Theatre, Grease at the Dominion Theatre, Bonnie & Clyde in Concert at Theatre Royal Drury Lane, Taboo 10th Anniversary at The London Palladium, Be More Chill at The Other Palace, and West End Heroes at the Dominion Theatre.
Hannah Lowther (Karen) has most recently appeared in the West End concerts for Emojiland at the Garrick Theatre and Kinky Boots at Theatre Royal Drury Lane. She has also appeared in Millennials in The Other Palace Studio and Heathers The Musical at The Other Palace where she made history as the first actress to play all three Heathers in Heathers The Musical and went on to win three West End Wilma Awards including Best Understudy.
Rebecca Lisewski (Mayor)most recently appeared in the West End in Strictly Ballroom at the Piccadilly Theatre. Her other West End credits include Mamma Mia! And Carousel. She has also appeared in the UK Tours of Priscilla Queen of the Desert, Tango Moderno, The Last Tango, and Starlight Express.
Who lives in a pineapple under the sea and became the hottest star on Broadway? SpongeBob SquarePants! Plunge into this stunning all-singing, all-dancing, dynamic stage show!
When the citizens of Bikini Bottom discover that a volcano will soon erupt and destroy their humble home, SpongeBob and his friends must come together to save the fate of their undersea world!
With lives hanging in the balance and all hope lost, a most unexpected hero rises up. The power of optimism really can save the world! An exciting new production featuring irresistible characters, magical choreography and dazzling costumes; this deep-sea pearl of a show is really set to make a splash with audiences young and old as the must-see musical of 2023. The future is bright, the future is bold, the future is THE SPONGEBOB MUSICAL.
THE SPONGEBOB MUSICAL is based on the series by Stephen Hillenburg, with book by Kyle Jarrow and featuring original songs by Yolanda Adams, Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady A, Cyndi Lauper, John Legend, Panic! At the Disco, Plain White T’s, They Might Be Giants and T.I. and songs by David Bowie, Tom Kenny and Andy Paley. Additional lyrics by Jonathan Coulton. Additional music by Tom Kitt. Musical production conceived by Tina Landau.
THE SPONGEBOB MUSICAL will be directed by Tara Overfield Wilkinson (she/her), with choreographer Fabian Aloise (he / him), designer Steve Howell (he / him), Musical Supervisor Mark Crossland (he / him), Musical Director Marcus Carter-Adams (he/him), Costume Designer Sarah Mercade (she / her), Lighting and Video Designer Ben Bull (he / him), Sound Designer Ben Harrison (he / him), Costume and Wig Supervisor Megan Rarity (she / her), Associate Choreographer Paris Green (she/her) and Casting Director Harry Blumenau Casting (he / him). Selladoor Worldwide General Management.
Nickelodeon, now in its 43rd year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The brand includes television programming and production in the United States and around the world, plus consumer products, digital, location-based experiences, publishing and feature films. For more information or artwork, visit http://www.nickpress.com. Nickelodeon is a part of Paramount’s (Nasdaq: PARA, PARAA) global portfolio of multimedia entertainment brands.
This comedy caper originally came out of the Ealing Studios in the early 1950’s, a post war film that still takes the odd swipe here and there at the ‘enemy’. Writer Phil Porter brings it to life for the stage, with the classic unlikely gang transcending class, brought together by the skills needed to pull off the heist.
Miles Jupp (Holland) takes great delight in glamourising the tale of his successful heist, in an expat club in Rio De Janeiro. Justin Edwards (Pendelbury) takes great glee in playing his unlikely stooge. Convincing themselves that visitor Farrow (Guy Burgess) is a film director, fellow expats and club staff are willing players, unfolding the tangled web of the robbery, striking ensemble poses in farcical fashion.
This action packed caper, takes you on twists and turns from the moment a fleck of gold lands on Jupp’s (Holland) shoe to him being led away in cuffs. The cast offer a variety of characters, switching between proper cockney, working class men portrayed by upper class Lady Agnes (Tesa Churchard) and Audrey (Victoria Blunt) to stereo typical French characters played by Brazilian hostess Fernanda (Aamira Challenger) and entertainer Sammy (Tim Sutton). The supporting cast all play a group of English school children at one point! You certainly have to keep your wits about you to keep up!
The magic of the play is created by fantastic staging and props, with moving parts that emerge as an Eiffel tower that Holland (Jupp) and Pendlebury (Edwards) climb! The cast move with ease sometimes passing props between them in comedic style.
This retro play is pure escapism for all generations.
If nostalgia, fantasy, and slapstick are your thing, you will love Told by an Idiot Company’s “Charlie & Stan” at Wilton’s Music Hall. Actually, If you’re just looking for an evening of innocent fun, laughter and escape from the grind and cynicism of city life, “Charlie & Stan” – part of the London International Mime Festival. – will do the job in spades.
Just being in the magnificently vintage surroundings of Wilton’s is an experience to savour. It’s surely the perfect venue for a trip back to 1910 when the SS Cairnrona set sail from Southampton bound for the US with Fred Karno’s vaudeville company aboard. Amongst the troupe of artists are Charlie Chaplin, already a music hall star in Britain and one Arthur Stanley Jefferson, known as Stan Laurel, his understudy and cabin mate.
That is the starting point for a high energy series of comic episodes including real events, flashbacks and also flash forwards. All much in the style of the silent movies with occasional directional texts projected onto the curtain that doubled as cabin privacy for Charlie and Stan. The surreal voyage has no discernible chronological thread, but is a well judged 80 minutes without an interval, packing in a lot of cleverly choreographed content and playful pratfalls. Whilst the brisk pace, timing and subtlety of mime demands and rewards close attention, the action comes so thick and fast, a second viewing is likely to reward in equal measure. As writer and director, Paul Hunter has brought to life, an original, intricate and highly accomplished entertainment.
The four main performers are on top form – the dainty Danielle Bird (a magnetic Chaplin), the athletic Jerone Marsh-Reid (a thoroughly convincing Stan Laurel), the marvellously shape-shifting Nick Haverson taking on a portfolio of roles (Karno, Chaplin’s father, Oliver Hardy, butler, drummer) and, last but not least, the versatile Sara Alexander on excellent live piano and doubling up as Chaplin’s mum. Essential to the performance was the superbly crafted “silent film” soundtrack by Zoe Rahman and the extraordinary multiplatform stage set, very evocative of a chaotic 1910 passenger ship, by Ioana Curelea.
There were so many, individual episodes are difficult now to recall. So, not being a fan of audience participation moments, it’s a source of frustration that the couple in this show linger in fine detail. For me, the most memorable scene involved Laurel (Jerone Marsh-Reid) with Havering’s brilliant Oliver Hardy playing golf with the threat of a real golf ball being driven the length of the hall.
Overall, “Charlie & Stan” showcases a quite awe inspiring array of performing industry talent in an imaginative, unique and timeless show. The Wilton’s crowd gave it a well deserved standing ovation.
One of the many rules in life we are taught is to never judge a book by its cover. We are taught that from primary school all the way up into adulthood, whether that be judging an album by its cover, a film by its poster or, in my case, a play by its poster and title. I can say now honestly that I will never judge a play by its title and poster ever again – universe, I have learned my lesson.
The story follows Sara (portrayed by Abigail Stone) and her husband Jams (portrayed by Brad Leigh) as they navigate domestic life in a dystopian future taking place in the year 2077 when Sara’s ‘brother’ (portrayed by Paul Brayward) comes to visit. Threatened with ecological disaster and economic chaos, governments have become authoritarian and repressive. Domestic family life struggles to survive in a world of fleeing refugees, mass suicides, ruined and deserted suburbs with soldiers patrolling the streets. The old cities are in ruins and people have been resettled in regimented suburbs.
It goes without saying that these fantastic actors were let down enormously by an abysmal script. Abigail Stone’s acting was impeccable, given what she had to work with. She carved that character and performed it with everything she had even with the strange twists and turns this play took.
The play itself was trying to be Shakespeare in modern language, however there were just too many metaphors in the dialogue for it to make sense. Along with completely out of context costume choices most of this play felt like a fever dream on acid. At one point Stone’s character came out wearing a coat with spoons on it and that was never explained or visited ever again.
Upon first glance, “Have I None” by a “giant of British theatre” – (Guardian) is a black mirror-esque post apocalyptic dystopian thriller which, on paper, is everything I love about theatre. However, upon seeing the play in the flesh I can firmly say that was the most bizarre, confusing and downright terrible 50 minutes of my life that I will never get back. The most heartbreaking thing about this play is that it was supported by a fantastic cast that put their heart and soul into performing writing that was just not good.
Overall, I think the actors in this play were fantastic, it is such a shame they were let down by such poor writing and storytelling. Maybe it was me, maybe I just didn’t get it but I think for your show to be successful, you need to explain and explore plots with more depth. From a furniture rendezvous that was left unexplained to out of context costume choices, this play was a disappointing watch. I would not recommend seeing this unless confusing plot hole driven plays are your thing.
