Barton Village Institute – Saturday 5 November 2022

5*****

So the life of a reviewer is often busy, seeing very different shows sometimes on the same day sometimes with hours of each other. Whilst my previous review had been to Sunderland Empire to review the mighty Les Mis, today I was in a local village hall reviewing the Scouts.

And what a show it was! Packed full of dancing, acting and comedy. From the very youngest 6 year old up to the very dedicated leaders this was full of fun. The young people had learnt a lot of choreography and showed off their skills with aplomb. It would be cruel to pick out a favourite moment but I did enjoy a sassy crab and the leaders versus young people in the Tik Tok Dance Off.

A lot of hard work went into this show, not just the epic performances but behind the scenes too with the costumes, music, staging, fabulous props (a very comedic iceberg lettuce) and the previously mentioned choreography

You’ve missed your chance to see Barton’s Gang Show this year but please support Scouting in your local area and watch out for Barton’s next show too

Gillian Lynne Theatre – until 8 January 2023

Reviewed by Claire Roderick

4****

This magical production of CS Lewis’s beloved story has everything you could wish for. Whether the audience has fond memories of reading the book, the BBC teatime series or the big screen adaptations, this thoughtful adaptation preserves the cosy period atmosphere and still manages to surprise and delight.

Evacuees Peter, Susan, Edmund and Lucy Pevensie are sent to Scotland and are taken in by kindly Professor Kirk (Johnson Willis), discovering that an old wardrobe is actually an entrance into the magical world of Narnia. Their presence sparks a battle for survival in Narnia as the White Witch seeks to keep hold of her icy power over the land by killing the children to ensure the ancient prophecy of peace returning under the reign of four humans is never fulfilled. The mighty Aslan returns to help the children and the creatures of Narnia, and the fate of the land depends on the courage of the four children.

Sally Cookson’s original production at The Bridge made the most of the adaptable stage area, and Michael Fentiman has worked wonders adapting the show for more traditional stages. Tom Paris’s evocative costumes are gorgeous, with the magical animals in clothes and uniforms the children would have seen in wartime Britain, as the Narnian conflict, although without firearms echoes the children’s experiences, rooting the fantasy land in their reality and creating a wonderful sense of camaraderie on stage. The only characters who do not wear period clothes are the White Witch and Aslan, highlighting the eternal battle between good and evil. The actor/musicians are astonishing, performing the gorgeous folk inspired songs beautifully, whether they are jolly jigs or haunting ballads. The stage magic and effects are magnificently old-school, but still thrill, and the puppet work is incredible. The power of Aslan is palpable as the huge lion’s head rises behind Chris Jared.

Amar Duffus, Delainey Hayles, Shaka Kalokoh and Robyn Sinclair are charming as Peter, Susan, Edmund and Lucy. They carry the show effortlessly and Hayles nails the mannerisms of the youngest Pevensie. Womack is magnetic as the White Witch – stiff and regal in her icy crown and slowly becoming more animalistic as she loses her cool.

There are some dark and quiet sections in the show, but nothing too scary for most children. The production doesn’t rush the story, allowing these moments to sit and make an impact and the wonderful cast carry the audience along with them on the magical journey. This is such a well-judged adaptation, keeping true to the original book without trying to produce a noisy, all action spectacular, and instead creating an entrancing and exciting show that will warm your heart.

The Kings Theatre, Portsmouth – until Saturday 5th November 2022

Reviewed by Emma Barnes

5*****

Nativity! The Musical burst onto the stage at The King’s Theatre in Portsmouth last night, it was a dazzling spectacle of song, dance, comedy and festive sparkle not to be missed. 

This is writer Debbie Isitt’s adaptation of the popular 2009 Britcom. A modern day window into the Christmas reality for schools and teachers staging a primary school Nativity. 

The heartwarming story is set in Coventry. Teacher Mr Maddens is a reluctant director of the school play with a seemingly rowdy class of children with little talent or hope.   Things look gloomy until teaching assistant Mr Poppy bounces in and spreads his infectious joy, absurdity and optimism.  Much fun and hilarity follows as the double act develops and a unlikely bromance ensues.   

The plot of the show sticks closely to the film, with two schools competing for the five star review.  Cheery music favourites include Nazareth, She’s the Brightest Star, One Night One Moment and of course, Sparkle and Shine which is guaranteed to have you singing all the way home. 

I am unashamedly biased when I say that the children are naturally the stars of the show, as one of them was my own son! (proud Mummy moment).  However with an incredible 64 child cast , plus two dogs, alternating in two teams across the four performances my hat goes off to CCADS theatre. They have done a magnificent job of showcasing the amazing talent and versatility within the group whilst providing the youngsters with memories and positive experience that will stay with them for life.   The excitement and joy of performing within the cast was palpable and infectious.  Thank you for bringing this happy and unforgettable experience into our lives. 

John-Paul McCronhon as Mr Maddens and Charlotte Turnbull as Jennifer provided stand out solo performances and together their harmonies were absolutely on point and a joy to listen to. I loved to hate Tony Johnson who was despicably delightful as the competitive Mr Shakespeare from the rival Oakmoor school. 

Matt Sackman as the uncontainable Mr Poppy is absolutely engaging and a joy to watch. This is a role with such expectations for anyone who has seen the movie, and he does not fail to deliver!  Matt had the audience screaming with laughter over and over again. He easily achieves a rapport with the children, the cast and the audience (on occasions breaking the 4th wall) with his totally uninhibited and wacky take on the character.  The comedy timing was absolutely impeccable leaving me on the edge of my seat waiting for the next gag or side splitting antic.  

The show is also a real feast for the eyes as well as the senses, with beautiful costumes and lighting and an amazing set. Highlights include the star swinging into stage and the amazing grand finale scene which had all the pizazz that you’d expect in the West End. This show was genuinely one of the best that I have ever seen. Judging by the applause and standing ovation at the end the rest of the crowd felt the same. 

Nativity! The Musical is an absolute triumph of fantastical, feel good, festive fun. My absolute theatre highlight of 2022.  Is it a five star review?   Well of course it is, it’s five ginormous glittery Christmas stars and a big well done from me. 

http://www.ccads-theatre.co.uk/

Tanya Moiseiwitsch Playhouse Theatre, Sheffield – 3rd November 2022

Reviewed by Sophie Dodworth

4****

Following a UK tour, Mark Farrellys one-man show (written and performed by Farrelly), ‘Jarman’ arrives in Sheffield for one night only. We are taken on a journey through Derek Jarmans’ life, the iconic painter, activist, writer and film-maker. We have a transparent look at the highs and lows of Jarmans’ life, ending with his tragic death from an AIDS related illness. From the start Derek talks directly to the audience. There is lots of use of the seating areas and audience participation involved, which can be awkward for some but engaging for others.

Some of the play moved really fast and felt slightly disjointed at times, leaving me wondering what was going on. The writing and the wonderful staging is sometimes complex, which you do have to be on the ball with.

Mark Farrelly has made this production what it is with his ferocious acting talent, he is full of energy, charisma and skills that many actors would be envious of. He can completely command, entertain and charm a full theatre of people, no matter what the size (one would imagine) I am not sure I have ever seen an actor better than him and can not compliment him enough.

There wasn’t really a set as such, an empty stage in its entirety with just a chair which Derek brought on with his entrance. Credit due to Farrelly and the team for the simple minimal props they had and using them innovatively…a roll of brown paper that was used in so many different ways – scrunched up in anger and thrown into the audience, or when the lights were out – screwed up, rustled by Dereks’ hands and a red torch light shone on to emulate a fire, which was so effective, to name a few.

The sound was extremely well thought out and strongly utilised in just the right places. It created joyous moments with the audience when singing along to A Little Respect by Erasure, it was atmospheric!

A real piece of fabulous theatre, with beautiful moments. It leaves you feeling reflective with some of themes of making sure you are giving every minute your everything.

Grand Opera House, York – Thursday 3rd November 2022

Reviewed by Kevin Roberts

3.5***

The opening scenes are played out on a projector screen, drawing us in to all that is magical about the Emerald Isles and its people. The rolling green landscape, the giants causeway, whilst in the background the dulcet tones of Ged Graham telling the tale of this wonderful island and all it has to offer and explaining about the yearning to be home on Christmas day, surrounded by family and friends.

Then on come the cast belting out hit after hit of Christmas songs, littered with the old Irish favourites such as the Irish Rover and Dirty Old Town, to name but a few. Admittedly it was difficult getting in to the Christmas spirit at the beginning of November but such is the personality and mannerisms of the cast that its difficult not to be drawn in, bringing back childhood memories of Christmas.

The cast are superb and such is the eclectic array of voices on stage it never gets boring. One minute Danny Muldoon, Ged and Adam Evans have you clapping and singing along and the next the beautiful voice of Claire Gleave and the melodic sound of Meabh Kennedy on the violin has you transfixed and silent, appreciating that beautiful Irish tone. Megan Jay adds her amazing voice to the performance and the wonderful support act perform dance after dance, creating a wonderful energy to the theatre.

With over 2 hours of non stop performing, aside a 20 minute interval it is definitely value for money and by the time the Pogues classic Fairytale of New York is sung, the crowd are fully engrossed in the experience.

Ged, Danny and Adam do a wonderful job of involving the crowd and encouraging everyone to sing and have a good time. The crowd at York were a bit hesitant at first to partake in the celebration but once the boys teased and cajoled about the effort and enthusiasm, the party soon started. I would say the show is probably aimed at the older generation, aged 40 plus but there were younger members of the audience there. Some might say it’s a bit kitsch or cheesy but if you’re after a bit of nostalgia and a good sing song and wanting to get in to the Christmas spirit early, then I thoroughly recommend it. It certainly had that feelgood factor and I left the theatre whistling to myself and feeling much more festive than when I went in.

Cambridge Arts Theatre, Cambridge – until Saturday 5th November 2022

Reviewed by Steph Lott

4****

What makes a good horror story? Horror author H.P. Lovecraft wrote, “The oldest and strongest kind of fear is fear of the unknown.” The sense of delicious, shivering anticipation is a major part of the pleasure of a ghost story. However, is the ghost worth waiting for?

It’s Christmas 1875 and Professor Gabriel Stokes (Max Caulfield) arrives to take up lodgings at The Sea House, a spooky eerie house cared for by Mrs Hinchcliffe (Juliet Mills), on a desolate stretch of the East Sussex coast. But the Professor hardly has time to set down his suitcase before Mrs Hinchcliffe tells him of the troubled history of the house, the disappearance of its owner who was a zealous missionary who mysteriously vanished, and there are unexplained bumps in the night.

Despite being a rational man, the Professor enlists the help of Tom Beauregard (Michael Praed) a troubled American spiritualist. The two men (one who bears a striking resemblance to General Custer!) then set out to discover the truth.

I don’t want to spoil the play by saying too much more about the plot. However you can expect some nice shocks and there were plenty of gasps and jumps amongst the audience on the night I saw it performed. A ghost is expected to appear but where and when?

Following the traditions of the finest ghost stories, Darker Shores is a gripping and shadowy tale of suspense. The play has a quietly menacing soundscape, and a nicely gothic set. The set is all shades of dark – black, brown and grey. There is low level background noise and eerie lighting which both contribute to the atmosphere of dread and foreboding. It seems a fitting play to enjoy during the lengthening autumnal nights.

The performance is well played by a competent and experienced company. Maxwell Caulfield plays hesitant, baffled and grief ridden Professor Gabriel Stokes with a confused gentlemanly air. Juliet Mills gives a fine performance as the slightly stiff, Northern landlady, Mrs Hinchcliffe. Michael Praed is wonderful as the American medium, Tom Beauregard, who may not be the charlatan that he appears to be. Chipo Kureya is charming as the maid Florence Kennedy, with a surprising talent for second sight. They all add real depth to the characters they portray and the gradual reveal of the backstory of each is extremely well done.

It was an enjoyable evening’s entertainment. Along with the shocks there are some very funny comedic moments and lines and it’s great to see a story that is more than one-dimensional. My only issue was with the ending. It is paramount that narrative demands are met and we have an explanation for what happened, yet what will that explanation be? If the bumps are logically explained, it’s not a ghost story. In Punter’s play, everything is finally explicit. It left me slightly deflated.

Everyone loves a ghost story. Judging by the gasps and jumps, the play delivered the delicious thrill and dread that the audience was promised.

FULL CASTING ANNOUNCED FOR WILLIAM SHAKESPEARE’S

AS YOU LIKE IT

DIRECTED BY JOSIE ROURKE @SOHOPLACE

STARRING LEAH HARVEY, ROSE AYLING-ELLIS, 

ALFRED ENOCH, TOM MISON AND MARTHA PLIMPTON

• Full casting is announced for William Shakespeare’s As You Like It, directed by Josie Rourke, with a musical score by Michael Bruce, @sohoplace, the first new build West End theatre to open in 50 years.
• The first performance is on Tuesday 6 December 2022, Press Night 14 December, for a limited season until 28 January 2023.
• The production stars Leah Harvey (Foundation, The Wonderful World of Dissocia Theatre Royal Stratford East, Shakespeare Trilogy Donmar at King’s Cross) as Rosalind, Rose Ayling-Ellis (EastEnders, Strictly Come Dancing 2021 winner) as Celia making her West End debut, Alfred Enoch (Harry Potter films, Red West End) as Orlando, Tom Mison (Sleepy Hollow, Watchmen) as Touchstone and Martha Plimpton (The Good Wife, Sweat West End, Cymbeline Lincoln Centre, NY, A Midsummer Night’s Dream, Public, NY, Shakespeare in the Park, Pericles Public, NY)  in the role of Jaques. 
• @sohoplace’s first production Marvellous opened last month and is running until 26 November. Following As You Like It is Fictionhouse Limited, Nica Burns and Kate Pakenham Productions’ Medea directed by Dominic Cooke, and starring Sophie Okonedo and Ben Daniels.

Producer Nica Burns today announces full casting for @sohoplace’s first original production, William Shakespeare’s As You Like It, directed by Josie Rourke with a musical score by Michael Bruce. The production stars Leah Harvey as Rosalind, Rose Ayling-Ellis as Celia, Alfred Enoch as Orlando, Tom Mison as Touchstone with Martha Plimpton in the role of Jaques. Further casting includes Allie Daniel (Amiens), Tom Edden (Duke Frederick), Dickon Gough (Charles), Gabriella Leon (Audrey), Mary Malone (Phoebe), Syakira Moeladi (Hisperia), Nathan Queeley-Dennis (Silvius), Cal Watson (Le Beau), June Watson (Adam and Corin) and Ben Wiggins (Oliver).

As You Like It will be the second production @sohoplace with the first performance on Tuesday 6 December 2022, running until 28 January 2023.

Design                  Rob Jones

Lighting                Howard Harrison

Sound                   John Leonard

Music                    Michael Bruce

York Theatre Royal – until Saturday 12th November 2022

Reviewed by Michelle Richardson

3 ½***

We’ve all heard of Guy Fawkes and will soon be remembering his dastardly deeds on the 5th November, or really what could have been. This comedy, written by David Reed, who also plays the lead role of Guy Fawkes, tells the story of him plotting to restore a Catholic monarch to the English throne, along with a band of misfits, whatever the cost. Guy Fawkes was born in York, so it makes sense for this to be performed here and playing over bonfire night.

What starts out as a clandestine meeting in a pub with the motley crew of collaborators, who are more interested in the nuts on offer, than getting down to the nitty gritty and planning to dethrone King James. This all changes with the introduction of Guy Fawkes. And so, the Gunpowder Plot is created.

Robert Catesby (Robin Simpson), is the supposed brains behind the shenanigans, never have we seen a more ineffectual leader. Thomas Winter (Andrew Pollard), a gentle giant, with a hippy vibe, reminded me of Neil from the Young Ones. Thomas Percy (Greg Haiste) is the money, a dandy, keeping up with the latest fashion, however ridiculous that might be. I thought he was a wannabe Lord Flashheart from Blackadder, but my guest disagreed and thought Percy, he is a huge Blackadder fan. Cassie Vallance plays his wife Martha, who initially seemed a ditzy fashionista, but we saw a more serious side to her as it was revealed she was a past love of Fawkes. Jamie Zubairi plays her bother Kit, almost childlike in his enthusiasm and mannerisms, the final piece of the puzzle. He is an old school friend, the one who gets Fawkes involved. David Reed as Fawkes is more serious and earnest in his role. It was lovely to hear his strong Yorkshire accent, accentuated on stage, a York man playing a York man.

The set was well designed, with atmospheric lighting. The costumes where outstanding, none more eye catching than Martha’s huge frocks and Percy’s Jacobean outfits. The addition to the stage of 36 barrels for the second half, must have been a back breaker for the stagehands.

There are some seriously funny moments within the play, with some great comedic performances. Check out the bear costume, yes there is one in this show. It’s not all about humour, there are some serious moments. If I’m truly honest I would have either preferred it to have been either full on slapstick, or a completely factual production.

This show is certainly not what we thought we knew about this botched Gunpowder Plot. This is a piece of fiction, based around a factual event, that went spectacularly wrong, that for some reason we still choose to celebrate over 400 years later. Surely, that is enough of a recipe to create a comedy and the perfect time to see this show.

A New Adventure is About to Happen…

WINNIE THE POOH THE MUSICAL to open at

London’s Riverside Studios

on 26 March 2023 ahead of UK and Ireland tour!

London Pre-sale Now Open

(general on sale Monday 7 November, 10am)

Tour tickets on sale now!

UK premiere of Disney’s WINNIE THE POOH THE MUSICAL

Created and directed by Jonathan Rockefeller

Featuring music by The Sherman Brothers

with additional songs by A.A. Milne

Disney’s Winnie the Pooh will be coming to the UK and Ireland stage for the first time in Spring 2023, with preview performances at London’s Riverside Studios (Hammersmith) from 17 March and an official opening on 26 March. It will then tour the UK and Ireland until September 2023. Tickets for Riverside Studios on sale at 10am on Monday 7 November, with Tour tickets on sale now.

The UK premiere will be presented by Rockefeller Productions, in partnership with ROYO, and in association with Disney Theatrical Productions. The role of Winnie the Pooh will be played by Jake Bazel, who originated the role on Broadway.  Further casting to be announced.

Jake Bazel is a puppeteer, voice actor, writer and coach with over a decade of experience working in children’s media. Credits include Sesame Street (HBO/PBS), Disney’s Winnie the Pooh: The New Stage Adaptation (Disney Theatrical), Sesame Workshop’s Helpsters (Apple TV+), The 90th Annual Macy’s Thanksgiving Day Parade with Disney’s Muppets (Disney/NBC), The 93rd Annual Macy’s Thanksgiving Day Parade with Sesame Street (Sesame Workshop/NBC), Duncan the Skunk and the Big Costume Trunk (Hellosaurus), The Very Hungry Caterpillar Show, Paddington Gets in a Jam, Paddington Saves Christmas, Sandra Boynton’s Frog Trouble, Jim Henson’s Dinosaur Train Live! and Sesame Street in Communities. As a writer, he helped to craft Disney’s Winnie the Pooh: The New Stage Adaptation.

Deep in the Hundred Acre Wood, a new adventure is about to happen.  A.A. Milne’s beloved characters,Winnie the Pooh, Christopher Robin and their best friends Piglet, Eeyore, Kanga, Roo, Rabbit and Owl (and Tigger too!), will all arrive on stage in a beautifully-crafted musical stage adaptation.

In a new story from the Hundred Acre Wood, this fresh stage adaptation is told with impressive life-size puppetry, exciting new stories and featuring characters that have played iconic roles in the lives of children for generations. Accompanying the modern narrative is an original score by Nate Edmondson, featuring some of the Grammy award-winning songs written by the Sherman Brothers for the original animated features, including Winnie the Pooh, The Blustery Day, The Wonderful Thing About Tiggers and Whoop-De-Dooper Bounce, plus A.A. Milne’s The More It Snows (featuring music by Carly Simon) and Sing Ho in a new arrangement.

Winnie the Pooh: The New Musical Adaptation is developed and presented by renowned family entertainment creator Jonathan Rockefeller (whose spectacular puppetry is omnipresent in the acclaimed productions of The Very Hungry Caterpillar Show and Paddington Gets in a Jam).

Inspired by the beloved books by A. A. Milne and the classic Disney featurettes, the production was welcomed in New York in 2021, where it broke theatre box office records for the largest advance, with rave reviews where it was called “Enchanting!” (Time Out); “Winnie the Pooh: The New Musical Stage Adaptation is magical, sweet as honey, and full of humor. It’s a wholesome, delightful, enchanting piece of theatre,” (BroadwayWorld); “A perfect reintroduction to live theater. It’s a captivating adventure with spectacular puppetry,” (Mommy Poppins); “Charming and whimsical stage show that Pooh surpasses every expectation I had for it,” (The Laughing Place); “Winnie the Pooh is delightfully first-rate,” (Theatre Pizzazz); “Irresistible. ‘Winnie the Pooh’ is sweeter than honey,” (DC Metro Arts); “An hour of bountiful joy,” (New York Theatre Guide); “Mesmerizing and lifestyle puppets and original Sherman Brothers tunes, the beautiful new Winnie the Pooh musical is must-see,” (Theatrely); “The wonderful thing about musicals is that musicals are wonderful things. The New ‘Winnie the Pooh’ Musical Is Sweeter than Honey,” (Toy Insider).

Website: winniethepoohshow.co.uk

Facebook: @WinnieThePoohShowUK

Twitter: @WinnieShowUK

Instagram: @WinnieThePoohShowUK

LISTINGS INFORMATION

Disney’s Winnie the Pooh

17 March – 21 May 2023

Riverside Studios

101 Queen Caroline Street

London W6 9BN

For performance schedule and to book tickets, visit winniethepoohshow.co.uk or riversidestudios.co.uk

Tickets from: £25 (family ticket) with meet and greet options available

TOUR SCHEDULE

31 May – 4 June         Southampton Mayflower Theatre                                           02380 711811

                                    mayflower.org.uk

9 – 11 June                  Milton Keynes Theatre                                                           0844 871 7615*                                               

                                    www.atgtickets.com/venues/miltonkeynes

16 – 18 June               Birmingham Hippodrome                                                        0844 338 5000                                                

                                    www.birminghamhippodrome.com/                                          On Sale 28 Nov

20 – 22 June               Sheffield Lyceum Theatre                                                       0114 249 6000                                                

                                    www.sheffieldtheatres.co.uk

23 – 25 June               Brighton Theatre Royal                                                           0844 871 7615*                                                                                                  

                                    www.atgtickets.com/brighton

28 June – 1 July          Nottingham Theatre Royal                                                      0115 989 5555           

www.trch.co.uk

7 – 9 July                    Richmond Theatre                                                                  0844 871 7615*

                                    www.atgtickets.com/Richmond  

14 – 16 July                Aberdeen His Majesty’s Theatre                                                                    

                                    aberdeenperformingarts.com 

18 – 19 July                Edinburgh Festival Theatre                                                     0131 529 6000

                                    capitaltheatres.com

20 – 22 July                Glasgow Kings Theatre                                                           0844 871 7615*          

                                    www.atgtickets.com/venues/kings-theatre             

25 – 26 July                 Manchester Opera House                                                       0844 871 7615*

                                    www.atgtickets.com/manchester

28 – 30 July                 Dublin Bord Gais Energy Theatre                                            0818719 377 (ROI)                                         

                                    bordgaisenergytheatre.ie                                                          08442485101 (UK)

1 – 2 August                York Grand Opera House                                                        0844 871 7615*

                                    www.atgtickets.com/york                                                         

3 – 5 August                Cardiff Wales Millennium Centre

                                    www.wmc.org.uk

7 – 9 August                Newcastle Theatre Royal                                                        0844 811 2121                                                            

                                    www.theatreroyal.co.uk

11 – 13 August            Guildford Yvonne Arnaud                                                       01483 44 00 00

                                    www.yvonne-arnaud.co.uk/

14 – 16 August            Blackpool Grand Theatre                                                        01253 290190

                                    www.blackpoolgrand.co.uk/

18 – 20 August            Canterbury Marlowe Theatre                                                   01227 787787

                                    marlowetheatre.com/

25 – 27 August            Southend Cliffs Pavilion                                                          0343 310 0030

                                    thecliffspavilion.co.uk

29 – 30 August            High Wycombe Wycombe Swan                                             03433100060

                                    wycombeswan.co.uk

31 August – 2 Sept     Cheltenham Everyman Theatre                                               01242 572573

                                    everymantheatre.org.uk

Further tour dates to be announced.

*Calls cost 7p per minute plus your phone company’s access charge

The Rose Theatre, Kingston – until 12th November 2022

Reviewed by Bobbi Fenton

4****

As with all shows produced by The Rose Theatre, The Importance of Being Earnest takes a familiar favourite by Oscar Wilde and makes it even better. The Importance of Being Earnest is about two men, John Worthing (Justice Ritchie) and Algernon Moncrieff (Abiola Owokonira) and how their somewhat entangled aliases affect the people around them, leading to a lot of drama, misunderstandings, and the revelation of a huge secret. John Worthing, with the alias of ‘Earnest’ becomes engaged to Gwendolen (Adele James) much to the disagreement of Lady Bracknell (Daniel Jacob). However, when he decides to visit his ward Cecily (Phoebe Campbell) and her governess Miss Prism (Joanne Henry) to tell them that his unruly ‘Brother Earnest’ has died, Algernon decides to introduce himself to Cecily as the infamous brother ‘Earnest’. The two soon become engaged, and this causes quite the argument between Cecily and Gwendolen who both believe themselves to be engaged to ‘Earnest’. With amusing moments of ironic mirroring between the complete opposite characters Cecily and Gwendolen, we see John Worthing and Algernon Moncrieff both confess to not be called Earnest, yet still remain engaged to the two women following a lot of begging. The play ends with a huge revelation about John Worthing’s family history, more specifically where he comes from and who his parents are. The biggest revelation of all being his real name that he was christened under as a baby.

Daniel Jacob’s portrayal of Lady Bracknell is wonderfully hilarious, with an almost pantomime dame essence to it, which is extremely funny paired with Justice Ritchie as John Worthing begging for permission to marry her daughter, and with Abiola Owokonira as Algernon begging for permission to marry Cecily. Not to mention the exceedingly comical performance of Valentine Hanson as the overly familiar butler Lane, and the awkward butler Merriman. I especially enjoyed one scene in which Valentine Hanson, as Merriman, is carrying increasingly heavy luggage across the stage in each direction as John tells Algernon to leave, and Algernon makes up his mind to stay.

On a more serious note, this play is a truly genius way for Director Denzel Westley-Sanderson’s vision of this play to come through, with the aim of highlighting the often-forgotten lives of rich, upper class black people in Victorian England.

This play, while using all the original language of an Oscar Wilde play, feels incredibly similar to the comedy commonly seen in sitcoms, and I especially agree with Artistic Director Christopher Haydon who compares it specifically with The Fresh Prince of Bel Air. This show is a wonderful display of how important names are, and the true importance of being Earnest.