A social media behemoth. 2 content moderators. Their new billionaire boss.
A satirical comedy about misinformation, technology, responsibility, power, and eating other people’s sins. Who are the people who mop up the worst of humanity? What happens when they become the story?
Moonloaf have created another standout with this satirical take on our media-saturated society. Passing commentary on such a contemporary subject can often be received by the audience as preachy, trying too hard to explain the moral. However, Insult To Injury is cleverly crafted to not feel as though it is forcing you to acknowledge its message. Instead, we are watching a gripping story unfold and the audience naturally draws parallels to our own experiences. It is clever enough to guide us to the point but make us feel as though we drew those conclusions ourselves.
The writing is fast-paced and feels authentically colloquial. Writers Kieran Dee and Grace Millie both take centre stage as Ellis and Kat, online content moderators for an ever-evolving social media site. The writing allows for the office dynamic between the pair to be believable and for the actors to share great chemistry. As time passes, the characters get increasingly comfortable with each other and the way that director Harriet Marsh has utilised the space to demonstrate this feels natural. The antagonist of the story, Vos, is written to balance both comedy and vindictiveness. This creates a villain we can so easily draw comparisons to figures in our own media to and subtly gives us the tools to critique their actions. Nick Hardie gives a very entertaining performance as Vos, you love and loathe the role in varying measures.
The piece acts as a warning for where we draw the line between online policing for the safety and benefit of the individual and therefore wider society. vs. how the monopolisation of the media can be harmful and potentially lead to a person’s downfall, be they the person pulling the strings or not. The dramatic stakes flow naturally and the pacing of the story keeps the audience’s attention. When the plot hits its peak, a sudden reveal is a sucker punch of emotion, even though you can infer what’s coming, it still hurts.
Insult To Injury successfully poses the dilemma of how much autonomy we believe to have online vs what is (or rather is not) within our control and how much we trust the people in charge.
⭐️⭐️⭐️⭐️ – 4 Stars
Playing at The Lion and Unicorn Theatre, Kentish Town until Saturday 13th April 2024. Tickets available here.
Edging explores the love and friendship between a gay man and his straight best friend. Childhood friends Marcus and Henry were once inseparable, but, after a period of no contact, one night Henry ends up at Marcus’ door needing a place to stay.
Written and performed by Harry Al-Adwani (Henry) & Martin Coates (Marcus) this is a hilariously touching exploration of male friendship and unrequited love. These two polar opposite personalities match and conflict perfectly. Coates’ humour as Marcus is predominantly deadpan which contrasts with Al-Adwani who is more exuberant in their approach. Both actors give convincing performances, especially in the play’s dramatic peak.
The narrative transitions from the present day to the past with the latter being signified with sound effects which take us back to the character’s youths. Staged at The Old Red Lion Theatre’s black box space, the set is decorated impressively with plenty of milk-based media within Marcus’ (who works as a milk salesman) flat. The opening scene sets the tone of the piece perfectly with its physical comedy, be prepared for some crude humour, but, that is part of the play’s charm.
The climax of the piece feels open-ended. It leaves the audience questioning the actions of both characters as they each recount different stories of the same event. This leads to an interesting conversation post-show: Who was in the wrong? What actually happened? How will the pair move forward? There are plenty of dream sequences throughout the show so, my personal interpretation, was did Henry even show up at Marcus’ door in the first place? Or was this all a dream fuelled by desire and unrequited love? The choice seems to be down to the audience.
Overall, the piece is entertaining and well constructed.
🌟🌟🌟 – 3 Stars
It is playing until Saturday 23rd September at The Old Red Lion Theatre, Angel. Book tickets here.
Talking Heads by Alan Bennet is the beloved 1988 TV series of monologues written for the BBC. The first series was broadcast on the BBC in 1988 and subsequently adapted for stage. This production staged by Dramaiocht Productions sees two excerpts from the original.
Dramaiocht Productions is a brand new theatre company set up by Mark Beer, who also stars in the show. The aim is to provide inclusive opportunities to artists across the industry regardless of disability, race or gender. This promising start for the company proves there is great potential for future endeavours. The company’s aim is hugely important and this is just their exciting beginning!
Georgie Rodgers assumed the role of Leslie in the monologue titled “Her Big Chance”. Leslie is an actress recounting her experiences of auditioning for, booking and filming a movie. Rodgers played the role with a cheekiness and naivety as Leslie tries to do a deep dive into her character’s psyche, with her director providing little inspiration. The pacing of the monologue was brilliant; it was impressive how Rodgers maintained the momentum for a character as high energy as Leslie for an extended length of time. However, the momentum was sometimes lost during the scene and costume changes. These were completed on stage, in a near blackout, with the same transition music each time. At times it disrupted the flow; so, perhaps the scene changes could utilise a different soundtrack each time to either reflect what had just been said or to set up the next scene. This monologue is a great insight into the mind and life of an actor. The closing gambit about developing skills was delivered with great sincerity by Rodgers.
After a short interval, we meet Graham portrayed by Mark Beer. “A Chip In The Sugar” sees Graham recounting the recent few days when his Mother, who we assume lives with dementia, reconnects with an old friend who disrupts Graham & his Mother’s peaceful coexistence. Touching on themes such as mental health, racism, suppressed sexuality and memory loss, Beer created an engaging atmosphere with dry humour scattered throughout. He sat in a chair for the entirety of the piece and that stillness allowed the audience to totally enter Graham’s world. You could visualise the scenario and it felt more like a narration than a recount. Beer portrayed multiple characters and each is distinct due to voice and physicality. In this piece, the transitions between scenes had a similar set-up to the previous act. They however felt more authentic here, which is namely down to the piece’s overall stillness which is what was the most captivating.
Talking Heads plays at the Chelsea Theatre until April 29th with a BSL-interpreted performance on 26/04.
Sacrifice written and performed by Tina Tieno is the true story of Aneno, a mother fighting to save her disabled daughter from the traditions of child marriage in rural Africa.
Tina Tieno’s performance is mesmerising to watch. Her presence is so warm and when she enters the space you are instantly engaged. You connect with her, and all of her characters immediately. In this one-woman play, she embodies each character through a variety of physicalities and voices. They are each distinct, making the piece easy to follow – especially if the subject matter isn’t one you’re too familiar with.
Sacrifice could successfully be scaled up with a full company playing each role because the story is so strong. However, the heart and soul Tieno puts into each character would be difficult to match. She is captivating to watch.
Tieno’s writing style is beautiful. The piece feels like a bedtime story told to inspire dreams of strength. The space and the writing work hand in hand to invite the audience into this story. The simple set of a black box theatre is expertly used allowing the audience to visualise the full picture from the minimalistic props.
It was especially moving to see this piece on International Women’s Day. We meet generations of women who have commanded respect throughout their lives and educated those around them about the sheer strength women possess. The retelling of the story through this play brings the moral to a new audience and I hope this isn’t the last we see of this story – it deserves and needs to be heard.
⭐️⭐️⭐️⭐️⭐️ – 5 Stars
Sacrifice is running at The Vaults Festival until Friday 10th March. Book tickets here and follow the show’s Instagram page here.
Centred around three teenagers who meet in a support group for terminally ill young people, Mortality is a play about living life on the edge and questions whether we can die with zero regrets.
Dan (Edward Oulton), Lewis (Zak Shetewi) and Jade (Darcy Dixon) are frantically navigating their last weeks/months by trying to experience as much as they can. From doing a runner from an expensive restaurant, giving themselves tattoos, smashing the patriarchy and considering what a legacy genuinely means, these characters are set on what they believe they are entitled to experience in their short lives. They are often obnoxious and annoying with their constant peer pressure but ultimately it’s endearing because you are constantly reminded that they are teenagers faced with something terrifying. All of the performances are high energy and there are some great comedic beats within the writing – a credit to Edward Oulton for his debut as a playwright.
Image credit – Simon Vail
Clocking in with a running time of about 45 minutes, the fast pace reflects the urgency and unpredictability of living with a terminal illness. It would have been nice for some moments to have a bit more time to land before we jumped into the next line of dialogue given the weight of the subject matter – especially towards the conclusion of the play. The transitions between each scene were clear and flowed well, furthering the story.
The sparse black box set had a digital clock at the heart of it counting down throughout the performance. The play ends before it got to zero which hammers home the message that we don’t know how long we’ve got before our time is up and even if we try to make it count, we just don’t know when it’s going to be up. However, on the flip side, it could have been cool for the timer to sync with the conclusion of the performance as the characters begin to have a sense that ‘the end is nigh’ in the final act. The Hope Theatre is quite a cosy space and it hasn’t got raked seating so some of the action was missed from the second/back row as the actors were sometimes sat on chairs or had blocking on the floor which was a shame to miss.
Conceptually Mortality is an interesting play which makes the audience consider whether we are entitled to experience everything in our short lives and if we can achieve this without regrets. A promising writing debut from Edward Oulton with good performances all round.
Mortality plays at The Hope Theatre until 25/02/23 and you can find out details here
CAST Dan – EDWARD OULTON Lewis – ZAK SHETEWI Jade – DARCY DIXON
CREATIVE TEAM Writer – EDWARD OULTON Director – CAYVAN COATES Stage Manager – AMELIA JEAN CRABTREE Composer – TED FORD
Lockdown. But this time the pandemic is social media. Set in an alternate world, Roast Me is a new play written by Tom Holt and is being presented by AIM Theatre.
The play follows four young adults across multiple timelines trying to navigate the consequences of a new social media trend where people invite strangers to roast them online. The nastier the comment, the greater the likes. It eventually gets out of hand; a national lockdown is enforced with people being implored to mask their faces to reduce the risk of unwanted photos being snapped and uploaded for digital ridicule. In a world where phones are more dangerous than guns and keyboard warriors run the show, the social commentary of this piece is really interesting.
There are many elements which at a first glance feel far removed from reality but then you realise they aren’t that far from the media-saturated society we live in today. Nastiness online is so common that it’s easy to pass it off as banter when a comment is enclosed in ✨ sparkles ✨ or has /j on the tail end. Roast Me magnifies this and (although in a very dramatised manner) illustrates the dangers of social media. With this in mind, this piece of theatre has great potential to become a touring production which visits schools to share its important message. Tom Holt’s writing style is colloquial and each character has a distinctive voice which would allow young people to connect with the story.
The choice to tell the story in a non-linear fashion was interesting and kept you on your toes, however, it wasn’t always clear which timeline we were in. At one point the protagonist who was determined to save the world in one scene was in the following scene laughing at someone else’s misfortune after being roasted without their consent – a very abnormal change in tone. It wasn’t until later it was clarified that the second scene was set in the past. Perhaps the use of stagecraft, such as a lighting change or clear costume/set pieces to denote we’re in a specific timeline, could clarify the setting. In a few scenes, more time was spent as an audience member trying to work out where we were rather than hearing the message of the piece. The direction by Jordan Scott Turner marries well with Holt’s writing and there was a very clear vision in place – the choice of a character’s mask connoting their status in the online world was clever.
Harvey, played by Conor Joseph, is named as the one to blame for the Roast Me pandemic. Joseph played the role with innocence in the past and wise, determined energy in future; balancing both well and showing great character development. There was so much light in his performance and fun moments of comedy. AJ Greaves as Charlie did well to portray a character who is simultaneously unlikeable yet amicable based on where we are in the story. A very thoughtful performance which generates discussion about how and why people use social media differently. Lucy Doyle as Charlie (yep, there’s another one!) has a particularly tender scene to navigate surrounding her character’s mental health and approaches it with beautiful poise. You understand her motivations later in the piece regarding her relationship with Charlie and although her choice may not be one you agree with, you believe why she’s made the decision rather than it just being a lovestruck cliché. Lily played by Ayesha Sharma is brutal and dry, a real contrast to the rest of her friends. Sharma is totally convincing in the role and earns a fair few laughs with her delivery. Stefanie Swan and Joe Wiltshire Smith serve as the play’s ensemble doubling as different characters. It’s through them we find the connections between the lockdown reality we all went through and the dramatised version in this story. Swan delivers a monologue about lockdown dependency which we can all probably relate to in some way and Wiltshire Smith has a sensitive moment about living life in the public eye as well as playing a fun bumbling caricature of a politician.
AIM Theatre is a new professional theatre company directed by Joshua Bennett and co-produced by Georgina Bessey working to showcase up-and-coming talent whether they be actors, writers, directors, stage crew, etc. For this production for example they had East 15 student Beth Martin as their stage manager. The aim is to hopefully give artists a platform and exposure to grow their careers. This year they are premiering their first professional London season and no doubt have a very promising future ahead of them.
Roast Me is an enjoyable and thought-provoking piece which has great potential to develop into a larger-scale production. Running at the Union Theatre until 22/01/23 and you can book tickets here.
As 2022 draws to a close I wanted to reflect on all the epic pieces of theatre I’ve seen this year. 2022 was the first full year of theatre since the pandemic and it has bounced back with almighty force! From plays to musicals, to exciting theatrical events I have been fortunate enough to have been to see 39 different things this year. I’m going to split this up into a few different sections and then share the full list of shows at the very end. From West End musicals, fringe theatre plays and third-year drama school shows there’s been a real range of shows in my calendar this year but there were some real standouts! Nothing here is listed in a particular order but these are some of my top picks from 2022.
Top 3 New Shows of 2022 (shows I hadn’t seen before this year)
Newsies
I have a feeling Newsies will be at the top of many people’s lists of the best things they have seen this year. It definitely ranks high on mine, it is INCREDIBLE. The choreography and how it works in that particular venue is what impressed me the most. It’s so athletic but never for one moment does it lose the story – often a lot of big dance numbers in musicals can, unfortunately, lose the narrative of the show in favour of whacking out multiple pirouettes. This is not the case at Newsies, every step on that stage is informed and furthers the plot. Plus the immersive staging brings a whole other level to the heart of the show. You want the Newsies to succeed as you’re essentially living with them. I had goosebumps and was biting back tears so many times whilst watching the show and I cannot wait to revisit next year. Booking till April 2023 here.
Life Of Pi
Every year I say “I wish I could see more plays” and this year I saw quite a few but one stands heads and shoulders above the rest. Life Of Pi is unlike anything I have ever seen. I’m gutted I only got to see it once before it closes in the New Year but I will do my best to catch it on tour. The storytelling in this show is so unique, the narrative flips back and forth across the timeline but it’s so easy to follow and the suspense is built effortlessly. I could talk forever about the puppets, I was crying within the first 10 minutes because I felt like a little kid. A tale about honouring your roots and telling your story how you feel it deserves to be told is so poignant and special in this day and age. Plus having some excellent South Asian representation onstage really did make my heart sing. There’s so much soul behind this play and I hope people flock to see it on tour. Check out ticket info for the final weeks in the West End and tour dates here.
Legally Blonde
This was my most anticipated show of 2022 and it did not fall short at ALL. I was lucky enough to catch it twice and it is one of the most special shows I’ve seen. The musical itself is, of course, phenomenal but the alternations to the script/score to bring this already forward-thinking show into 2022 were incredible. People I knew feared it could run the risk of being “too woke” with its casting choices (those people can get in the bin tbh xo) and also worried it would be pandering to the TikTok generation with its creative choices. Legally Blonde has always been a story to teach young audiences the importance of girls supporting girls and not compromising on who you are to achieve your dreams. Be that as a chick flick movie in 2001, the Broadway musical aired by MTV in 2007 or now the Regents Park Open Air Theatre production utilising social media in a social media-obsessed world; every incarnation of the story uses the era-appropriate medium to make the story relevant for the age demographic they’re trying to reach. This year’s production achieved that with flying colours. It was cheesy fun but it didn’t feel like it was trying too hard to be relevant. It’s all about unapologetically being who you are and this show celebrated that beautifully.
Top 3 Shows I’d Seen Pre 2022
Moulin Rouge
I saw Moulin Rouge for the first time in 2021 and I made three return trips this year. It’s a show I was so excited to finally make its way to London after listening to the Broadway Cast Recording on repeat since it came out, and seeing it for the first time was a feeling I won’t ever forget. This year has had some big ups and downs for me but getting to see Moulin Rouge when I needed a boost is something I’m so grateful for. It helped me hold onto my love for theatre in my hardest moments. As soon as you step through those doors you’re transported into the world of the Bohemians and you leave the theatre wanting to instil Truth, Beauty, Freedom and (most importantly) Love into all you do. From sitting in the Can Can seats, to cheering on the original West End cast at their final performance, this year has provided me with some pretty epic Moulin Rouge memories. I already have a trip booked for February and am hoping to hop across the pond and see it on Broadway too in 2023! But more on that to come! You Can Can 😉 book seats here!
Cabaret
After months of entering the Cabaret lottery… I still haven’t won the £25 seats. However, one-night TodayTix took pity on my countless entries and randomly selected me to win £55 tickets instead. I was sat in the same place as I was when I saw the show in December 2021 at a subsidised rate. The experience of visiting The Kit Kat Club is magical. There’s so much to explore and there are some of the best performers in the biz shining in that building. I was so excited to see Callum Scott Howells and Madeline Brewer as The Emcee and Sally Bowles, their performances were electric. Scott Howells had epic comedic timing (particularly in his physicality) but also played the role with a hugely sinister smile at the turn of the show. Initially, I was unsure of an American actress playing ‘The Toast of Mayfair’ but as soon as Brewer shouted Sally’s iconic “hello darlings!” in the opening number I was sold. Her take on the character was unlike one I’d seen before. Her Sally was more calculated than reckless meaning the payoff in her take on the title track was heartbreaking. Cabaret is a show I wish everyone could see and the cast recording in 2023 is going to be something really special but until then enter the lottery on TodayTix and book tickets here!
Dear Evan Hansen
I will be transparent here, Dear Evan Hansen has never really been a show I have loved. I have some problems with how some of the themes are portrayed and how they can be misconstrued at a glance by just listening to the score. However, after watching the film in 2021 (which many people would rather forget the existence of which I don’t agree with) I gained a deeper understanding and appreciation for the piece. I’ve historically enjoyed the music, and the performances when I’ve seen the show have always been moving, but after letting the film sit with me and then seeing the show in its final weeks in London I feel like I saw a completely different show. Maybe it was one of those stories I needed to grow up a bit to connect with (I saw it initially at 18 and now I’m 21) but I enjoyed it. I do still have my qualms with it; partly because a lot of the story hits home for me, mainly because I dislike people’s immediate defence of “but he has anxiety! 😦” when I say the character of Evan Hansen isn’t a nice person. However, seeing it before it closed in the West End was undoubtedly a touching moment and I hope it isn’t the last of the show we see in the UK for a while as there are positive messages in the story which people can benefit from hearing.
So there we have it! 2022 is almost through and the exciting shows of 2023 are on the horizon! Next year I’m looking forward to the return of shows such as Bonnie & Clyde, My Son’s A Queer and Guys & Dolls as well as no doubt returning to a few of my favourites! Below is the full list of everything I was lucky enough to see this year if you are interested! I hope that you have a lovely start to the new year and thank you for following this blog, I really appreciate it!
A Masterclass with Cumley St Claire is a, fictional, live taping of a flower arranging class with the wonderfully wild Cumley St Claire. This insight into the character is hilarious and at times intense giving audiences an experience they were most likely not expecting upon booking a ticket.
The show’s writer Cat Addens plays the role of Cumley St Claire and their performance makes a hugely obnoxious personality strangely endearing. They are hugely likeable in the role (even though Cumley St Claire isn’t a character you’d expect to like straight away) and their connection with the audience was instantaneous. There were good elements of audience participation which allowed for the vastly different demographics in the audience to find something in the performance to connect with. The piece takes us through the bouquet of Cumley St Claire’s life where we learn the meanings behind each flower used in the display but also the personal connection it holds for the character. A very clever use of language you would only expect to overhear at Waitrose which creates a brilliant base of text for the show. Brilliantly colloquial yet also totally absurd.
Grainne Robson (who also directed the show) and Lydia Wainwright play Cumley St Claire’s sick to death stage hands. Both actors greeted the audience into the space and the atmosphere instantly felt intense. The scene was set instantly and it left the audience feeling uneasy. They were clearly over Cumley St Claire’s BS and they wanted the prospective audience to be prepared for the nonsense they had endured. Their dry and stressed out performances complimented Addens’ extravagant character and all of the cast had excellent chemistry… even if they were at each other’s throats for the majority of the performance!
Salt Circle Productions produced the show and the company is run by Cat Addens and Grainne Robson. The theatre group formed in 2020 in a hope to spread joy and also tell stories which aren’t typically heard. LGBTQIA+ comedy is frequently used as the butt of a joke which often isn’t tasteful. Salt Circle Productions strive to create a space where a character’s queerness is celebrated yet also isn’t the only thing to note about a character. It’s positive representation which feels effortless as this is just who the character is, not their defining trait. This was evident in A Masterclass with Cumley St Claire and something many other writers/comedians/directors etc should take note of.
A Masterclass with Cumley St Claire was a part of the Camden Fringe Festival. The run has finished (I’m so annoyed this post wouldn’t go up when I wanted, I’ve been at war with my laptop all week!). However keep an eye out for the future work of Salt Circle Productions via their instagram here!
Demetrius Wakes is a present-day sequel to Shakespeare’s A Midsummer Night’s Dream where the four famous lovebirds are celebrating their 15th wedding anniversaries. Mia and Zander host the evening and whilst Hel chats, Demetrius enters the ultimate midlife crisis… he no longer loves his wife.
For those who are unfamiliar with the original play, A Midsummer Night’s Dream is the tale of four young people whose love lives are tampered with by a meddling fairy. The boys end up pursuing the same girl and magic-infused chaos ensues. The fairy rectifies the spells and they end up falling in love with the person of their dreams, living happily ever after. However, in Demetrius Wakes the spell of love has worn off and Demetrius is doubting his marriage.
The play is extremely naturalistic from the get-go – to the point where a character even makes a joke about it upon breaking the fourth wall. Jacob Lovick and Megan Jarvie show us their playful relationship as Zander and Mia but as the piece goes on they become more dysfunctional and the cracks in their marriage begin to show. This is illustrated excellently by both of their performances. The slightly odd Hel and Demetrius, played by Georgia Andrews and Jack J. Fairley, knock at the door and from there all begins to descend into madness. Both actors play up to the character traits outlined by Shakespeare brilliantly, Helena’s dramatics and Demetrius’ awkwardness come to life. Sam Harlaut is fabulous as Puck and wreaks havoc with a cheeky grin after the love spell wears off. Puck’s asides to the audience were often met with giggles as this larger-than-life character has some excellent writing to play with.
Jack Robertson’s text is brimming with nods to Shakespeare’s original text, notably towards the end when Hel and Mia discuss sisterhood and there are fantastic references to Act 3, Scene 2’s famous “Lo, she is one of this confederacy” monologue. The four lovers speak in ‘present day English’ however some Shakespearean-sounding phrases such as “how art thou?” are thrown about in a way which feels colloquial. Puck speaks predominately in verse however there are phrases you’d expect to see in the comments section of a Love Island Instagram post worked into the speech in keeping with Shakespeare’s famous sound. A very clever piece of writing.
The story is still accessible if you’re not familiar with the original play however a lot of the jokes and clever nuances rely on the audience knowing A Midsummer’s Night Dream. So if it’s been a while since you studied it in GCSE English Literature it might be worth brushing up on some plot points so you fully appreciate the cleverness of this show. However, do not allow this to put you off seeing this wonderful comedy which will introduce you to the wacky world of The Bard through the lens of 21st Century couple of friends having a meltdown.
Demetrius Wakes is playing at The Old Red Lion Theatre until the 13th of August. Be sure to check the show out here.
As Real as Anything is ‘a serious comedy’ written by Andrew Cartmel and directed by Jenny Eastop. The tale of two couples both working within the theatre industry where the pressures of passion and professionalism both take their toll. The piece is performed by Thursday Theatre which is a company that was born during lockdown. What began as online readings of plays has grown to be an excellent hub for showcasing talent.
We open with Gwen (Rosie Edwards) and Duncan (Alasdair Shanks) preparing to host guests for the weekend as they collaborate on the revival of a play they had had huge successes with years prior. Gwen is producing the show and Duncan is set to direct even though both of their careers are in a rut. Edwards and Shanks team up brilliantly and allow the audience to gel with their characters instantly. We meet them mid-conversation and both actors invite us into their world with subtle ease.
Duncan (Alasdair Shanks) and Gwen (Rosie Edwards)
Their guests are Rosie (Kelsey Short) and Jake (Jamie Hutchins), Jake has written the play and Rosie assumes the role of the leading lady. Short and Hutchins’ playful relationship dynamic allows their characters to be instantly likeable. The energy they bring into the space feels warm and optimistic. The perfect contrast to Edwards and Shanks’ bickering which however is equally as endearing in its own way.
Rosie (Kelsey Short) and Jake (Jamie Hutchins)
We learn that the last time the play was performed there were passionate feelings sparked by Jake’s writing resulting in a short-lived affair between characters. Andrew Cartmel’s script is a slow burn when it comes to revealing the truth but a lot of clever seeds are planted from the moment the show begins foreshadowing that history might be repeating itself. There’s one moment where a conversation catches you totally off guard and the genius direction by Jenny Eastop leaves you panicking. A very enjoyable moment which allows the rest of the show to snowball nicely to its epic conclusion.
At its core As Real as Anything is a struggle between morals and business. The decision to either save their careers or their love lives is a constant battle throughout. All the actors deliver truthful performances which allow you to be invested in their decisions and hopeful for outcomes in play with such a short runtime. It’s a really exciting piece of theatre which would do well both with being upscaled and performed in a larger theatre (perhaps with further scenes detailing the run of the play after all the mishaps) and would also work exceptionally well as a short TV drama series. A brilliant show with hopefully a bright future.
As Real as Anything is currently running at The Hen & Chickens Theatre Bar (which is a lovely theatre pub in Highbury and Islington!) until Saturday 9th July. You can book tickets here and check out Thursday Theatre’s website here. All show image credits go to Conrad Blakemore.
Ps, I apologise for this post being up later than I would have liked. I have not long started a new job and things have been a madhouse here lately, an update soon, but I’m so grateful to Thursday Theatre for the invite and I hope to keep up with their future endeavours! Try to catch the show this weekend if you can!!
Lucinda Spragg. Libertarian, thinker, philosopher, political rabble-rouser.
Lucinda Spragg is on a tour promoting her new (self-published) book Jabbie Dodgers in an attempt to bounce back after the woke lefties got her cancelled for her views against the Covid-19 vaccines. Featuring dramatic readings from her book and humour which would cause the Snowflakes to melt in horror, Spragg is bouncing back like every other disgraced public figure would dream of!
^ THIS IS OBVIOUSLY A JOKE REVIEW AND DOES NOT REFLECT MY OPINIONS. THE REAL REVIEW STARTS HERE!!
In all seriousness, Lucinda Spragg: An Evening With paints an excellent portrait of the narrow-minded people we’ve seen on our social media feeds. The show is a spoof book tour of a far-right politician attempting to claw her way back to public relevancy.
From the bumbling answering of questions about their views to the shouting utter rubbish in an attempt to make the world see ‘clearly’ this play captures the nonsensical nature of the people so desperate to be right.
Grace Millie who wrote the show plays Lucinda Spragg. Her performance contains enough subtle nuances to make this character believable enough to hate but doesn’t detract from the theatricality of it all which is what makes the piece so entertaining. The show is self-aware as a piece of political satire and that’s why it’s funny.
This, predominantly, one-woman show has some excellent monologues which would be great for auditions etc. should the text be published. Grace Millie is a very clever performer and writer. The work is directed by Kieran Dee whose direction creates a very intimate and realistic atmosphere. Both Millie and Dee are part of MoonLoaf Theatre Company who seem to have a lot of great pieces up their sleeves.
An Evening With Lucinda Spragg is a great reflection on the past few years that we have endured. In a world screaming about the importance of freedom of speech and expression this eloquent piece of theatre helps to bring light to a situation we’d ordinarily just despair at.
**** – 4 Stars
You can find out more about MoonLoaf Theatre Company here. Lucinda Spragg: An Evening With plays its last performance at The Lion And Unicorn Theatre tonight (April 2nd) and tickets are available here.
How To Live A Jellicle Life: Life Lessons From The 2019 Movie Musical ‘Cats’ is a joyful way to start the year. Linus Karp is taking his one man show on the road, teaching audiences up and down the country what it means to be Jellicle.
I interviewed Linus Karp prior to the show which you can read here to get some more information about the premise. The piece is essentially a TEDTalk PowerPoint presentation about the 2019 movie Cats and why Karp believes it is a masterpiece contrary to all the negative reviews the film received. A PowerPoint emblazoned with all the bells and whistles from stock photos, star wipe slide transitions, to sound grabs and, of course, Comic Sans font will no doubt remind audiences of the “joy” of compiling a presentation for a school project. However this school project has been given a national tour and is presented by a grown man stood in a lycra unitard dressed like a cat… and that is why it was so enjoyable.
Linus Karp and his cat suit
The whole notion of the piece to many would sound extremely awkward and just a daft night out. However Linus Karp is so enigmatic as a performer you instantly want to listen to his story. You’re drawn into his world and the passion he has for the film is so endearing you too begin to see why this car crash of a film holds a place in his heart. From interpretive Jellicle dancing to hosting a game show halfway through the performance, Karp is a brilliant presenter who makes everyone feel comfortable in the otherwise weird and wacky world of Cats. There were moments last night where the PowerPoint clicker wasn’t working (we’ve all been there!) and it was taken in his stride, all adding to the fun of the piece.
The humour was very specific. If you have never seen Cats before you will get enough information to understand the concept and enjoy Karp’s commentary of the film. However if you’ve seen the film or are familiar with the show you will find this exceptionally hilarious. It’s no secret that the theatre community has lovingly ripped into Cats both as a film and a musical for years because it is so damn weird. How To Live A Jellicle Life: Life Lessons From The 2019 Movie Musical ‘Cats’ just takes that to a whole new level. There is also a lot of humour taken from internet meme culture which audiences will no doubt enjoy. The show was unapologetically stagey and everyone in the room reacted well to that.
There are also elements of audience participation where you are asked to put your “paws in the air” in response to questions or find your own Jellicle name from a Jellicle Name Generator – Trippy Shanks the Vegan Cat here at your service by the way..!
Overall the show just works. You’d ordinarily look at it and think “WTF” but it’s written and performed with such love you can’t help but have a great time. It’s a really fun night out to either see with people who’ve never seen Cats and watch them get gradually more perplexed yet tickled by the film, or, go with a group of stagey mates and have a blast.
The Deskbound Dramatic 