Reviews

'There is a deep love of theatre in this play' ★★★★ Al Nedjari is incredibly compelling as he channels Omar Sharif. There is the elegance, the smoothness, and, yes, the anger. But the story is not only about Sharif’s antics in his dressing room. There is a woman: Mag (Lara Sawalha), the assistant director-become-director of the show of Rattigan’s The Sleeping Prince, being performed at Chichester Festival Theatre. The setting is based on reality. Sharif really did perform at Chichester to play beside Debbie Arnold in 1983, at the age of 51, a long-awaited return to the stage. (There is a a wonderful line he says, looking wistfully in the mirror, “I don’t even look like Omar Sharif anymore.”) We get to see Nedjari’s Sharif in his habitat, complaining, musing, and being loving and generous, and name-dropping (Olivier, O'Toole), as the tension builds slowly. For quite some time, we’re not entirely sure what Mag wants. She enters on the premise of working through lines. But does she want be near greatness, is she looking for answers, or does she just want to be seen? After all, people are always looking to Sharif for something. He shows the bagful of post from fans around the world. Mag wants something too, though it is more elusive and she almost seems unsure what it is herself, perhaps reflective of playwright Hannah Khalil’s own life questions, as Mag is partially autobiographical. There is an astuteness by Khalil in creating a racial incident between Omar Sharif (the most famous Arab actor) and this half-Arab woman, right in his dressing room. Whether accurate to the real person or not, Sharif’s famed anger is on display at a couple of points: falling over a child’s skates, when he senses an injustice in people’s understanding of his motives about a generous gift given to a young lady, and when he finds out Mag is partly Arab. After she shares an anecdote about a personal incident with her own father, Sharif advises her to ‘pass’ as white. No-one would know. Mag has not found the font of knowledge in Omar after all. The play’s humorous touchpoints reside mainly in Sharif’s sardonic lines but also sometimes arrives in the form of Daphne (Ishia Bennison), the Dresser, who pops in and out at points, to be variously swooned, berated or belittled, at the whim of Mr. Sharif. Her presence adds lightness and even touches of comedy. It is hard to imagine a high-level actor such as Sharif picking up a game of backgammon just 15 minutes before the play begins (even if his part only starts at page 8); yet, it is fun to consider some of the backstage shenanigans, from dealing with issues with the cast (especially his co-star), to trying to get clean undergarments (“I bet Alec Guinness never had to beg for his knickers.”), to managing his moustache. The stunning design for the dressing room (Pip Terry) has a great many details that draw the eye. The multi-bulbed vanity mirror to the seated dressing table to the chaise lounge (of course, there has to be one of those) are matched with a clothes hanger next to random boxes. The details to the costumery are beautiful, especially Mag’s fluffy purple cardigan that is tossed by Sharif with disdain, another point of humour. Mag’s analysis of Rattigan’s play that they are staging, as she talks of it being a product of its time, and the actual run-through of the play's lines, present moments of theatre analysis, a wonderful self-awareness from behind the stage. There is a deep love of theatre in this play, not just of one of its most illustrious actors. BOX OFFICE Written by Hannah Khalil Performed by Ishia Bennison, Al Nedjari, Lara Sawalha Directed by Chris White Set & Costume Designer: Pip Terry Lighting Designer: Marty Langthorne Composer & Sound Designer: Michael Pickett Movement Director: John Nicholson Produced by Laila Alj Photo credit: Ellie Kurtz

“a satirical mystery that calls on tropes from classic Gothic horror films and Victorian melodramas“ ★★★ ½ There is a new pub theatre in East London! The Pearly Queen Theatre, a 50-seat black box theatre, has officially opened above The Bow Bells Pub on Bow Road, marking its arrival with an inaugural production of The Mystery of Irma Vep. The Mystery of Irma Vep by Charles Ludlam first premiered off-off-Broadway in New York City in 1984. The titular reference to the 1915 French silent-film character, Irma Vep, is the first indication that the show is one of gothicism, camp, and - just maybe - vampires. Indeed, The Mystery of Irma Vep is a satirical mystery that calls on tropes from classic Gothic horror films and Victorian melodramas. Characters include immediately recognizable genre figures – a hunched groundskeeper, an uptight maid, a deceased wife whose portrait hangs above the mantle alongside a single rose and an ever-burning flame, and so on. The play begins with Lady Enid’s arrival to Mandacrest Manor, the gothic estate home to her newly-betrothed, Lord Edgar. Lady Enid’s arrival follows the mysterious death of Lord Edgar’s first wife, Irma Vep, three years prior. As the plot unfolds, the mysteries of Mandacrest Manor accumulate, surprise twists reveal themselves, and characters travel to Egypt and back in search of answers. The Mystery of Irma Vep is intended for two performers. In this case, all eight characters are performed by Curtis Burrows and Leyon Stolz-Hunter. Both Burrows and Stolz-Hunter give excellent performances, effectively transitioning between multiple characters, frequently within the same scene. Their commitment and delivery help sell a considerable amount of absurdist jokes that may have otherwise fallen flat from less confident performers. The play’s plot leaves much to be desired. Characters’ motivations are often unclear and the audience is arguably left with more questions than answers. There’s an overtly sexual throughline that remains confusing throughout. Certain reveals feel too unjustified and random for successful payoff. Other twists simply do not make sense. Luckily, The Mystery of Irma Vep does not aspire to be Chekhov. It is a show that can laugh both with and at itself, and is trying to make its audience laugh far more than it is trying to fundamentally change their worldview. Plot holes are easily overlooked as comprehension is largely irrelevant. In this particular production, Glenn T. Griffin’s direction is similarly most focused on mining Ludlam’s script for opportunities for visual gags and physical comedy, more so than clarifying for the sake of audience understanding. The 120-minute runtime feels modestly excessive, but the play remains entertaining throughout. The performance is as successful as the script allows. Both the performance and the space contribute to audience enjoyment. During the show’s 20-min interval, audiences had the option of returning to The Bow Bells below, or enjoying a drink or snack at the theatre bar. Attendees could order food without leaving the theatre to then enjoy from their seats during the second act. All to say, The Pearly Queen Theatre is worth the trip. It is an intimate and welcoming space, and a wonderful addition to London’s pub-theatre scene. Fans of high-camp and murder mystery should be sure to catch The Mystery of Irma Vep before its closing on May 23rd for a guaranteed two-hours of absurdity and laughter. Audiences who prioritize plot and are committed to high art may consider catching the next one. Cast: Curtis Burrows, Leyon Stolz-Hunter Director: Glenn T. Griffin Venue: The Bow Bells, 116 Bow Rd, London E3 3AA Dates: 7–23 May Times: 19:30 (plus select Sunday matinees at 14:30) Ages: 16+ Running time: 2 hours (includes intermission) Tickets: from £20 (concessions available) Book: www.pearlyqueentheatre.co.uk Instagram: @thepearlyqueentheatre

'Innovative direction, busy with movement, that added to the chaos of the story and showed extremely well how they were all trapped together.' ★★★☆☆ The dark, restricting crypt that is the Barons Court Theatre was the perfect place to use for Rory McGrory's purgatory in the U.K. premiere of T.J. Elliot's Retrospective. Confined by a surround of blank canvases, the artist wakes up in this strange gallery and is soon joined by his dead wife Pippa. Eventually convincing him that he too is now dead, they embark on a duel of reminiscence, arguments, insults and accusations. Later, two more characters from the artist's past arrive to add to the chaos as the four struggle with their pasts in an attempt to work out how to escape. Noah Huntley, as the artist Rory McGrory gives a lively and varied performance; from his initial disbelief that he is dead and viewing a retrospective of his life's work that he can't even see, to frustrated anger at the curatorial comments about his paintings and his contemporary Clint Belinsky. Sarah Pearcy has a commanding stage presence and the choreographed explanations in the afterlife were comically performed. The audience for the most part seemed to find the funny bits funny and the energy of the actors gave the intimate atmosphere in the theatre a personal feel. Everyone was on for the ride and this rather wierd story, well performed, was appreciated by everyone. The connections and antagonisms between Rory and the other three were well defined and the escape from purgatory for all of them relied on acceptance of the truth about their past in one way or another. Jasmine Dorothy Haefner as Z and Benjamin Parsons as Clint Belinsky gave strong performances in their supporting roles. The directing was innovative and the stage often busy with movement. This was something that worked well in such a small space and something that added to the chaos of the story and showed extremely well how they were all trapped together. Their freedom, being expressed towards the end as each one exited, leaving the artist alone on the stage to finally see what he had created on his once blank canvases. READ INTERVIEW with playwright T.J. Elliott and director Liviu Monsted on RETROSPECTIVE HERE Retrospective by T J Elliott 14 - 23 May 2026, 7.30 pm BOX OFFICE By T.J.Elliot Directed by Liviu Monsted Cast Noah Huntley as RORY MCGRORY Sarah Pearcey as PIPPA LEFEBVRE Jasmine Dorothy Haefner as Z  Benjamin Parsons as CLINT BELINSKY Photographer: M arjorie Phillips Elliott

‘moments of excellence and Paterson is one hell of a performer, but … ‘ ★★ Boxed-up books slam to the floor with the weight of a secret family history. Glimpsed at first through snippets of conversation remembered as a child, Beth Paterson eulogises her grandma, Niusia, in her solo show that traces her story through the Holocaust, life in Australia and recounts the twists of generational trauma that run through Paterson’s and her mother’s bones. It’s a coming-of-age tale that works backwards not forwards, romantic in its very nature, but with a sharp historical edge. There are moments of excellence and Paterson is one hell of a performer, but form is not married to context here and this makes need for some serious edits. A show should be the sum of all its parts and Paterson splices together different elements with too great an ease. At once, she plays the dark comedian recalling jokes from family gatherings, in another, the errant academic, recounting the atrocities of Nazi military physician Josef Mengele (the “Angel of Death”) who her mother, forcibly worked under as a secretary even though she was in the camps herself. Sayings from the Talmud and Torah, Judaism’s most prominent scriptures, are not settled well with the impressionistic sketches Paterson gives of her childhood. It feels like a central point is missing here as the play reaches further than just Niusia. It’s a commentary upon much of Jewish history from the 20 th century till now. Too much feels like a history lesson and less like a discussion of events. It is not enough to say this plays is ‘Jewish’ in spirit, this needs to be displayed further. The audience is too often told rather than shown. This is not to say there is not inherent artistic value in Paterson’s script as it’s an inventive, rule breaking, stage play that work upon the heart strings, but it doesn’t feel like one concerted piece by a long chalk. She gives awkward grins to the audience to laugh that often feel like pantomime more than theatre. Paterson has one hell of an operatic voice though. Bursting into full opera, swinging jazz movements and quiet lullabies to Niusia. Voice over is used to a great effect with the cadence of a crackly radio creating a visceral quality to the speech of Paterson’s mother. Lighting forms a cracking colour motif, with split second changes matched well with longer fades in and out. Still the piece feels like it needs more direction. A lightning speed once over to check what is working and what is not. Overall, it has all the makings of a classic one woman show that works when it is at its most feminist, radical and free thinking. Unfortunately, these moments are few and far between. BOX OFFICE https://theatre503.com/whats-on/niusia/ Photography by Mayah Salter

‘When does a freedom fighter become a terrorist?’ ★★★★ ½ Set in Cuba, the story centres on 21 year old student Fanuco and an older American woman, Assata Shakur. The action takes place in Assata’s lounge and dining room, where we meet Fanuco. Assata has bravely rescued him from a beating and brought him to her home to patch him up. It is Fanuco’s dream to move away from poverty and make his fortune in America. He must improve his spoken English for the job he has been offered and he latches onto Assata begging her to be his teacher. When she reluctantly agrees, he receives an education that he was not expecting. Along the journey Fanuco learns more about his African heritage and the truth about Assata. Assata is an escaped convict and former Black Panther turned FBI’s Most Wanted Woman - with $2m on her head. The play asks when does a ‘freedom fighter’ become a terrorist. How important are our roots and the history of our people. No simple answers but audiences are sure to take sides as the drama unfolds, with clarity and a powerful ending. It is expertly directed and written by Kalungi Ssebandeke with two fine performances. Ebenezer Gyau is adorable as Fanuco with all the delightful playfulness and naievity of the young. Susan Lawson-Reynolds as Assata is a wonderful foil, someone who has experienced the horrors of slavery and has fought for freedom for her people. The cleverness of the direction shows in so many small details (and others not so small). The knocking on the door is sound only, no need for mime. The entrance through the side (and not the door) immediately gives the impression of the passage of time. The change of costumes helps to show the growing maturity of Fanuco, who by the end of the play is considerably changed. The lynching is a turning point in the play, it is shown as part of the story, and dramatically it is very effective. The props are used very judiciously, with lighting and sound being spare, but effective. All round, a gripping drama, well worth seeing at Riverside Studios’ fabulous complex of theatres, cinema and eateries next to the river (glorious on a sunny day). ASSATA TAUGHT ME by Kalungi Ssebandeke at Riverside Studios 12 – 24 May 2026 BOX OFFICE https://riversidestudios.co.uk/whats-on/mp-assata-taught-me/ Directed by Kalungi Ssebandeke Cast Susan Lawson-Reynolds: ASSATA SHAKUR Ebenezer Gyau: FANUCO MACEO Creative Team Associate Producer: David Ajala's VP & CHAIRMAN Associate Producer: Clarisse Makundul Set and Costume Designer: Bolu Dairo Lighting Designer: Chuma Emembolu Sound Designer: Jose Guillermo Puello Movement Director: Gabrielle Nimo Voice and Dialect Coach: Aundrea Fudge Cuban Cultural Consultant:LuandaPau Stage Manager: Mel Fritz-Liu

‘edgy entertainment’ ★★★ ½ Presented by Kulturscio’k, a contemporary theatre company based in Paris, their new show is inspired by Truman Capote’s iconic 1966 ball. It aims to highlight the decadence and hypocrisy of certain outrageously wealthy personages, and Capote’s subversive nature in a ‘true crime’ immersive cabaret. Canal Café Theatre is the perfect bijoux venue for this intimate event. The overblown characters, camp and exotic, are also a little fragile, with Paul Spera playing the perfect queer host. There are echoes of the musical Cabaret in his perverse and enigmatic delivery. He is definitely good-to-look at, and indeed, Garden Party is a feast for the eyes. As the stories unfold, those of betrayal and murder, there is a slight chill in the air, but it’s all distinctly delivered as wicked entertainment, titillation, thrills for the sake of outrage. The show begins with an extravagantly warm welcome from the cast. Audiences are shown to their tables where they are invited to use the masks and other wearables on offer. In the clearly defined audience facing immersive opening section of the show, audiences are invited to join in by telling everyone their darkest secret. This felt rather awkward right at the beginning, and no one was forthcoming although afterwards I did wonder whether my confession of having eaten the children’s chocolate Easter Eggs … before Easter, would have been suitable. Probably not, as the show then homes in on a ‘deliciously seductive’ selection of murders acted out by them with great relish, leaning into a fetishism of true crime. The second section of interaction with the audience worked beautifully with a couple of people joining in with supercool dancing. This was very elegantly performed. In the more voyeuristic scenes, when audiences become the observers, everyone can witness the stories and songs; one about accidentally shooting a rich husband and another about an alcoholic mother, all added to the piquancy of the evening’s entertainment. A particularly neat lighting effect, gave a moment of suspense, but best of all, (for me), was the live music by Marco Cappelli and Phil StGeorge and sound design by Didier Leglise. It’s a show which probably either needs better ways of encouraging audiences to participate or a much longer running time, to allow audiences to warm up. Having been left thinking about what I would like to confess became a major concern for me, mulling over what I should have said. Perhaps a plant in the audience to kick things off might mean that the audiences would understand what was required of them and join in more readily with a lie – why not. Join in with the tone of the show and have some fun. This interactive section almost worked, but the main body definitely hit its target and kudos to the company for bringing a cabaret which feels daring and edgy. GARDEN PARTY at Canal Café Theatre 13 - 17 May 2026 Kulturscio’k Live Art Collective Tickets: https://canalcafetheatre.com/our-shows/garden-party/ Cast and creatives Performers: Fergus Head, Paul Spera, Alessia Siniscalchi Director: Alessia Siniscalchi Writers: Alessia Siniscalchi and Paul Spera Music: Marco Cappelli and Phil StGeorge Light design Benjamin Sillon Live sound Didier Leglise Stage, technical manager and singing Lucy Planet Photo credit Colin Hattersley

"a frenetic romp that feels like "Sense & Sensibility" on speed" ★★★★ NONSENSE AND SENSIBILITY from Ashen Pine Productions delivers an energetic, genuinely affectionate parody of Austen that is both chaotic farce and, most impressively, a coherent distillation of Austen’s plot in just 40 minutes. Written by Sophie Pell and directed by Nick Delvalle, the play centres on Bartholomew (Gareth Balai) and Samantha (Madeline Pell), two squabbling actors mid-run of "Sense & Sensibility" whose ensemble has walked out, leaving them no choice but to perform the entire play themselves. What follows is a spiralling act of theatrical ego, sabotage and improvisational brilliance as the pair attempt to outdo one another while somehow keeping Austen’s narrative afloat. The result is a frenetic romp that feels like "Sense & Sensibility" on speed. The production’s breakneck pace is one of its greatest strengths: it creates a carefully orchestrated sense of chaos in which character identities overlap, allowing the audience to revel in the absurdity while still tracking both the Austen plot and the escalating rivalry between the two performers. While the comedy is broad and often delightfully manic, the production resists the temptation to undercut every emotional beat. Moments such as Elinor’s distress when her sister is taken ill are allowed to land with sincerity rather than being deflated for laughs, giving the piece a welcome emotional range, and making it more impactful. The gender-swapping and rapid-fire character shifts are particularly effective, adding an additional layer of theatrical playfulness without feeling gimmicky. Much of the pleasure lies in watching two performers constantly recalibrate in real time, sometimes embodying multiple characters within seconds, yet still maintaining clarity through voice, posture and props. Both performances are strong. Madeline Pell brings a likable, grounded energy to Samantha, balancing her role as Elinor Dashwood with the character’s mounting frustration. There is a convincing sense that Samantha is both trying to keep the show together and prove herself the more capable actor, which gives her arc real tension. Gareth Balai is equally impressive, switching between multiple characters with unnerving precision. Each character is given distinct physicality and vocal texture, so that even in the most frenetic exchanges his transitions remain clear and sharply drawn. Together, the pair generate a combustible stage dynamic that sustains the production’s energy throughout. Visually, the production is minimal but effective: a fireplace, hatstand and two chairs provide just enough grounding to suggest Austen’s world. Costumes and props are historically accurate without fussiness, and Nick Delvalle’s direction is assured throughout, keeping the frantic pace controlled and coherent. If there is a slight reservation, it is with the ending. While the Austen narrative resolves neatly, the Bartholomew and Samantha storyline feels as though it could benefit from a more explicit epilogue. A brief dressing-room scene reflecting on what they have learned about each other and how their relationship has shifted would have offered a more satisfying emotional resolution. As it stands, ending on Elinor and Edward’s conclusion slightly sidelines the contemporary arc on which the production is built. Nevertheless, this is a confident and inventive piece of comic theatre that works whether or not you know "Sense & Sensibility". Ashen Pine Productions have created a lively, well-balanced show that understands both the mechanics of farce and the value of restraint, and cleverly keeps its chaos under control - just about. Ashen Pine Productions Presents NONSENSE AND SENSIBILITY The Etcetera Theatre 15–22 May Box Office: https://www.etceteratheatrecamden.com/events/nonsense-and-sensibility-8j8yz 

‘technically impressive, visually bold, and full of kinetic intensity’ ★★★★★ GRAVITY by Ryu and Friends opens with a screeching soundscape and sharp, deft movement cutting across the stage. From the beginning, the dancers appear caught by an invisible force: shaken, pulled, scattered, and drawn back together again. The movement is fast-paced and physically demanding, performed by ten-strong dancers with superb technique and stamina. There is a constant sense of bodies negotiating different force, such as gravity, attraction, collision, resistance, and the choreography builds a restlessly shifting relationships. Although there is no clear storyline, the piece builds a strong rhythmic flow, and the full 65 minutes feel tightly held. The soundscape and lighting do a great deal of the dramaturgical work, creating the atmosphere the piece needs: alien, tremorous, sometimes harsh, sometimes strangely beautiful. What is impressive is how carefully the stage picture is composed. The lighting, costumes, sound and choreography work together to create a strange and charged atmosphere. Nothing feels accidental. The floating orbs add a clear visual metaphor, suggesting planets, bodies, worlds, or the fragile objects around which human relationships form. The energy is sustained throughout, and even when the concept becomes abstract, the company’s physical precision keeps the work compelling. GRAVITY is a striking introduction to Ryu and Friends: technically impressive, visually bold, and full of kinetic intensity. GRAVITY By Ryu and Friends Part of Festival of Korean Dance The Place 15th May 2026 A Festival of Korean Dance runs across five venues from 13 - 30 May. Gravity was also presented at Tramway on 13th May. BOX OFFICE https://theplace.org.uk/whats-on/

'welcome to my world’★★★ ½ The Circle Of Everything is a solo interdisciplinary performance of live painting, aerial dance and digital visuals projected onto a backdrop. The show explores birth, awakening and spirituality in a modern contemporary style. Originally scored and illustrated, this performance features the making of a live Enso painting; an ancient practice originating from East Asia. A zen circle to be done in one stroke, motion and breath. Once done, the painting is not meant to be changed or altered. The Enso is meant to express the Zen mind. This component in the show emulated a sense of simultaneous creation; giving us both a performance and finished artwork at the end. Balancing anticipation and action; Kamila CK plays with movement and staging levels. This show had a ‘welcome to my world’ feel to it. A criticism of this piece would be that the performance itself was the short duration of thirty minutes. The length combined with the genre confined it to feeling more like a multi-faceted theatrical art installation when it had the potential to become a fuller story. A longer show might give the opportunity for these themes to unfold further and branch into a clearer narrative; making it accessible to reach a variety of audiences. This was a show that makes good for contemplative conversation. A synchronised piece of entertainment; The Circle Of Everything offers a perspective on the Chaos and Order theory. As well as a physical analogy of the link between the subconscious and conscious brain. This show is dual disciplinary, playful and an exploration of self. More info Performance Trailer 1min @kamila_ck_artist