Reviews

‘full of expressive original character and a style of its own’ ★★★★★ Alchemy is a deeply personal double bill, presented by Liam Francis Dance Company, choreographed by Liam Francis, a former Rambert dancer and Dance Europe ‘Dancer of the year’ nominee. The sense of heritage and roots was very pronounced visually throughout the performance. In his solo ‘ Lyre Liar’, Liam Francis presented a combination of spoken word, a masterclass in dance mentioning the late Gus Solomons Jr. and excerpts of movement pieces he performed in for dancers and choreographers who have influenced his art expression, we name Merce Cunningham (Rainforest), Sidi Larbi Cherkaoui (Faune) and Kate Prince (Into the Hoods). Represented by the several layers of lycra catsuit and two-pieces dance costumes worn by the artist, the weight of leadership, guidance and training passed down from the mentors and role models slowly and surely starts peeling off, as Francis sheds one by one, with intervals of intermittent dance pieces, the identities he has embodied throughout his journey as a dancer. Left exposed and vulnerable, he then unexpectedly begins wearing them again, mismatched, imbalanced and disorderly, but the end result is a beautiful flowing colourful garment, full of expressive original character and a style of its own. Francis has discovered a new identity, a form of rebirth, parallel to the sound of the Lyrebird mimicking a baby crying, which the audience had the fortunate opportunity to see and hear on the giant digital screen. Liam Francis is joined on stage by three other young black performers, Eloy Cojal Mestre, Jacob Wye, Stephen Quildan, and together they formed a dynamic ensemble quartet ‘A Body of Rumours’ moving through a complex choreography that draws from ballet, hip hop, and contemporary dance. From the apprehension of isolation, rivalry and comparison, their dance journey evolves and transforms into a celebration of movement, connection and brotherhood. Set to live electronic music by composer Chloe Mason who takes centre stage behind her recording studio desk at the back of the theatre, the choreography explores the common experiences of rhythm, trust and histories shared by the four dance artists. The 90 minutes show with interval was a one night only performance supported by a multitude of national and international collaborators and wrapped with a post-show talk hosted by former dance artist and former CEO of The Place, Kenneth Olumuyima Tharp. It is clear that the dance company has a bright future ahead of them and definitely one to watch. Venue: The Place Theatre Choreographer: Liam Francis Creative Associate: Jacob Wye Performers: Eloy Cojal Mestre, Liam Francis, Jacob Wye, Stephen Quildan R&D Performer (2025): Rhys Dennis Rehearsal Director: Bruno Guillore Live Music Composer & Performer: Chloe Mason Lighting Designer: Joshie Harriette Associate Lighting Designer: Zoé RitchieT Production Manager: Zoé Ritchieh Creative Producer: Steph Bergée Photography: Nora Houguenade

‘What the 1930s might have called an absolute corker’ ★★★★ There’s a reason why the classics are the classics and that reason is that they’re good. Oh, of course, they’re of their time and might not always meet modern ideas of what’s too long or insufficiently seemly. But they put us into a particular time and place and tell us what it was like, both in what their authors consciously tell us and in what they unconsciously reveal about the way things were. EM Delafield’s Diary of a Provincial Lady, approaching its centenary, survives above all for simply being funny, sitting somewhere on the literary journey between the self-regarding, self-deprecating, self-deluding diaries of Mr Pooter and Miss Bridget Jones. Devon. The 1930s. The difficulties of maintaining a genteel lifestyle on what might be delicately termed a stretched budget, with an oblivious husband, two children of whom one might be variably proud and a set of neighbours and acquaintances whose expectations and whims must be met if appearances are to be kept up.  Ellie Ward’s and Becky Lumb’s production of this lastingly successful little gem also survives on a stretched budget – three actors to play the cavalcade of titled ladies, vicars and their wives, cooks, servants and casual acquaintances. And it’s what the 1930s might have called an absolute corker, too. Rapidly paced and quick-fire from the off with the front row of the audience co-opted as hat-stands for the primary props the actors require as their headwear changes to mark their many character shifts. All three of the cast are superb – writer/director and co-producer Ward herself (going the full Orson Welles as she stand in for a sadly indisposed Lumb) plays the provincial lady herself, coping insouciantly (or very much failing to) with the vicissitudes of life from the moment Lady Box (an imperious Rebecca Pickering) patronises her fancy dress ‘angel’ costume and the vicar’s wife needs a chat. Pickering’s array of ladies high and low (the cook ever on the verge of givin’ notice one of the several highlights) demonstrate her range; no less does Michael Ansley’s actor Jaaasper (a deity of the London stage) or monosyllabic husband or increasingly frustrated bank manager fail to demonstrate his comic timing and versatility. Nicely chosen tunes of the 1930s quietly play in the background (at least until a post-curtain vaguely ‘30s instrumental version of “All By Myself” slyly, comically and neatly brings Bridget Jones to mind once more). On the other hand, the choice to have the two children appear only as recorded voices from time to time does slow the pace a little (even if it gives the three principals a necessary breather given the sheer amount of rapid-fire dialogue perfectly delivered). It helps any production if the source material’s good, but what makes a show special is the mixture of respect for source and innovative approach. This one does that by finding the funny and not neglecting the underlying idea that most of us at some point are like ducks, seeking surface serenity while our feet are paddling furiously beneath the surface. Been a big year for Delafield revivals. A show that shows she’s worth it, and, like her more modern literary relative, that we love her, just as she is. DIARY OF A PROVINCIAL LADY By Ellie Ward, after E.M. Delafield, Directed by Ellie Ward at Bridge House Theatre, Penge – 4 to 15 November 2025 Box Office: https://thebridgehousetheatre.co.uk/shows/the-diary-of-a-provincial-lady/ Reviewer David Weir’s plays include Confessional (Oran Mor, Glasgow), Better Together (Jack Studio, Brockley, London) and Murdering the Truth (Greenwich Theatre). Awards include Write Now!, Scottish Community Drama Association and Constance Cox, and he’s been twice long-listed for the Bruntwood Prize.

‘Through a blend of traditional vocabulary and contemporary embodiment, Amina Khayyam reclaims Kathak as both weapon and wound.’ ★★★★ As a woman of East Asian origin, I often find myself awkwardly positioned between Western feminism and the patriarchal systems embedded in my traditional culture. I am expected to defend one to the other — without ever fully belonging to either — and often end up questioned by both. It was this tension that I experienced while watching Bibi Rukiya’s Reckless Daughter. Inspired by García Lorca’s The House of Bernarda Alba, Amina Khayyam’s new work explores how women can become the gatekeepers of patriarchy — policing and punishing other women in the name of honour and protection. Blending Kathak with modern dance, the piece unfolds a generational dialogue between obedience and rebellion. It is not a performance to simply watch, but one to study and unpack. Khayyam and her all-female ensemble reveal a tangled inheritance. For women, Kathak is both their cultural language and a mirror of constraint. Their movement carries centuries of repression and resilience — not just through narrative, but through the form itself. Kathak, which literally means “to tell a story,” was long denied to women. Excluded under ritual purity taboos until the 15th century, female dancers later re-emerged as courtesans and storytellers, only to be shamed by colonial anti-nautch campaigns and reframed by nationalist reformers as a chaste, upper-caste male art. After independence, women re-entered the form, but under the gaze of moral respectability. In the diaspora, Kathak has evolved again — as a language of agency, protest, and identity. Khayyam’s work sits precisely at this crossroads. Through a blend of traditional vocabulary and contemporary embodiment, she reclaims Kathak as both weapon and wound. Her commitment to including marginalised communities through dance expands her practice as a tool of social change. This performance carries centuries of history — translating the tangled lineage of the form into modernism and beyond. Bibi Rukiya’s Reckless Daughter is a beautifully performed, thematically rich, and quietly radical meditation on how women internalise and challenge the systems that shape them. https://aminakhayyamdance.co.uk/

‘a complex love story with psychological depth’ ★★★★★ Currently, the Golden Goose premises has three bars. Two outside the theatre and one inside. The title of Edward J Moore’s play, THE SEA HORSE, is the name of a waterfront bar. The set is so reminiscent of beach bars in California (and just as easily in Cornwall), that it’s tempting to sit on a bar stool and order a whiskey. This carefully constructed set is the backdrop to a story about a weathered sea man and the woman who owns the bar, that was once owned by her daddy. Gertrude and Harry are in love with each other but past traumas make trust difficult. In a relationship that has been built on sexual pleasure, shifting into commitment requires them to be honest with each other and brutal truths are forced out into the open. It's a great premise for a play with plenty of inner and outer conflict, the psychological wounds are painfully teased into the open. Harry’s passion for sea faring rings true and adds a wonderful sense of milieu. It’s a hard life for the locals and this shows in the poverty, the dilapidated state of the bar and the crudeness and cruelty of some of the men who frequent it. Harry is prepared to help repair the roof and help maintain the bar but what he really wants is to take Gertrude away from this dark place and to make a fresh start. One of the most valued aspects of the play is the body positivity that it ultimately portrays, considering Gertrude’s self-image is so low, the eventual acceptance is a pleasure to watch. The actors are exceptional, and thanks to intimacy direction from Candace Leung, their love affair is portrayed candidly with a sense of real desire, without ever becoming over explicit. Rachael Ballis has wonderful depth of character as Gertrude, clever, feisty, defensive but with a sense of much to give. Jay Rincon as Harry inhabits a happy go lucky, passionate man who has fallen deeply in love. It’s a two hander which drip feeds information to the audience which gradually reveals the truth behind of the traumas, the strength of one man’s love for a woman which eventually leads to the tiniest hope of healing. The play was first performed in New York in 1974. This production later won the Drama Desk Award for Outstanding New Playwright. It is a great pleasure to have the opportunity to see it here in London. With such exceptional stage craft and acting, it is a show, not to be missed. THE SEA HORSE by Edward J.Moore at Golden Goose Theatre 4 – 15 November 2025 Directed by Mandi Riggi Golden Goose Theatre, 146 Camberwell New Rd, London SE5 0RR 4 - 15 November 2025 BOX OFFICE https://www.goldengoosetheatre.co.uk/whatson/theseahorse Cast: Rachael Bellis and Jay Rincon Intimacy Director & Consulting Producer: Candace Leung Producers: Mark Cheng & Vicky MacRae Set & Costume Designer: Shahaf Beer Sound Designer: Danny Taggart Lighting Designer & Stage Manager: Flick Hemming Photography: Jess Blake

‘When memories go, we go’ ★★★ David and Simon, brothers, meet by routine to visit their declining mother. With dialogue that seems slow to get going, this quickly forms part of the core of the piece – ‘what are we doing here?’ The brothers dance around their shared problem but cannot bring themselves to address it directly. Seeing their mother has become a ritual of avoiding such discussion, as we watch the reality of the situation creep in, revealing the differences between the brothers. Munrow’s writing effectively avoids discussion of the mother - this effect is present throughout, though sometimes undercut by the lengthy speeches delivered by David and Simon, often feeling too loose in connection to the story. The dialogue is most effective when used to recall memories between the brothers, leading nicely into a consideration of memories in relation to dementia; ‘when memories go, we go.’ Julia Munrow as Mary, however, delivers the best performance in the play, particularly in the little memory vignettes that she is trapped in. As the brothers question what their mother experiences in her state, Joe Munrow introduces these vignettes as a warming yet upsetting theory. They’re often funny, but desperately lonely, written and performed perfectly. As their mother is held in a memory-limbo, David and Simon also find themselves strung between holding on and giving up – part of the beauty of this play is that we get an insight into a character with dementia, and a consideration paid towards her experience of this, too, is a great addition. The theme of the sea is used throughout in the audio and in scenes towards the end, but isn’t realised throughout, so the effect of this is somewhat lost. The theme fits with the overall concept, but could be represented further in the set. Overall, this play is a fresh perspective into how a family deals with dementia, deconstructing the effects of the disease, warm yet heartbreaking. The individual performances match the styles of the characters well, with Julia Munrow standing out in her performance of this challenging character. HELD by Joe Ward Munrow plays at the Old Red Lion Theatre 4-15 th November 2025 https://www.oldredliontheatre.co.uk/held.html Directed by Linda Miller Presented by A Drunken Sailor Cast:  Mary - Julia Munrow Simon - Elias Williams David - Jack Waterman Reviewer Seb Gardiner is a playwright based in Reading, and is currently the Development Officer and a Resident Writer for a Manchester-based theatre company. He studied English Literature at university, with a focus on medieval history and drama.

‘It is a joy to see a cast of women in various types of comedy, from dark commentary to observational humour to slapstick.’ ★★★ ½ Five relative strangers connected by their common friend, Mei, meet in a clearing in the woods to scatter her ashes. They bear some animosity towards each other and the initial tension only rises as we puzzle out their purpose, names and individual characters, and their relationships to Mei. Each of the characters are beautifully cast. Jasmin (Rendah Beshoori), who comes to the woods with her Louis Vuitton suitcase and nails manicured, is Mei’s ‘plastic’ friend. The sister-in-law, Rose (Sarah Rickman), is a good-natured but awkward member of the crew, who forgot one of the tents. Sue (Ciara Pouncett) remembered her task to supply the alcohol, but she did forget her manners, asking questions like, “were you dropped on your head as a baby?” to Rose. Mei’s nursery friend, Jules (Stacy Abalogun), is a lesbian who keeps the group on the straight and narrow. Catherine (Scarlett Alice Johnson) is the hippy friend who provides reviled cakes at work. All interesting and all unique characters, well-performed by this ensemble. The dramatic tension increases with the sudden rain, as the ladies disperse to find a place to stay dry (without the missing tent) and some good gags occur. It is a joy to see a cast of women pulling off various types of comedy, from dark commentary to observational humour to slapstick. The group also addresses menopause and cancer discussions and conversations about their children (and why some choose not to have them) but these feel peripheral and brief, lacking full depth to these important topics. They move into their drunken evening and dancing to their a capella version of Livin’ on a Prayer to avoid too much self-reflection. The beauty of the staging (Abi Groves) is actually quite staggering: realistic, beautiful, and appealing. With a wall image of the woods and a forest floor of tree stumps, plant growth, branches and wood chips, it transports the audience to the woods in Wales. The only detriment to this staging is that some of the sight lines were blocked by possibly being forced into a corner (literally) and in the chaos of the ensemble’s antics, I missed some of the action (blocked by someone’s head). It was only at the end of the play that I fully pieced together what I had missed. The characters in Kindling are memorable and there are some funny and touching moments, but the promise of Kindling, both in name and in setup, don’t quite come to fruition. While there is a lot to enjoy about the play, and some great punchlines, I felt that many times the characters were pulling their punches. Kindling by Sarah Rickman at Park Theatre, 22 October - 15 November 2025 Box Office https://parktheatre.co.uk/events/kindling/ Performed by Stacy Abalogun, Rendah Beshoori, Scarlett Alice Johnson, Claire Pouncett, Sarah Rickman (Voiceover: Eugenia Low) Directed by Emma Gersh Lighting: Chloe Kenward Sound: Esther Ajayi Set Design: Abi Groves Costume Supervisor: Elizabeth Lewis Produced by Ladybird Productions Photography by Holly Darville Reviewed by Mariam Mathew

‘What if I am already half gone?’ ★★★★★ I’m Afraid of Virginia Woolf, Too is a production that explores Bipolar Disorder, Identity and Relationships in a way that is impactful and original. The show opens in a pre-set; all actors on stage, the set fully laid out across the space as the audience filters in. Something that separates other pre-sets from this one is that actors seem to usually interact with the audience as themselves. For anyone having read the show’s blurb, this opening feels like a surprisingly warm welcome. This production can pride itself on its attention to detail. Clothing, set design and lighting all work to define a cohesive blend. At the beginning we absorb a warm autumnal palette, that, throughout the play progresses into cooler tones. Perhaps a visual analogy for Victoria’s mental state. The set design begins as Victoria’s home; that then shifts into various locations; what is clear about this work is that we always know where we are. In a narrative in which Victoria’s world is so fragmented by Bipolar Disorder, our view of the happenings remains focused. Paired with this intimate venue, there is a vulnerability in how we are in Victoria’s home amongst her things. Dialogue feels natural and relatable as this work examines in-depth topics. Atterbury’s writing allows actors to breathe, move and leaves room for plenty of subtext making layered, complex scenes. There are plenty of funny moments in there too, nodding to the closeness and intelligence of the characters. In addition, the humour provides a light and shade effect that has the audience laughing along. The love triangle is well thought out and nuanced; it’s not about two men fighting over a girl, a through line we often see, but rather a woman that is in control of the dynamic. Victoria seems to be the driving force. The play’s director Olamide Candide-Johnson… guides her cast to exhibit peak, consistent performances and presents us with an all rounded, stand-out show. As well as strong performances individually and as an ensemble, actors had a grounded physicality in the space too. The production is well staged and seems to meld perfectly with the space. This vulnerable piece is made most visible by Candide-Johnson. In an almost in the round style theatre, we see the actor’s expressions at all times. The writer and leading actress Coline Atterbury whose credits include appearances on BBC, Channel 4 and numerous stage productions; gives a dynamic, contrasting and chilling performance as her character Victoria. She takes a journey that is believable; its pace builds tension and suspense. Atterbury skilfully balances both subtlety and expansiveness in her performance; making this writer’s debut of hers all the more human. Charlie Coombes as Mark has a warm and humorous presence as Victoria's boyfriend. His honesty and openness endears. He has strong chemistry with Atterbury and plays across from her well. His stability further outlines Victoria’s instability when she is at her worst. Andrew Hawley as Leon is a charming, sharp witted character and has a playful rapport with Victoria. While Leon is equally as caring he brings out a different side of Victoria. He battles between love and allowance as he watches her spiral. Connection and intimacy is a principle aspect of this show; closeness, romance and intensity is expertly directed by intimacy coordinator; Vlad Troncea. The focus on relationships in this play is prominent; it highlights how our own mental health affects those around us and our partners. Transitions between scenes felt fluid and were accompanied by sound designer Marie Zschommler, who selected music that was fitting for the scenes. I’m afraid of Virginia Woolf, Too is entirely relevant. The production raises conversations around Bipolar Disorder and mental health that weren’t being had during Woolf’s time. This show was met with a well deserved standing ovation. You will laugh, cry and gasp as you see this journey of identity and ambition unfold. Whether you are familiar with Virginia Woolf’s body of work or not, this is a riveting story to follow. A fantastic contemporary production with classical literary features; this is one to watch. I'm Afraid of Virginia Woolf, Too Voila Festival Barons Court theatre 4 – 9 November BOX OFFICE https://www.voilafestival.co.uk/events/im-afraid-of-virginia-woolf-too/ Writer: Coline Atterbury Director: Olamide Candide-Johnson Cast: Andrew Hawley, Co line Atterbury, Charlie Coombes

“a trilogy of terror” ★★★★  Stephen Smith’s homage to the work of Edgar Allen Poe has been marinading in its grisly pot since 2021. After rereading some of his favourite tales during Covid, he created a solo performance from some of the stories for stage. Since then, One Man Poe has travelled across the globe to the US, won the Spookies, Best Horror Show at Edinburgh last year and this year was lapped up by more legions of gothic lovers with a nationwide tour that completed its run at Brockley Jack Studio Theatre in time for Halloween season. For those new to Poe, or the one man show, this accomplished performance by Smith recreates three of Poe’s short stories: The Tell-Tale Heart, The Pit and The Pendulum and The Raven. All are stories of tortured men, be this psychologically or physically, who wrestle with inner demons and find no peace in their lives, ever. Plagued, haunted, or agitated either by their own consciences or the dark acts of others, the sensibility is pure Victorian Gothic with all the richness of language and familiar tropes this entails. Poe’s twisted imagination has been highly influential in the horror genre, interpreted for film & TV, so even if you are new to Poe or the one man show, it feels like familiar territory. This theatrical experience and journey opens with Smith suffused in a blood red light, his back to the audience, pulling at his hair. Welcome to the edge of sanity where there is no safety or succour. Technically, the use of sound design by Joseph Furey and Django Holder, is excellent throughout, effectively enveloping and transporting the audience to a dimension of unsettled spookiness enhanced by intense lighting effects. Smith uses all the tools of his trade in a physical and emotionally demanding performance. In this trilogy of terror, hair, make up, costume, fake eyes all convey the guilt of a murderer, the paranoia of a torture victim and the psychosis of a grieving man. It’s similarly demanding for the audience because the language is so dense, rich, constant, sometimes cloying, that eighty minutes seems far longer. Everything is so thoughtfully laid on, from the storytelling to the staged environment to the sound, that the audience become lulled, deactivated, and hypnotised by the torrent of words. This said, you cannot fail to be impressed by the sheer commitment to the tales of Poe and all his mad man, lovingly recreated with all their fabulous fallibility and failings. Nor the integrity of Smith as a performer and theatre maker, clearly passionate about his craft and the American maestro of the macabre he honours with this one man show. For Edinburgh, 2026, Smith intends to add two more Poe stories to the mix: The Business Man and The Facts in The Case of M. Valdemar. He also plans to make a short film of The Black Cat currently being crowd funded (link below) Go Poe Go! Photography: Kat Humphries www.greenlit.com/project/support-threedumb

‘Everybody wants to see a scary story at Halloween; they got what they came for.’ ★★★ Halloween, and what more appropriate subject to start with than a whole load of dead bodies. Archaeology may be a bit on the dry side for some but murder conjures up a more gripping subject for all. However, this performance started off as a formal lecture on the subject of the archaeology of bog bodies, so convincing that for a moment I thought I had misread something and ended up in the wrong place. We were fed interesting info about bog bodies being murdered or sacrificed and preserved in acidic peat bogs. Then came the mention of ‘the curse’ and echoes of Tutankhamen rang out as we discovered the fate of people involved with the bog body. The body on the mortuary slab in the background looking for all the world like the proverbial ghost under the white sheet, was if you like, Alfred Hitchcock’s revolver so it was just a case of when would it go off? After a brief interactive element where the audience was invited to tell of their scars, the connection between the physical and mental was made. Scars of past relationships suggesting revenge, remorse and retribution were on the cards. Technical details of bog bodies evolved into technical problems in the lecture theatre and a well choreographed sequence followed which was enhanced by a convincing bit of physical theatre where the victim was dragged backwards by one leg by an invisible being. Sane and normal was disturbed by themes of mental and physical injury as the lecture turned into the horror story we were all waiting for. Everybody wants to see a scary story at Halloween; they got what they came for. Predictable but then what else would we expect? An interesting feature of the story was that the bog body was a woman, possibly a witch or sacrifice or ritual killing as it had rope marks round the neck indicating the cause of death was strangulation and not drowning in the bog. Apparently this is a common feature of bog bodies and did I also hear that so is the fact that most of them are women. Still victims after all of this time, showing us a stark connection with the all too common modern theme of women being punished or scared or victimized in horror stories. Coincidence too that all in the production were women so was it pointing the finger at all of us men? Grouping us together as males and condemning us by collective punishment because the misogynistic element gives us a bad name by continually regurgitating the trope where the victim is once again the terrified woman? How would it have appeared if the lecturer had been a man and he ended up being terrified? I haven’t seen that play yet.  Although there was one person in the play, quite a lot was going on on stage most of the time which made for fast paced action and the 45 minutes flew past. A one woman play by Olivia Cordell / Developed by Audrey O’Farrell / Directed by Emily Hawkins / Photography by Kelly Powers BOX OFFICE https://www.etceteratheatrecamden.com/events/bog-body-zezmx-5tdaf