Reviews

‘Genius, the gags come in abundance’ ★★★★★ Mike Reiss, claims to have written over 50,000 jokes, and if this two act show is any indication, that is a believable estimate. The first act concentrates on The Simpsons, with extracts shown on a small screen, Reiss chats about the episodes that he has written and produced. The gags come in abundance, and it so packed with information that the details become a little blurry, but it certainly leaves an impression of a man dedicated to the art of satire and parody; winning four Emmys during his thirty-six years of writing movie scripts, American TV shows and of course countless episodes of The Simpsons. For anyone who loves The Simpsons, much can be learnt about the characters, the actors who play them, and much is spoken about how the scripts are developed. There is much name dropping, as famous personalities have been lampooned or simply agreed to ‘appear’ on the show. Music is also important to Reiss and many of the extracts feature songs. Perhaps this is a nod to his ‘jewishness’ of which he is clearly very proud, pointing out that ‘this is what a jew looks like’. He has the right kind of profile for it, gesticulations and touching his nose. Ending the show with a finger delicately poised on the tip. Then there are the badly creased trousers – genius doesn’t come with an iron. If some of the gags seem in dubious taste, that is the point of The Simpsons, it has the freedom to be outrageous, after all it is satire. His animated series Queer Duck is a groundbreaking series that addresses the lives of gay characters in a way that is both humorous and inclusive. Some of his tales defy belief, including his anecdote of taking Queer Duck to Saudi Arabia, it’s clear that Reiss has the courage to stand up for human rights. It is not all aimed at pushing against the boundaries, Reiss also mentions some of his other work including his screenplay for family show, Ice Age. In the second Act Reiss promises to explain how comedy works, the maths of comedy and then to round it all off with an audience Q & A. Reiss gives fascinating insights into how humour works. He has made a study of writing comedy and the philosophy behind it. He talks about Arthur Schopenhauer, Sigmund Fraud and Emmanuel Kant, all of whom wrote about comedy. They’re all German and Reiss is very clearly aware that this is funny in itself. It’s a type of humour that isn’t contained in the words themselves,’ it’s in your mind’ he says. Reiss also talks about the incongruity of comedy but then, he adds, it’s not the illogical that is funny, it is the logic. You have to hear Reiss speak on the subject to fully grasp this idea and the connections he makes to mathematics. The show is on tour, but hurry as the last date is 6 August in Brighton. Keep in touch with the production company, Ovation, for news of any further tours. Ovation presents Secrets of The Simpsons - Stories and Scandals from Springfield An Evening with Mike Reiss At Upstairs at the Gatehouse and on tour until 6 August 2026 Komedia Comedy Club Brighton Thursday 6 August Tickets: www.ovationuk.com

‘Ever had one of those dreams, when nothing comes out when you try to scream?’ -Myesha ★★★★ ½ Opening on the classic ‘Dreaming of a white Christmas’, Myeisha (Kim Blanche Adonis) dances across the stage, floating around gracefully, a radiant smile illuminating her face. Dreamscape retells the tragic and true story of Tyisha Miller, a 19-year-old African American woman, who was one of the many victims of police violence and racial injustice. In 1998, she was shot dead by four police officers in California, while she was unconscious in her car. But in Dreamscape, Myeisha isn’t a victim, she is a young woman full of hopes and aspirations. She laughs, she jokes and dreams of becoming an MC. She takes us through snippets of her life, a life cut short, by what can only be described as revolting injustice. In a mix of spoken work, beatboxing, hip hop and dance, the writing of Rickerby Hinds is dazzling. Rhymes and humour are on point, different characters always appear very clearly. The joy and mesmerising energy Myeisha relate to us is faced with the cold and desensitised autopsy report of her death. But no bullet is strong enough to kill Myeisha’s spirit, who resuscitates with an anecdote of her life for each of the different body parts she has been shot at. This echoes professor Saidiya Hartman’s work on ‘critical fabulation’: an account of history written ‘both with and against the archive’, fighting against years of documentation through the eyes of outsiders, and now writing from ‘within the circle of black diasporic culture and thought’. Here, Myeisha isn’t defined by being a victim of racial injustice, and Rickerby Hinds makes sure we celebrate Myeisha’s life, which ultimately leaves us with the emptiness, sadness, and anger of her story and dreams cut short. Opposite Kim Blanche Adonis, Kgwadi Tshwarelo Selolo embodies the police officer and coroner while beatboxing throughout the show. Both performers are incredibly captivating, and excel in the multiple artforms used within the shows. When Kgwadi Tshwarelo Selolo is beatboxing along Myeisha’s singing, they complement each other perfectly. And when he is icily describing the bullet wounds, Kim Blanche Adonis’s hopeful smile adds perfect contrast to the picture on stage. The choreography by Carrie Mykuls is flawlessly suited to the piece: Myeisha either travels the stage as if she had wings – her dreams, her life - or is being pulled by a dark force she’s trying to resist – her death. After of brief introduction of Myeisha’s character, the audience is thrown into the car scene where Myeisha’s cousin Toni calls the police for help. This scene was the most gripping of the show, as we realise by that point that Myeisha is uncounscious in her car, and is telling us her story from this place of dreamlike coma. The gunshot sequence which takes up most of the rest of the show can feel at times repetitive but overall the pace never drops and the story is nonetheless engaging. Dreamscape is a beautiful, urgently important story, and masterpiece of hip hop theatre – a must see! Dreamscape by Rickerby Hinds at Arcola Theatre 28 July - 8 August 2026 BOX OFFICE https://www.arcolatheatre.com/event/dreamscape/ The Company Kim Blanché Adonis Myeisha Mills Kgwadi Tshwarelo Selolo Coroner / Beatboxer Rickerby Hinds Writer & Director Mxolisi Masilela Co-Director Gabrielle Williams Project Manager for Hindsight Productions Andy Jordan London Producer Chris Corner General & Production Manager Andy Jordan Productions London Co-Producers

‘A playful new musical which charms and entertains, these worms can certainly sing.’ ★★★ ½ Laura Harris and The Makers Theatre present MOLE MAN THE MUSICAL. Set in the subterranean, a family of worms faces an ever growing problems from mole man. A sinkhole has opened up above them and well, mole’s eat worms, don’t they. Mole Man is put on trial in a court, presided over by Fly Man and the worms are elated when their enemy is officially evicted. However, it’s not really about a mole, it’s about man, and global warming, or at least that was my reading of the show. So, the worms have not really won the battle, they face a far greater threat. It is very topical but far from being gloomy, this new musical is a lot of fun. The book by Laura Robyn Harris and James John Barlow, is highly original, probably the only one of its kind. If anyone wonders where the inspiration came from, it’s a nod to the true story of William Lyttle, a man who dug extensive tunnels under his London home in De Beauvoir, Dalston. The Music and Lyrics by Laura Robyn Harris give plenty of opportunity to show off the singers whilst giving worms their Attenborough moment (okay they don’t have sex, but they are made quite appealing). There’s a lot of comedy to be had, when playing the part of an invertebrate creatures who, in the words of the song, are able to do a ‘Long, Long, Wriggle Underground.’ Also, one worm split into two, because worms can do that. Nothing too serious here, you live, you die. The ironies are loud and strong, and the audience laps them up with bursts of laughter. The cast, many of whom are alumni of the World Record holding NewsRevue (at Canal Café Theatre) have excellent musical theatre skills. The cast lean into the comical aspect of the show really well, and it is this inspired zaniness which makes it the perfect show for fringe festivals. It would be good to tidy up the dance routines and give more personality to some of the characters. It’s a low budget show, so don’t expect fancy costumes. But having said that, its home made appearance and general messiness is part of its charm and fresh faced appeal. It’s hard to say whether this musical might have a life beyond the fringe, with few really memorable tunes, these worms might have found their perfect habitat in small scale studio theatre. Keep in touch with the company: Instagram/TikTok: @molemanmusical www.themakerstheatre.co.uk CAST AND CREATIVES Music and Lyrics by Laura Robyn Harris Book by Laura Robyn Harris and James John Barlow Musical Supervisor: Andy Campbell Smith Story Advisors: Lauren Lucy Cook, Jessica Barrett Ensemble Alice Gold Guido Garcia Lueches Lauren Lucy Cook Laura Robyn Harris Leo Clasen featuring Lani Calvert

 ‘an exciting future lays ahead for this ambitious project if the unresolved questions can be answered’ ★★★ ½ The show ‘Asian Pirate Musical’ is inspired by the real histories of the 14th century Muslim navigator Zheng He and the 19th century pirate queen Sek Yeong. Adding some time travel elements and modern topical issues of climate change and space travel, the musical directed by Zhui Ning Chang, navigates primarily around the emotional internal journey of five characters, all giving great performances that were energetic and dynamic. A fictitious lone pirate named Nazar (played by Ashley Goh) sets sail on the Straits of Melaka towards the Java Sea under a red sky until a storm throws seafarers from across time and space onto the deck of the ship. Real life characters Zheng He (played by Yñaqui Tuason-Inocian) and Sek Yeong (played by Amanda Maud) are joined on stage by 23rd century space revolutionaries Keliling (played by Rai Endah) and Riang (played by Nebilah Hamid). The year is 2049. Imagine the melting pot of personalities and characters, differing not only in terms of timelines and centuries, but also across intersecting lines of socio economic status, age, gender, profession and generational sense of identity. Curiosity and interests about the novelty of the unexpected situation soon descend into conflicts and disagreements. The internal journeys of the five characters get revealed. Relationships are being tested. They faced choices and decisions that started drawing some of them apart. Values and beliefs are being questioned. Roles and purpose of one’s life become the subject of discovery. Life and death took a new meaning as the characters shared acts of remembrance of ancestors and people who have left this world. In order to face the dangers of storms and sea monsters and overcome the climate change environment threatening all, they soon learnt that they have to collaborate and work together as one team in order to survive. Stuck together on the same ship. The set was a static deck of a ship, complete with steering wheel, fishermen nets, wooden crates and pulleys and cords, beautiful creative works of the set and costume designer Mikayla Teodoro and her associate Naomi Zhang, blending a fusion of traditional orientalism style and patterns with western influence. Familiar sights include the ancestral worship altar with incense, mandarin fruits and bowls of offerings, and the ingredients in an East and South East Asian kitchen - pak choy, rice and soy sauce - to make the zhong zi, dumplings which five audience members were lucky to receive as gifts. Special mention to the sound, music and lyrics team for creating such a complex soundtrack melding traditional instruments, 21st century Asian pop, and diasporic musical influences: The musical directors Amy Hsu and Nunt Ruddit, the lead composer Jade Leamcharaskul, the composer and lyricist Sarita Lewis, and the sound designer and mixer Vincci Chung. The soundtrack sounded complicated, it sounded eclectic, it sounded strange yet fresh, and it sounds out of this century. One wish however, could there be at least a catchy tune one could remember when leaving the auditorium. Perhaps less is more. This theatre production attempts at an exploration of what it means to be free, to resist changes, to feel isolated, to grieve the past lives and to stand in solidarity in the face of the future. A story of many migrants landing on foreign lands. Searching for and creating a place to call home. Yet the five characters are stuck on the ship. They do not seem to be going anywhere. Is the pirate ship itself the place destined to be their home? ‘Asian Pirate Musical’ has finally started its theatrical runs after many many years of research and development. It is exciting what lays ahead in the future for this ambitious project, when hopefully many unresolved questions can be answered. ASIAN PIRATE MUSICAL Upstairs at the Gatehouse Theatre 28 July – 2 August 2026 Book, Music, and Lyrics by Zhui Ning Chang (they/them), Frey Kwa Hawking (he/him), Jade Leamcharaskul (she/her), Sarita Lewis (she/her), Nemo Martin (they/them) and XANA (name as pronoun) CAST Zheng He (he/him) Yñaqui Tuason-Inocian (he/they) Sek Yeong (she/her) Amanda Maud (she/her) Nazar (name as pronoun) Ashley Goh (they/them) Keliling (ze/hir) Rai Endah (they/them, ze/hir) Riang (they/them) Nabilah Hamid (she/her) CREATIVE TEAM Producers Florian Lim, Nemo Martin (they/them) Director Zhui Ning Chang (they/them) Lead Composer Jade Leamcharaskul (she/her) Co-Musical Directors Amy Hsu and Nunt Ruddit (she/her) Choreographer Wenning Wang (she/her) Dramaturg Frey Kwa Hawking (he/him) Production Stage Manager Ghost Chan (he/him) Sound Designer and Mixer Vincci Chung (any pronouns) Lighting Designer John Chan 元樟 (he/him) Set and Costume Designer Scamp Niemz (they/them) Costume Supervisor & Prop Maker Geremi So (he/they) Prop Designer Mikayla Teodoro (she/her) Prop Maker Naomi (Ruizhi) Zhang (she/her) Projection Visuals Jeffrey Choy (he/him) Production Intern Cas Potterton (he/him) Graphic Designer Syahirah Afifah (she/her) Photography: Mike Skelton

‘it was a pleasure to spend an evening with “sexy pirate Stanley Tucci”.’ ★★★★ The life of a pirate isn’t easy. Captain Springsmile Jack knows this more than most; he’s borne the brunt of 17th-century Britain’s anti-pirate sentiment. When we meet him, he and his pirate crew are up against four naval ships, commanded by a suitably hellbent-on-destroying-him admiral. This is after that same admiral slaughtered Jack’s previous crew and had his wife and child hanged (in case you were in any doubt about who to root for in this tale). What follows from this set-up is an action-packed hour of pirate hijinks. There’s so much to love about this one-man show. Actor-writer William Hartley has produced a script jam-packed with jokes that are equal parts ridiculous and hilarious. He brings them to life with a committed physical performance, jumping into and out of roles with non-stop energy and an endless ability to pull new accents out of his hat. He’s a joy to watch. Hartley’s work is brilliantly supported by Phil Croft’s direction. The stripped-back set allows us to move fluidly between locations and leaves the heavy lifting to the sound design. Part score, part cartoonish soundboard, the audio complements and amplifies the story, sharpening punchlines and perfectly reflecting the heightened version of reality we find ourselves in. If I had one issue with the play, it would be the narrative itself. The story occasionally feels convoluted. There are a lot of characters (including one antagonist too many), and the opening becomes a Russian nesting doll of flashbacks. Certain characters are underbaked – not least of all Jack, who is sold to us as a Robin Hood pirate who shows mercy, yet seconds later is holding the face skin of a man he’s just killed whilst delivering a pun that would make James Bond blush (“At least you didn’t lose any face”). Meanwhile, his dead wife and child remain little more than tragic motivations, a choice that feels less like artistic intent and more like a means of cutting down the runtime. Nonetheless, it’s hard to hold a grudge against a piece that is so entertaining. In all, it was a pleasure to spend an evening with “sexy pirate Stanley Tucci.”  Cutlass by William Hartley / The Glitch / 29 July – 3 August 2026 https://www.tickettailor.com/events/vaultcreativearts/2149752 Photo credit: Larissa Pinkham

‘a thoroughly engrossing in-depth study’ ★★★★★ Waving is presented by new theatre company, Dogs in Wellies, which has been founded to highlight the creativity of actors and writers over the age of 50. The play is set in a coastal studio, where a brilliant artist begins her final portrait as Alzheimer’s dismantles the life she built. The action spans the entire life of the family, and it is no surprise to learn (in an interview) that it is based on real life experiences. Both writer/actor Rosalind Philp and actor Eva de Winter grew up with mothers who were artists. With little set (just a few sticks of furniture), minimal light and sound, the actors bring the story to life with expert direction from Paul Cook and the multi-talented Philp. The script contains many interesting family stories, of the kind of that become defining moments and it certainly doesn’t shy away from the cruel nature of the Alzheimer’s disease; including moments when the family use good humour to cope and those moments too shocking or heart-breaking to laugh off. One of the curious factors of the casting is that Philp (as the daughter) and de Winter (as the mother) are both the same age. How is that going to work? The non-linear script plays with the time-line but it works because it is a good script which allows us to understand whereabouts we are within in the period. The actors remain in character as their core selves throughout without the necessity to change their voices, their clothes or even their physicality. It is a very original approach, and it works superbly well. The two siblings could not be more different, with the son (Ben Levy) inheriting his mother’s artistic talent and being the apple of her eye. Whilst the older sibling (Philp) is often overlooked. The actors play off each other beautifully resulting in many humorous moments. The comedy isn’t about timing, it is more about the knocks and blows of life. Those niggles which we feel so deeply in our own lives, but with hindsight they can appear laugh out loud funny (especially when they’re happening to someone else). Both in her script and as an actor, Philp ably uses these experiences, to amplify the humour. Funny though they are, it all adds up to a clear picture of the daughter having been sideline by the ‘bright light’ of the son. The son is not without his personal struggles too, played with much precision and clarity by Levy, it is easy to care about him and his family. De Winter too, as the mother, reveals the woman behind the artist, outspoken and single minded. Those moments of absolute confusion as the Alzheimer’s takes its toll are writ large on her face. A mention also to Paul Stone, who plays the camp art dealer, although a cameo role, it does add a flavour of the art world to the piece. This in-depth study is an engrossing watch and fits the White Bear space very well. The minimalism works in its favour to concentrate the mind on the story without the risk of any distractions. This is clearly a very personal piece for Philp and de Winter, a labour of love, a eulogy to an individual and to a mother. Read interview with Rosalind Philp and Ava de Winter on championing roles for older women here Dogs in Wellies presents WAVING by Rosalind Philp White Bear Theatre, Kennington 28th July - 1st August, 7:30pm BOX OFFICE https://www.whitebeartheatre.co.uk/whatson/waving Cast Rosalind Philp Ava de Winter Ben Levy Paul Stone Directed by Paul Cooke & Rosalind Philp Co-Devised by Rosalind Philp & Ava de Winter Playwright: Rosalind Philp Produced by Dogs in Wellies Lighting & Sound Technicians: Mig Duleviciius & Ron Dixon

“ Thoroughly enjoyable and expertly performed. An excellent choice for a night at the theatre for both Oscar Wilde enthusiasts and strangers, alike.” ★★★★ It’s difficult to walk out of The Importance of Being Oscar , now on at Park Theatre, unimpressed with Oscar Wilde’s biting wit and avant garde approach to life. It’s impossible to leave without being blown away by Alastair Whatley’s performance. The success of the one-man show rests squarely on his shoulders. It is, after all, 110-minutes of him speaking directly to his audience, sans set piece or props aside from a single green carnation. Fortunately, Whatley lives up to the challenge. His command of the stage is only elevated by excellent direction from Michael Fentiman. 110 minutes, including a 20 minute intermission, is an awkward run-time. The book itself runs closer to 90 minutes, making the intermission arguably superfluous, but the density of the script does demand time for processing and reflection. The Importance of Being Oscar premiered in Dublin in 1960, sixty years after Wilde’s death. The play tells the true story of Oscar Wilde’s life, particularly the later years in which he stood trial and eventually served two years in prison on charges of indecent conduct. The Park Theatre programme provides useful context including a timeline of Wilde’s life, and notes on the significance of The Importance of Being Oscar including the fact that Micheál Mac Liammói wrote it thirty years before the decriminalisation of gay sex in both his and Wildes’ home country of Ireland. Although The Importance of Being Oscar does not purport to live up to journalistic standards, its authenticity is evidenced by its use of countless primary source texts. Entire excerpts from Wilde’s plays are included, using his dialogue as an extension of his interiority. Liammóir also uses verbatim testimony from letters, journal entries, and court transcripts, invoking Wilde’s words and the words of those who knew him best to paint a picture of the man behind The Picture of Dorian Gray. The lead performer in The Importance of Being Oscar - in this case Whatley - narrates the story of Wilde’s life to the audience, shattering the fourth wall. The performer also assumes the rotating roles of Wilde, his characters, and the real friends and acquaintances from his life. Whatley has no difficulty assuming this range of characters, dropping in and out with ease. His characterisations are subtle, but precise and distinct. His talent mitigates the risk of audience difficulty following the large cast of characters in Wilde’s life. Whatley’s ability to captivate his audience also goes a long way in holding attention through certain longer passages, especially right at the end. The play’s humour is a great strength. Despite its darkness, it never stops being funny thanks to Wilde’s witty words and Whatley’s comedic timing. The Importance of Being Oscar chronicles the known events of Wilde’s life, while leaning on its playwright’s imagination. Surprisingly, the play’s particular thesis remains unclear, despite the strength of the piece. Yes, Liammóir references Wilde’s sexuality, but his script is more interested in exploring Wilde’s relationship with beauty, youth, hedonism, and adoration. Liammóir’s ultimate take on these ideas is less clear. The concept of artists as reflections of their time is part of Wilde’s story, as is the changing kaleidoscope of political context throughout history that transformed Wilde's public reception throughout his lifetime and across his legacy. But the play’s ultimate perspective on these themes, particularly the idea of life spent in pursuit of pleasure, never quite comes through. Nonetheless, The Importance of Being Oscar is thoroughly enjoyable and expertly performed. It’s an excellent choice for a night at the theatre for both Oscar Wilde enthusiasts and strangers, alike. It assumes no prerequisite knowledge; Fentiman and Whatley are confident in their ability to take their audience on a clear and engaging journey. As they should be. The Importance of Being Oscar is on at Park Theatre through 22 August. Information and tickets are available at https://parktheatre.co.uk/events/the-importance-of-being-oscar/ . Photography: Marc Brenner

“It is honest, it is funny, and it is kind.” ★★★★ This must and will begin with praise for the writing. In Book Club, writer/director Kate Bromage has achieved something remarkable, all from following four (sometimes five) near-misfits as they meet with the noble goal of studying prose. That being said, this is not really about the books, with history’s literary greats used principally as a vehicle for chat, booze and themed snackery. But as we trundle after the gang through a series of seasonal vignettes, we realise that this show is far more than the sum of its parts. Bromage gives us beautifully realised characters whose flaws and quiet tragedies are ably revealed alongside moments of brilliant humour. The performances don’t exactly hurt. Joanna Dodd is brilliant as Generalissimo of Organised Fun Linda, who priggishly attempts to mould the group in her image. Nitpicky and obsessed with procedure, Linda is a reminder that in every Brit lurks the heart of a County Councillor. But she is far more than a pastiche and Dodd excels in carefully bringing out the doubt and loneliness that have made Linda who she is. She finds her foil in fellow PTA Lieutenant Gemma, played by a wickedly funny Ailsa Wright, whose consistent goal throughout is to resist Linda’s suburban autocracy. Wright too, is comfortable with playing to depth, and far outstrips comic relief status, as she slowly uncovers Gemma’s vulnerabilities and carefully held dreams, hidden behind the laughs. She truly sees the club for what it is, an opportunity for friendship and togetherness and Wright and Dodd sparkle in their alternate knife plunging. But even in this most fractious of the play’s relationships, we sense a deep friendship and need for one another. The inclusion of teacher, James (a superb Joe Waterfield) whose job earns Linda’s toadying, cements this feeling. Waterfield is a magnetic presence on stage and a driving force behind the ultimate closeness of the characters. Resisting Linda’s attempts to play resident intellectual, he neatly showcases the genuine joy felt in finding and nurturing new friendships. A perfect choice. For the previews at Bread and Roses Theatre, there is a slight amendment to cast, and Bromage herself stands in as just-happy-to-be-there devoted “dog mum” Susan. The show does not suffer, for she is marvellous. Naïve and most easily cowed by Linda, Susan offers plenty of opportunities for laughs but Bromage (while her timing is impeccable) does far more than that, making the character stunningly real. And then, Colin Sheehan as Linda’s poor, energetically sidelined husband Bob. Despite relatively little stage time and few lines, Sheehan’s performance is nuanced and memorable. Affably rictus grin in place, Sheehan shines as perhaps the club’s only true (albeit quiet) bibliophile, doomed to scurry between what he wants and what Linda demands. To those born in the Cameron years, this is the definition of a Golden Retriever Boyfriend. He offers a powerful humanity to proceedings, and his and Linda’s relationship, initially played for laughs, gives way to a meaningful partnership. As Linda’s own quiet insecurities are revealed, this relentless, supportive love is deeply affecting. Altogether, the chemistry between the actors is remarkable and Bromage’s direction must be praised. This is undoubtedly a comedy and there are plenty of genuine laughs but in Book Club, the cast have conjured something deeper. The characters are real, their vulnerabilities defined, somehow only enhanced by the gentleness of the premise. Despite the difference in form, this reviewer could not shake a reminiscence of Mackenzie Crook’s Detectorists . Not just the comparative hobbyism but a peculiar Britishness, a love for place, and the beauty of basic friendship. There was the odd dropped note but nothing that couldn’t be ironed out in the journey up the A1. This show is built for Edinburgh and truly deserves every success. It is honest, it is funny, and it is kind. To Auld Reekie then. BOOK CLUB at Edinburgh Fringe 17 – 22 August 2026 BOX OFFICE https://www.edfringe.com/tickets/whats-on/book-club Written and directed by Kate Bromage Cast: Ailsa Wright, Colin Sheehan, Joanna Dodd, Joe Waterfield and Kate Bromage Photography: Michael Johnstone

‘like a murmuration of starlings, the thousands of pieces of their body move in a smooth, fluid motion’ ★★★★★ Hofesh Shechter’s IN THE BRAIN, was first performed in 2022 in New York, part of a showcase of work honouring Martha Graham’s legacy in the evolution of contemporary dance. Inspired by techno club scene and raves, the auditorium has an appropriately smoky lighting effect. When the curtain open, this is continued on stage. The lights are dim and eight dancers are swirling and writhing around, over and under each other, low to the ground. The effect is something like a primordial soup, but there is something special about the movement of the bodies. Right from the first, Hofesh Shechter’s style of dance is visible. There is a boneless quality and a very low centre of weight to the dancers, who appear to have stones low in their bodies, grounding and weighing them down. It has a freeing quality, a relaxation which allows for dynamic movement, especially in the arms and hands. Each of Shechter’s dancers appear like a murmuration of starlings, thousands of pieces of their body move in a smooth, fluid motion. At times they appear to be so close together, that the question arises of how they are kept separate and do not bump into each other. It is all the more remarkable, that this is Schechter II, performed by dancers 18 – 25 years old. Launched in 2018, it is the only paid professional development programme of its kind for emerging contemporary dancers in the UK. As the scenes progress, so does the pounding of the music (arranged by Shechter himself), percussive and repetitive with matching movements often quite animalistic. Tom Visser’s lighting design is very powerful. Down lighting and uplighting are both used to highlight the dancers and change the quality of the scenes. At one hour long, and without any scenery or props, these lighting and sound changes are very welcome to bring new focus on the dancers. At one point the stage went dark, raising the question of whether there had been a technical hitch, but no, when the lighting came up again, all of the eight dancers appeared in another spot on the stage like rabbits pulled out of a hat, lithe and energetic. This effect was repeated a few times, the dancers so quick and silent that their reappearance was quite magical. Midway through the piece the dancers began to separate with solos and duets, clearer lines and demarcations between them, perhaps signalling the growth of mankind, but they are still staying in character. They bring a particularly Jewish way of moving, with a nod to traditional dancing, and repetitive gestures. Feelings of despair, of ritual and supplication are also shown, in rhythmical pounding and fiery display. Yet, there is also a nod to traditional dance forms from other cultures, perhaps to remind us of the Jewish diaspora. A final word to the costume designs by Osnat Kelner which had a lovely colour palate: subdued, soft blue, yellow ochre and white with a smidge of red. The clothes allow an ease of movement, flowing with the body and yet each design is different. The dancer in the suit, had the first solo, and because he was the first, it is quite a memorable, a shift away from the community into individuality. Altogether, it is an astonishing piece of choreography, we might assume that the dancers had some input of their own, as they are an international cast, bringing a hint of other cultures whilst remaining grounded in Shechter’s techniques. The standing ovation they all received was very well deserved. IN THE BRAIN Weds 22 – Sat 25 July 2026, 7.30pm, AT THE SOUTHBANK CENTRE’S QUEEN ELIZABETH HALL AS PART OF ITS 75TH ANNIVERSARY BOX OFFICE https://www.southbankcentre.co.uk/whats-on/hofesh-shechter-in-the-brain/ Choreography & Music: Hofesh Shechter Lighting Design: Tom Visser Costume Design by Osnat Kelner Sound Collaborator: Frédéric Despierre Additional Music: CAVE by Hofesh Shechter and Âme (Kristian Beyer & Frank Wiedemann). Licensed by arrangement with INNERVISIONS Dancers: Matilde Agostinone, Teige Bisnought, Nagga Baldina, Federica Fantuzi, Woojin Kwon, Armand Lassus, Skiye Nataliah, Ella Roberts Photography: Todd MacDonald