Reviews

"There is only one word for this production: exceptional." ★★★★★  Make no mistake, Shakespeare is hard. He gives you a gift – but very few people can unwrap it. Finding one great Shakespearean performance is rare, let alone fourteen great Shakespearean performances. So let me just say, this vast cast blows it out of the water: they not only unwrap it, but they unpack it, wrap it up again, and give it back to you. Delivered by Burnt Orange Theatre, this thunderous and lean interpretation of The Tempest teases out its most magical and enigmatic qualities magnificently, without trying too hard. Burnt Orange Theatre is a company of 16-21 year-olds, though I didn't want to patronise them by taking their age into account. As it turns out, it kind of is worth taking their age into account, as there is only one word for this production: exceptional. This company's command of the stage and the language of Shakespeare is extraordinary – for any age. Indeed I've seen bigger, more mature performances of these masterworks that have fallen far short of this one. In this neatly abridged version of The Tempest, we dive headfirst into the eponymous storm, blowing up the small stage into the endless ocean through a stunning use of physical theatre, light, and sound. Absolute credit here to movement director Amy Rushent, Sarah Carvalho as movement captain (and playing the drunk Stephano), and technical manager Mason Dilworth; as well as, of course, to Anna Blackburn's breathtaking direction. The professionalism here is second-to-none. And this goes for all the movement, in all its often grotesque glory, throughout the whole play. Same for the light and sound, which is clean, creative, flawless, and dramatic. You're there on that shipwreck. Hell is empty and all the devils are here. When we arrive on that middle-of-nowhere, mysterious land, Ioan Oosthuizen's booming voice and lyrical tone lends itself very well to the marooned sorcerer-Duke, Prospero, who throughout the piece seems somehow tortured by his own powers, physically ravaged, which, whether intentional or not, is a really nice touch. Speaking of which, the nautical set and scruffy costumes in muted tones are terrific. You can almost smell the sea salt in the thick ropes and tatty rags, and it gives it a timelessness that adds to the overall disquiet: it's an island of liminal space, stranded in time just as much as at sea. There are a few other stand-outs: Lauren McIntyre's Shakespearean voice as the slave Caliban is utterly fluid and fearless, with an ease that makes the text natural. She throws herself into it completely. But the same can be said for the cast as a whole. As Prospero orchestrates everything around him – his daughter's romance, his enemy's shipwreck – the production hits every beat of action, with a perfect sense of drama. The uneasy colonialist inference is a whisper throughout and as relevant as ever. The pace and general tone is professional and precise, riding the waves of the story, perfectly balancing humour, tension, and beautifully subtle menace. Director Anna Blackburn has shaped a very skilled interpretation. Now, full disclaimer, The Tempest is one of my favourites, but I don't think that has clouded my judgement: if anything, this performance had a lot more at stake because of the fact. But, either way, whether Shakespeare is for you or not, you can't deny that every element of this production is spot on, and it's been crafted in such a way that even a first-timer can enjoy it. It's fresh without messing around with the material and epic without being over-the-top. You could lift this production exactly as it is and play it in a theatre ten times the size, and it would fill it no problem. It's made for it. Indeed when the rapturous, but naturally small-scale, applause came, I was almost struck by where we were, that I hadn't been sat in a full-scale West End theatre, so immersed had I been on that mysterious island, in this operatic performance. I found myself suddenly all at sea, sad to come ashore; like Prospero, our revels now were ended. The Tempest by William Shakespeare Presented by Burnt Orange Theatre Directed by Anna Blackburn The Drayton Arms Theatre, 24 April – 37 April 2024 Box Office: https://www.thedraytonarmstheatre.co.uk/the-tempest Reviewed by Alix Owen

‘This rites-of-passage story offers a gory, feminist call-to-arms’ ★★★ ½ Nine Moons offers a gothic twist on a modern coming-of-age story following three teenage girls learning to embrace puberty, feminism, and the differences between them. With a strong ensemble, simple set and shocking plot twists, Nine Moons is sure to leave a lasting impression. Rarely does a three-hander offer each character a unique arc, yet in Nine Moons, writer Nilgün Yusuf skilfully presents three complicated, well-rounded teenage girls. Portrayed by Selma Alkaff, the centric character Sage offers comic relief, earnestness, and an unashamed desire to be educated. Sophie Andrea plays both new girl Loukia and mythical Bearded Iris – offering a vampire like presence on stage: alluring, intriguing, hell-raising. Ella McCallum plays the insecure yet bullyish Danni, who offers a grounding presence to the descent into absurdity. Danäe Cambrook’s direction shows off the characters well, utilising the performance space to allow for slick ensemble and individual performances. The characters’ chemistry is brilliantly believable, inviting the audience into a false sense of security. Cambrook’s outlandish use of gore and horror was impressive, entertainingly shocking the audience and the characters both. This elevated the script well, and ironically humanised the characters, making them more relatable to the audience as their stories became more disturbing. Tackling the supernatural and the realism is often tricky to balance, yet this production manages it successfully. Often, the repetitive transitions between scenes, combined with the lack of set change, left the new scene location reliant on the actors to introduce. Whilst the use of other theatrical devices was cleverly subtle, perhaps more could be done to bring the audience straight into the scene, particularly in the second half when the intensity and stakes start dramatically rising. This could extend further to portray the passing of time: the play is set over nine lunar cycles, hence the title Nine Moons, yet this unfortunately was not clear. Given this is so imperative to the story, outside of dialogue there is no other acknowledgement that time passes more than a few months. Overall, Nine Moons is a shocking, thought-provoking, entertaining production – portraying relatable themes through a gothic lens. Placed well into the 13+ bracket, this rites-of-passage story offers a gory, feminist call-to-arms. Images by: Jasmine de Silva REVIEW: NINE MOONS by Nilgin Yusuf at Bridge House Theatre 23 - 27 April 2024 Box Office: https://thebridgehousetheatre.co.uk/shows/nine-moons/ Cast SELMA ALKAFF Sage ELLA MCCALLUM Danni SOPHIE ANDREA Loukia & Bearded Iris Artistic Team Director DANÄE CAMBROOK Writer NILGÜN YUSUF, SPECIALIST CONSULTANT: DR. JAZMINA CININAS Lighting Designer ALEX TEIXIDÓ BLOUNA Sound Designer VANESSA GARBER Reviewed by Anna Rastelli

‘A one woman tale of football’s forgotten past’ ★★★ During World War 1, while a generation of men from all over Europe were fighting and dying in the fields of France and Belgium, the women of Britain stepped up to take on the social and economic roles that had been left behind, breaking numerous social barriers along the way. With work came money, and with money came a short window of greater freedom and autonomy. Bella Reay (played here by Catherine Dryden) was one of these women, who embraced her newfound liberty by becoming a star footballer for her hometown Blyth Spartans Ladies team, scoring 133 goals over the course of 30 matches, competing in a women’s league organized during the war. If you’ve never heard of her before then that’s the proof of the Football Association’s success in discouraging and even outright banning women’s football for decades shortly after Bella’s heyday. Unearthing this forgotten history is the play’s core, and Bella walks us through both her personal journey with her team as well as educating us about the larger historical context along the way. Emphasis on ‘educating’ – often the play can feel like something of a museum piece, with strong and constant referencing of facts throughout. This was enjoyable in so far as it made the work feel informative and enlightening, but less enjoyable when it lent a sterilised air to proceedings, feeling more like a recitation of facts than a compelling narrative. A large part of this is due to the overall lack of tension since, as Bella enthusiastically gushes to us, Blyth Spartans Ladies never lost a single game. We’re not offered any insight as to why this is or how it was achieved – they simply just won all the time. True, at times a player or two is lost to pregnancies or the inevitable social pressures of the time, but these difficulties are resolved effortlessly and often feel as if the play has shied away from going deeper into the darker sides of the period. Bringing the period to life however is handily achieved, with the show being well-served by its lighting and video work (including a Match of The Day cameo from Alan Shearer) while the sound is exceptional, evoking the roar of artillery shells as well as crowds of cheering fans to great effect. And that’s ultimately what makes this one woman show about football’s forgotten past work – a dedication to bringing history to life. Fingers crossed a future version can retain this magic but deliver it with a bit more excitement. Wor Bella at The Bread & Roses Theatre 22nd - 24th April & Newcastle Theatre Royal 27th - 28th April 2024 Website: https://www.worbella.co.uk/ Written by Ed Waugh Directed by Russell Floy Produced by Wisecrack Productions Reviewed by Harry Conway

‘Karp is a natural superstar, with his trade-mark vulnerability, quirky delivery and his impeccable comic timing’ ★★★★★ Linus Karp is something of an icon in some circles. He’s been carving out a career with his trade-mark vulnerability and quirky delivery (and he has impeccable comic timing). In this production his portrayal of Princess Diana, people’s hero is devoted to honouring her memory whilst taking a humorous pop at the rest of the Royals. Diana’s work with aids victims and her acceptance of them being a huge part of that grateful admiration, a fact commented upon a couple of times during the show. The show has a dream like quality (or nightmare, depending on your politics). It starts with a film screening of divine clouds and which part with the announcement: “It is I, Princess Di”. The hilarity begins. Karp arrives on stage in the familiar persona of the Princess and continues to show the development of her relationship with Charles and other Royals. There is a hefty amount of audience participation, as they are called upon to play the peripheral roles, which they do with various degrees of success or failure, causing more laughter. Some might call it tasteless trash, but it is side splittingly funny tasteless trash and it’s even fair to say that it’s cleverly done, with many snidely ironic comments, and imagery familiar to us all via popular culture. If it’s hard to imagine how a Smurf, the horror film The Exorcist, or a metatheatre Queen is woven into the piece, you have to see it, to believe it. The use of props, puppetry and film are paramount. In this version, the audience of the night demand that Diana doesn’t die but on other nights there might be another outcome. This moment is perhaps the denouement of the show and in the final scenes, we see an imagined account of what Diana might have achieved had she survived. It’s all rounded off beautifully, with an ecstatic response from the audience. It's also rather appropriate to note that the show doesn’t end at the end. Everyone is invited to meet Diana post show, to chat, take selfies and buy merchandise (of course). It works really well as Karp is a natural superstar and already has a cult following. Next up is ‘Gwyneth Goes Skiing’. Awkward Production present DIANA: The untold and untrue Story King’s Head Theatre 17 April – 5 May 2024 Wednesday 17th April – Sunday 5th May 2024 Kings Head Theatre, 116 Upper Street, London N1 1QN Box Office https://kingsheadtheatre.com/whats-on/diana-the-untold-and-untrue-story CAST Diana | Linus Karp Charles, Camilla and Others | Joseph Martin The Queen | Geri Allen God | Zina Badran CREW Writer, Director, Producer | Linus Karp Co-Director, Producer, Additional Material, Stage Manager | Joseph Martin Original Music | Wez Maddocks Designer | Amy Pitt Choreography | Sam Carlyle LX Design | Ebbe Rodtborg Additional LX Design | James Appleby Associate Producers | Karim-Pasha Ladbon, Ryan Ludick Video Design and Editing | Daniel Boylett Puppetry Consultant | Tara Boland Make Up Artist | Carrot Photography, Videography | Dave Bird

'It’s not a bad strike rate for new writing.' Going to see a programme of unknown plays is always a gamble – there may be a dramatic jewel, there may be humdrum, there may be raw promise. There may be toe-curling awfulness. Almost certainly, however, there will be the opportunity to witness new writers at the beginning of their careers, and that is an exciting and valuable thing. The British Theatre Challenge 2024, produced by Sky Blue Theatre Company and hosted, as has become traditional, by the Jack Studio, is a generous and vital project, and both organisations deserve praise and respect. There are five short plays presented in the evening, whittled down from several hundred entries. Starting with the last performance, we had an animated Norman Rockwell painting called The Magic in Christopher, which was like being force-fed packets of Splenda while listening to dodgy American accents. Respect is due to Hannah Tudge for her breezy inhabiting of the part of Christopher, a shiny scrubbed schoolboy from the 1950’s. The Injured Party is a four-hander in a venerable sketch tradition, two couples stuck in a car in a traffic jam, bickering, revealing underlying familial tensions, arriving at a twist ending. It was well enough done but a long way from being fresh. Emily Carmichael’s Each Fallen Robin began the evening, with two well judged performances from Tracy Garcia and Marlon Kameka, and a tight, well-crafted piece about lonely people edging into a relationship. Convincing dialogue, good jokes, and a gently ramped-up emotional climax. It’s a promising early play and merits the showcase Sky Blue Theatre provides. The two most interesting pieces of the evening were the two that dealt with serious subjects. Can There Be Justice for TJ? by Evonne Fields-Gould explored the personal tragedies behind Black Lives Matter, with a stellar performance by Samantha Russell as a mother mourning her murdered son. The intentions were honourable, the central performance was stunning, and the writing felt like a first draft. Over-written, overly expositional, too many words. Samantha Russell needed to fight with the script to drive home the emotional truth, and it’s to her considerable credit that she managed it. The highlight of the evening was Steve Eddison's You Butterfly, dealing sensitively and powerfully with the emotional legacy of her abuse as a small child in an elderly woman, brilliantly played by Mary Tillett with sensitive support from the rest of the cast. Kamal Boulema, as her louche but sympathetic son-in-law, deserves particular mention, but the laurels go to Mary Tillett. She manages a very difficult, very well-characterised role as an elderly woman reliving childhood trauma, and she nailed it. The script was convincing and measured, and nuanced. Having the son-in-law character being strong contrast to the fussy concern of the other characters gave variety to the tone of the piece, which was very welcome. It’s not an easy watch, but worthwhile. Five plays, one excellent, one interesting and worthy if flawed, one a good workmanlike early work, one old-fashioned and forgettable, and one cringe-inducing. It’s not a bad strike rate for new writing. For context, I have never managed to get through all of It’s a Wonderful Life despite a fondness for James Stewart. And some people like Splenda. Photographer credit is Kat Forsyth. Five New Short Plays – The British Theatre Challenge presented by Sky Blue Theatre Tuesday 16th – Saturday 20th April 2024 This year’s selected plays are: Each Fallen Robin by Emily Carmichael The Injured Party by Scott Gibson Can There Be Justice For TJ by Evonne Fields-Gould You Butterfly by Steve Eddison The Magic in Christopher by Lee Brodie Creative Team Directed by John Mitton Company Manager: Nat Brimson Stage Manager: Nithila Prabakar Deputy SM and Lighting: Zhiying Zhang Assistant SM: Siyi Li Assistant SM: Jiewei Huang Assistant SM: Zhu Meng CAST LIST Each Fallen Robin Will – Marlon Kameka Fran – Tracy Garcia The Injured Party Monica – Darrie Gardner Derek – Michael Tuffnell Roni – Rosalind Adler Eddie – David Kerr Can There Be Justice for TJ Vivian – Samantha Russell Officer Jackson – Kamal Boulema TJ – Marlon Kameka Voice Actors TJ: Kyrone Newell Little Man: Terrelle Leverette Officer Smith: Chris Lane Carla: Louise Lee You Butterfly Betty – Mary Tillett Frank – Tim Heath June – Tracy Garcia Ray – Kamal Boulema The Magic in Christopher Mr. Anderson – Tim Heath Christopher Finchley – Hannah Tudge Frank Finchley – Michael Tuffnell Caroline Finchley – Darrie Gardner Sue Finchley – Amy Hunnable Mrs. Follensbee- Mary Tillet Mr. Jenson- David Kerr Brian- Kamal Boulema Reviewed by Chris Lilly

“Occasional sparks in the darkness” ★★ It’s one hundred years since the death of Eleonora Duse, one of the greatest actresses of her day. Last year, actress Sarah Bernhardt was celebrated with an exhibition of her legacy at the Petit Palais in Paris and both women were recently spotlighted at the recent Victoria & Albert’s Diva exhibition. So, it’s timely these two legends are at the Tabard in Chiswick for the UK premiere of Duet by writer, Otho Eskin and director, Ludovica Villar-Hauser. The premise for the play is an imagined encounter between the two women a month before Duse’s death. As she prepares for the role of Marguerite in The Lady of the Camellias in a Pittsburgh theatre, the requisite white roses on her dressing table, her ghostly nemesis appears. Billed as a ‘rivalry for the ages’ what is presented is a measured discussion between two passionate performers who could not contrast more in their lives, personalities or approaches to the craft. Bernhardt, fashion icon and pal of Oscar Wilde, famed for her theatrical attitude, melodrama and swooning (arguably the originator of Madonna’s “vogueing”) is played with great mischief by Wendy Morgan and states: “‘posture is the difference between vaudeville and art” and that, "one should learn to sit with irony.” Dusa, on the other hand, her Italian contemporary is more au naturel. This performer who could blush on demand and sought authenticity in her characterisations brings a more dour presence to the proceedings, her integrity and understatement clearly conveyed by Cynthia Straus: “Dusa lets you feel rather than see. All the rest is chaos and vanity." There is an expectation of a fierce clash of words, perhaps a cat fight, at the very least, an “act-off” but Duet is all about the dialogue, the endless reveries and soliloquies. As key events are recounted and biographical nuggets revealed in this piece of undoubtedly well-researched work, the audience listens… and listens. There is no escalating action and even the inherent conflict between these two flattens because each patiently listen while the other speaks. The light relief is provided by Nick Waring who seems to appear in a revolving door of different accents but even his skill in comic timing cannot stave off the surprising lack of drama in this static production which seems much longer than the ninety minutes it is. A special mention for the elegant costumes recreated by Alice McNichols and the dramatic lighting by Carly Atberg but Duet misses many opportunities to create moments of music, dance or tooth-spitting war. With occasional sparks in the darkness, in the final analysis, this show fails to ignite. Images by Ali Wright DUET by Otho Eskin Directed by Ludovica Villar-Hauser Produced by Parity: https://parityproductions.org/ Cast Wendy Morgan as Sarah Bernhardt Cynthia Straus as Eleonora Duse Nick Waring as The Man

‘A gig show with excellent music and a promising premise’ ★★★ It’s 1974 London. Three musicians and their manager are forced to work in their recording studio overnight to complete a country-rock album on time, whilst unknown to them toxic materials in the walls are driving them insane. This gig show has such a promising premise with a race against time to create tension, and live music to enjoy, but unfortunately it lacked credibility. The story started well, with two of the musicians and their manager working on the album, there is already a sense of the female singer, Skye (Emily Moment) being the big star with a big ego. When a black musician, Matilda (Hannah Omisore) turns up with her own music, feathers are ruffled. Matilda is nervous and lacking in confidence, whilst Skye is clearly racist. This doesn’t stop her from taking advantage of Matilda’s talent by plagiarising her music, changing the lyrics to suit herself. The actors are wonderful singers and harmonize beautifully. This is the outstanding feature of the show, all kudos to composer Aveev Issacson and lyricist Nathaniel Brimmer-Beller. Sadly, other elements in the show were not so successful. The four didn’t really gel, with the effect that they all seemed to be acting in different plays. Some of them also seemed to display bizarre behaviour a little too soon, well before the voice over informing us of the problem of the materials in the walls. The creepy accompanist (Aveev Issacson) seemed to be unhinged from the beginning. When the last scenes came featuring a knife and a gun, the show became farcical. The only steadying character was the manager (Nathaniel Brimmer-Beller) but not enough to keep the show real. This is such a pity, as a great opportunity for power play, between Skye and Matilda was missed. Although the power play is there, it isn’t steady enough to make any impact. Matilda, as the underdog, vacillates between being the victim and the victor, instead of having a steady growth of confidence which would have seemed appropriate given how successful she was becoming. Also problematic are those events which seem to suddenly transpire, without any previous intimations that they might happen (and therefore they jar). The whole episode with Skye forcing Matilda to take off her cardigan didn’t work, the stakes didn’t feel high enough for this to be a huge insult, which made the revenge which followed seem feeble. Finally, happily the show does hit the mark on period; the costumes and themes, racial tensions and the music scene, are of the 70s. The show could easily settle in with a few minor adjustments. IN EVERGLADE STUDIO The Hope Theatre 16 April – 4 May Box Office https://www.thehopetheatre.com/productions/in-everglade-studio/ Writer/lyricist NATHANIEL BRIMMER-BELLER NATHANIEL BRIMMER-BELLER director NATHANIEL BRIMMER-BELLER & PHOEBE ROWELL JOHN composer AVEEV ISSACSON Cast HANNAH OMISORE NATHANIEL BRIMMER-BELLER AVEEV ISAACSON EMILY MOMENT Producer BLACK BAT Reviewed by Heather Jeffery

"a daisy-chain of erotic encounters: sharp, funny and absorbing." ★★★★ Originally written in 2008, F***ing Men by Tony award winner, Joe DiPietro, a play about the world of queer male hook-ups and relationships, has been updated for this current production with a limited six week run at Waterloo East Theatre. With bang on references to dating apps, the Cloud, a plethora of pronouns and ever-evolving labels, this fast-paced, entertaining and absorbing one act play infuses the universal themes of connection and the push/pull tensions of monogamy and sexual freedom, with new relevance. Inspired by Arthur Schnitzel’s La Ronde, written in 1897 but not performed until 1920 due to its scandalous content, the format involves a series of interlocking two-handers; a daisy chain of erotic encounters that finishes with the person who kicks off the sequence. It’s a format that works particularly well with the subject matter, allowing audiences to focus wholly on each of the characters across the social and sexual spectrum. All are at different states of ease with their queerness: some are fully closeted, some easing their way out while others cutting a swathe across the scene, brandishing their desire like a loaded gun. While the script is sharp and witty, the staging is simple and effective; a plexi- glass screen separates private and public lives both physically and narratively. Back lit, the screen becomes a soft-focus sauna, a nocturnal night club, or shadowy corner. Front of stage, the action becomes a more intimate space; bedrooms into which we are invited to hear frank or (not so frank) discussions. There’s lots of physical cruising, coupling and climaxing in this “dark emptiness of…urban existence”. but what stays with you is the craving, caring and connecting. While there are thrusting buttocks and toned pecs a plenty, what is most exposed is the vulnerability from the men whose hearts are revealed alongside their bodies. Four performers all multi-role slipping in and out of different characters and accents. There’s the brattish college boy seducing his tutor, the military man in denial, the successful but closeted action hero who might be blackmailed and the porn star with a romantic soul. The performances are all excellent with not a single cut-out between them. It’s the sex workers; rent boys and escorts who present the greatest sensitivity and depth, challenging audiences to look beyond stereotypes, biases and prejudices to this parade of human souls united by their desire to not be alone. This is a gem of a play and shouldn’t be missed. Photography credit - Michaela Walshe F***ing Men by Joe DiPietro at Waterloo East 16 April - 26 May Box Office https://waterlooeast.ticketsolve.com/ticketbooth/shows/873639019 Presented by Adam Roebuck 18+ Cast: Joe Bishop Rory Connolly Jason Eddy David Michaels ​ Creative team: Director Steve Kunis Set and Costume Designer Cara Evans Lighting Designer Alex Lewer Sound Design Julian Starr Movement & Intimacy Director Lee Crowley Production Manager Carrie Croft Casting Director Anne Vosser Reviewed by Nilgin Yusuf

‘A comforting and relatable Lockdown comedy’ ★★★ Lockdown-era Norfolk provides an ideal suburban setting for this slice of life comedy about the trials and tribulations of Nicky (Alice Bragg), a soon to be furloughed estate agent and mother who has her life turned upside down by Covid-19. A one woman show that remains indoors at all times, Nicky’s life is fleshed out over a series of video calls between herself and her mother as the first UK Lockdown comes into effect, peaks and finally recedes. During these calls Nicky’s slowly dwindling mental health and domestic bliss is entertainingly drawn out thanks to the often nagging voices of her husband and daughters filtering in from beyond with their own issues and pleas; all while Nicky is barely managing to stay in one piece. In an interesting twist, the one character left unvoiced is the woman on the other end of these calls; we only hear Nicky’s responses to her mother and are left to imagine the rest. It’s a striking decision that unfortunately slows the play down quite a bit – the majority of Nicky’s dialogue becomes expository as a result, often repeating verbatim what her mother has supposedly just asked. It wears thin fast, despite the details that do emerge from these one-sided conversations being rich and often amusing. For better or worse amusement is the peak of emotion here, as plot wise nothing much really happens. There are hints of tension and conflict relating to competitive parents in WhatsApp groups and neighbors reporting each other for breach of Covid laws, but these never break out into anything notable. The strength and weakness of this show is ultimately how low stakes everything is, keeping it charming and relatable but also preventing it from delivering much that stands out. The show executes this intention to great effect with sound and lighting that’s always on point. The intermissions between the acts of the play are strong as well, populated by soundbites from contemporary news bulletins and political speeches, perfectly filling the spaces in between while also letting us know how time is passing in Nicky’s world. If you’re looking for a comforting and relatable Lockdown comedy, Coronoa Daze hits the mark. Just don’t expect much besides. Images by Ali Wright Corona Daze at The Hen & Chickens Theatre 17th-25th April & 19th - 25th May2024 Box office: https://www.unrestrictedview.co.uk/corona-daze/ Written by Alice Bragg & Lucie Capel Directed by Benji Sperring Produced by Capel & Bragg Productions Sound Design by Dean Moore Lighting Design by Joshua Barber Reviewed by Harry Conway