Reviews

‘a sharp reminder that survival in the modern world often looks absurd’ ★★★★ I confess, I first mistook The Anatomy of Survival for a dance piece — understandable, given it was commissioned and co-produced by The Place. In fact, it resists such labels. What unfolds is not a play, nor quite a dance performance, but something closer to a show in the best interdisciplinary sense. The premise is deceptively simple: a woman walks into a café and asks for a coffee. The barista doesn’t understand. The situation unravels. From this trivial exchange, co-directors Frauke Requardt and Vivienne Franzmann build a satirical and surreal journey that examines how fragile our shared reality really is. The humour, the stylised design, and the slightly manic rhythm all carry the flavour of Wes Anderson’s The Grand Budapest Hotel . Props appear with precision, reality slips into absurdity, and at times the performers morph into creatures with bear paws or heads. A drummer punctuates the chaos, while two dancers and an actor shuttle us between the everyday and the unhinged. The company promise to “experiment with the audience’s nervous system” — flashing lights, sudden noises, jolts that trigger our primal reflexes. And yet I kept wondering: why Anatomy of Survival ? Is it about the nervous system protecting us? Manipulating us? That question lingered unresolved. Still, I found myself entertained and drawn along by the woman’s journey. The piece is word-driven, with the text describing and the movement amplifying. Personally, I would have welcomed a tighter interweaving between words and movement. Yet perhaps the refusal to settle into a clear definition is the point. It is entertaining, thought-provoking, and mischievously humorous. Anatomy of Survival is a sharp reminder that survival in the modern world often looks absurd — and that sometimes the best way to capture it is not with a play, or a dance, but a show. Encounter Productions Cast and creatives Co-Directors: Frauke Requardt & Vivienne Franzmann Choreography: Frauke Requardt and performers Writer: Vivienne Franzmann Performers: Bea Bidault, Kath Duggan and Solène Weinachter Live Musician: Stefano Ancora Designer: Hannah Clark Lighting Designer: Lucy Hansom Sound Design & Production: Chameleon drums&perc Studio Video Design, camera and edit: Susanne Dietz Production Manager: Rachel Bowen Costume Supervisor: Annette Raudmets Composer of “What She Wants”: Dave Price  Research Consultant: Frank Bock

‘original, necessary theatre’ ★★★ ½ It is so refreshing to have an original story on rarely shared themes. It is shown from the point of view of a carer of a non-verbal person. In this case, a mother who has sole care of her daughter (the father having recently passed away). A pity that this ‘parent carer’ relationship wasn’t flagged up in the synopsis for the show, as this is very different to a ‘carer’, someone employed to do the job. SCAFFOLDING tells Sheridan’s story, who is involved with the church, raising funds for the restoration, she’s having a bad day, as there’s a suspicion that social services might take her daughter away from her. She’s having a chat with God high up on the scaffolding around the church steeple, trying to make sense of it all. She’s also worrying about making the right ingredients for a bomb. It is an explosive show using these excellent symbols to show how the character is feeling and the high stakes involved. The performer is Kerry Norton; she is charming and her singing voice is gorgeous but I really wanted more depth of feeling to match the script. If the scaffolding is there to do this job, then more sense of risk would help to enable the audience to feel more for the character. Having said that, it surely is a show which would have much more impact on those who are living with learning disabled people and also the disabled themselves. How powerful, to see themselves and the people in their lives on stage, reflecting some of their own experiences. So, in a way, this show, isn’t for me, but I learned more about relationships and their importance. I learnt more about non-verbal people and how they can be allowed more agency in their own lives. It is a simple technique but one which takes a recalibration in ongoing relationships. We can all benefit from being more aware of such ideas. The themes and story have real weight, and this surely is necessary theatre, but on the night (I was there) the show didn’t reach the dramatic heights of which it is capable. Nevertheless, this is a show which should have a long life, it has much to offer. SCAFFOLDING by Lucy Bell at Drayton Arms Theatre 23 – 27 September 2025 Box Office https://www.thedraytonarmstheatre.co.uk/scaffolding Presented by Documental Productions CAST & CREATIVE TEAM Writer - Lucy Bell Director - Natalie Simone Performed by - Kerry Norton Senior Producer - Naomi Turner Engagement Producer - Susannah Bramwell Sound Design - Joseff Harris Sound Associate - Jack Orozco Morrison Set & Costume - Ella Barraclough Lighting Design - Rachael Duthie Movement Director - Karla Shacklock Technical Stage Manager - Josh Lucas Photo Credit - Craig Fuller

‘A charming and loving tribute to an entertainment legend’ ★★★ ½ Eh Up Me Old Flowers is a feel-good two-hander exploring the life and legacy of Charlie Williams, Britain’s first well-known Black stand-up comedian. In a biographical ode to an inspiring entertainer, Chris England as writer and director utilises famous phrases, physical theatre, and strong storytelling devises to paint an enlightening picture of a complicated man. Throughout the play, England celebrates Williams for his pioneering career yet is not afraid to criticise the outdated jokes and, oxymoronically, racial stereotypes he perpetrated within his material. Set in 1998, the play revolves around an aged Williams (portrayed brilliantly by Tony Marshall) being interviewed for an MBE. Immediately, he is confronted with past controversies, consequently sharing his life story in an attempt to clear his name. There is a level of defensiveness within Williams’ storytelling that makes the audience question his reliability as a narrator – yet his immediate charm and wit win us over from the moment he steps onto the stage. Nick Denning-Read plays the interviewer, as well as multi-rolling other characters throughout, often hilariously breaking the fourth wall and offering a down-to-earth contrast to Marshall’s representation of the central character. Overall, they work well together as a pair, with strong comedic timing and tact for more serious conversations, played earnestly and with obvious love for the source material. The use of costume as a motif for change was well executed, and the constant homely set adds a minimalism that compliments the structure of the writing. Perhaps the projections weren’t always necessary, particularly displaying images of the mining towns that British audiences are likely to already be familiar with, nonetheless it was a welcome addition during tributes throughout. Despite the joke-a-minute format and Marshall’s warm demeanour, the play at points felt stagnant, with pockets of clunky dialogue and time-jump transitions slowing the flow of the story. Nevertheless, it was a thoroughly enjoyable 75 minutes that did not shy away from asking difficult questions: towards both the entertainer and the entertained. Eh Up, Me Old Flowers is a charming and loving tribute to an entertainment legend, which relevantly questions historic political correctness in a present of heightened societal divisiveness. Written and directed by Chris England Performed by Tony Marshall and Nick Denning-Read

‘deliciously bawdy humour and a powerful message of female power’ ★★★★ A darkened and bare stage, a large cardboard cannon and various protest signs propped against one wall make for a striking first impression in a small pub theatre. The signs are written in different languages, two in English particularly stick out: ‘Protect the right to Protest’ and ‘I can’t believe I still have to protest this shit’. They are both recognisable and timely, depressingly so. Lysistrata at The Old Red Lion Theatre Pub is a play about a war, the Pelopennesian. This was a war that occurred between 431-404 BCE and a play that was written in 411 BCE. Despite the thousands of years that stand between then and now, it remains startlingly relevant. In this play, set in Athens, the women—sickened as they are by the men’s incompetence in the face of relentless bloodshed—decide to take matters into their own hands and to end it once and for all. Their method? A sex strike. Their men, as they predict, become so painfully horny that they decide finally on a peace treaty. Then and only then do their wives, girlfriends and lovers return home to them. What ensues is deliciously bawdy humour and a powerful message of female power. The cannon designed by Rebecca Ward reaches an impressively lifelike size yet is made entirely of cardboard. This deliberate choice seems to point to the fragility of war. A reminder that once all the bloodshed, the anguish, the terror, the pain, the sheer brutality of it all is pushed out of the way and you are forced to reckon with the thing itself, there is very little for it to stand on. Like cardboard, its foundations are thin. In this particular adaptation we have 6 actors: four female presenting and two male presenting. Though all multi-role at some point in the action, the principal characters are the four women led by Lysistrata. This merry band of four, once again highlighting the relevance of this play, are dressed in costumes representative of different periods. Lysistrata (Rachel Bardwell) in her white dress, straw boater hat and badge with white, purple and green ribbons is unmistakeable as a suffragette: a woman paving the way for future change. These colours of green, white and purple also feature, like an enduring motif, on the other female costumes which become gradually more and more modern. Another, worn by Peace Oseyenum is particularly loud and clear in its reference: blue denim boot cut jeans, a tight purple t-shirt, hoops and a fro. We have the 1960’s and all the protests and rebellion that went with it. There is much to like in this reimagining of Aristophanes’ ancient comedy. As mentioned, simple aesthetic nods to the plays’ enduring relevance go a long way and when coupled with more outright references to the here and now we have Greek theatre at its best: universally appealing, democratic and a commentary on recognisable themes. A particularly delightful example of this is when one of the actors trills offstage ‘Domino-hoo-hoo’, which is greeted by gasps of delight by the women on stage who cry at once: ‘a man’(!). Benedict Esdale’s direction is simple and effective, letting the enduring appeal of this ancient comedy do the work. Through simple staging, stylized physicality by the ensemble of six and excellent comic timing the play is translated aptly to 2025. Surrounded as we are by too many senseless wars this comedy is both a welcome relief as well as a ‘sit up straight’ jolt of adrenaline. Images: Miranda Mazzarella  Flywheel Repertory Season at Old Red Lion Theatre BOX OFFICE https://www.oldredliontheatre.co.uk/flywheel-repertory-season.html PROGRAMME The Rover by Aphra Behn September 2-6 Romeo and Juliet by William Shakespeare September 9-13 Lysistrata by Aristophanes September 16-20 The Lodger after Marie Belloc Lowndes September 23-27 Pygmalion by George Bernard Shaw September 30 - October 4 Doctor Faustus by Christopher Marlowe October 7-11

‘a conversation piece’ ★★★★ Based on true events experienced by exiled Russian director Alexander Molochnikov, the story begins in Moscow Art Theater. A young experimental theatre director, Kon, is staging Chekhov’s The Seagull as a cabaret. when Russia invades Ukraine, the cast and creatives are shocked and disturbed by the events. Trying to speak out about their feelings, the production incurs state censorship, which cramps the director’s creativity. Now the young director packs his bags for more artistic freedom in New York. He leaves behind his mother who is a famous actress, and passes the baton of free speech to ‘Anton’ who quickly finds himself in prison. “We love it when people do what we say, we love it in Russia.” The second Act is set in New York and without going into the details of the story, it soon becomes apparent that Kon’s romantic ideal of the States is dashed as he discovers a different, but nevertheless crushing, culture of control. The big shot producer that he approaches has never heard of him but shows a spark of interest, if only Kon would direct a multi-media show about three pigs. It is this kind of irony where the show scores a massive hit. Kon solidly sticks to his precious vision of The Seagull and refuses to compromise. Kon continues to search for a theatre that will take his play and is rejected until he has to make do with an actor whom he meets by chance, Nico, a bunch of amateur artists and a warehouse to stage his production. The very naivety of Kon, is amusing in itself. It is laughable and laudable that this show should wend its way to London, Speaking from the point of view of this publication (London Pub Theatres Magazine), generally it isn’t possible to start at the top and most graduates find themselves working for free and building their own careers from scratch with immense determination and ambition. That lucky break, doesn’t always come. Artists have to make their own ‘luck’ (and the harder they work, the luckier they get). David Boyd as Kon, plays the dreamer to perfection, hiding from a critic in the first Act (but never letting go of his dream of re-envisioning The Seagull). “Making the play is the easy part” and here, as a reviewer, it is my break to make some scathing comments about the show. The cabaret is madcap, flying materials, a random bath, grungy costumes, and ballet with a smatter of camp dancing, but somehow it does work. The supporting cast are rather fine dancers, and the visuals do add some depth to the politics, reminders of the treatment of the LGBT community for starters. The cabaret is colourful, and the wacky visuals are grounded by a cracking script from Eli Rarey, giving excoriating insights into the different cultures of the two countries. It lays bare the ghastly truth of what it takes to get to the top in the industry. Kon, just doesn’t have an understanding of the system, how it works and how to use it Ingeborga Dapkunaite as the Mother is spectacularly good in the role, as someone who does understand the system enough to keep working at the top of her acting profession. Fascinating that her position allows her to canvass for ‘Anton’ even though there is only so far that she can go. Dapkunaite is totally credible in the role. Stella Baker as Nico also shines and has a character development which allows facets of the same woman to be exposed. In fact, all the cast play their roles with aplomb. Recent data shows, that people in their 20s and 30s are flocking to theatres as an antidote to looking at their small screens. Theatre is having a resurgence of popularity and for all those looking to have an actual discussion, post show, Seagull: True Story is certainly a conversation piece. Images: Mark Senior SEAGULL: TRUE STORY Marylebone Theatre 5 Sept – 12 Oct 2025 BOX OFFICE https://www.marylebonetheatre.com/#Whats-On Presented by Sofia Kapkov for MART and Oliver King for WILD YAK Creatives & production team Creator & Director Alexander Molochnikov Writer Eli Rarey Set Designer Alexander Shishkin Costume Designer Kristina Kharlashkina Lighting Designers Brian H. Scott, Sam Saliba Composer Fedor Zhuravlev Lyrics by Noize MC Choreographer Ohad Mazor ‍UK Lighting Designer Alex Musgrave ‍UK Sound Designer Julian Starr Cast Nico Stella Baker Kon Daniel Boyd MC Andrey Burkovskiy ‍Olga Ingeborga Dapkunaite ‍ Dmitri Ohad Mazor Sasha Myles J. McCabe Ivan/Jack Quentin Lee Moore ‍ Pickle Keshet Pratt Musician Shukhrat Turdikhodjev ‍ Anton/Sorry Elan Zafir

‘A lost jewel; catch it while you can.’ ★★★★ There’s history being made at Brockley Jack Studio in South East London. Oscar Wilde’s first play: Vera; Or, The Nihilists, originally performed in New York in 1883 is now on. It took him three years to write and on opening night, was heckled and jeered at, a blistering and resounding failed production that closed early. So traumatised was Wilde by this experience, that when tried for sodomy at the Old Bailey, he swore under oath that Lady Windermere’s Fan was his first play. It seems that Vera was Wilde’s dirtiest of secrets. This Wildean rarity, unloved and unclaimed, now has new life breathed into it by Cecelia Thoden van Velzen, a theatre maker and director from the Netherlands who felt this play had been neither understood nor appreciated at the time. Then, the director insisted it be a light-hearted exploration of Tsarist Russia and a group of assassins (The Nihilists) lead by their strong female leader, Vera. Despite the fact, that Wilde had written SERIOUS all over the text, it was decided, much to Wilde’s chagrin, that comedy would trump tragedy. Realised by a committed ensemble of talented performers, this is eighty-five minutes of revolutionary fervour, a paranoid leader and forbidden love. Set at a time when the Russian people were starving, supressed, and subjugated and any transgressors carted off to salt mines, the landscape and scope of the play is wildly ambitious, perhaps the mark of many first plays. Wilde had read of The Nihilists in newspapers and was fascinated by this band of Slavic brigands who believed “assassination is a method of social reform.” In 1881, two years before the play was first performed, The Nihilists succeeded in killing Tzar Alexander II with a nitro-glycerine bomb. Minimal, understated, and atmospheric, the play’s production makes good use of dry ice and lanterns. A spare musical composition also by director, Thoden Van Thelzen, effectively casts audiences back over two hundred years to a time of cloistered garrets, pointed spires and conspiratorial, shadowy gatherings. Protagonist, Vera is driven to join The Nihilists by the imprisonment of her brother and becomes a strong, fervent leader of this group that plot to murder the Tsar. One of the group, a man with “soft white hands” may be a traitor. Played by George Airey (Dexter Fletcher look alike) he is drawn to the strong, sure footed, quietly spoken Vera Sabouroff, beautifully channelled by Natasha Culzac, a woman unafraid to wield dagger or gun to defeat her enemies. When the soft handed man is revealed as the Royal Prince and heir to the throne, Vera is conflicted between her love for her country and her feelings for this blue-blooded man, who offers her “the world as a footstool.” The ensemble performances are strong. A special mention to Jonathan Hansler who plays paranoid and jumpy Tsar Ivan, untrusting of everyone after so many attempts on his life and who may be in the middle of a nervous breakdown. Some of the play does feel a little lumpy, unwieldy, and slow in places. The use of voice over feels unnecessary, especially in the prologue when everyone is compelled to remain seated for a short lesson on Oscar Wilde. This contextual information could easily be printed somewhere. But there is also much to admire. It’s intoxicating to hear the words of Oscar Wilde, resounding so clearly and movingly, in an intimate space like Brockley Jack. The packed venue showed that Wildeans will travel from far and wide for such a rare sighting. Despite the political landscape and theme of the play, we hear Wilde’s voice in his bon mots and camp put downs: “Indifference is the revenge life takes on mediocrity” and “what a mistake it is to be sincere” and they are a delight. Several of Third Thing Productions , the company who got this off the ground, met at the Royal Conservatoire of Scotland. They’ve done a great job in polishing this lost jewel and putting out into the world as Wilde intended. Last night, there were no jeers, only cheers. Vera; Or, The Nihilists at Jack Studio Theatre 16 – 27 September 2025 The First London Revival of Oscar Wilde’s first play, Adapted by Cecelia Thoden van Velzen Jack Studio Theatre 16 – 27 September 2025 BOX OFFICE: https://brockleyjack.co.uk/jackstudio-entry/vera-or-the-nihilists/ Photo credit: Henry Roberts. Cast: Natasha Culzac as Vera Sabouroff George Airey as Alexis Ivanacievitch Kat Kim as Prime Minister Maraloffski Jonathan Hansler as Peter Sabouroff & Czar Ivan Jo Idris-Roberts as President of the Nihilists & Baron Raff Finn Samuels as Michael & Count Rouvaloff Catherine Allison as Kotemkin Directed and reconceptualised by Cecilia Thoden van Velzen Set Designer and Lighting Designer: Ruth Varela Costume Designer: Anastasiia Glazova Costume Assistants: Sofia Kuzmina and Vladimir Buriakov Sound Design: Cecilia Thoden van Velzen Assistant Director and Fight Director: Matthew Schwarz Lighting Technician: Ed Tuke Producer: Stephen Leach Associate Producers: Natasha Culzac and Cecilia Thoden van Velzen Presented by Third Thing Productions

“a celebration of the peculiarities, contradictions and sheer vitality of the English language” ★★★★ Melanie Branton’s THE FULL ENGLISH is a witty and engaging one-woman show that takes audiences on a lively journey through the history of the English language. Part history lesson, part poetry performance, and part playful experiment. Armed with an assortment of props, quick wit, and a warm, approachable presence, Branton guides us through the sprawling history of the English language. From etymology to double negatives, from the Norman Conquest to Caxton’s printing press, from the linguistic legacies of colonialism to the chaotic slang of the internet age, she maps out a story as messy, diverse, and colourful as English itself. A former English lecturer turned performance poet, Branton is active on the UK poetry scene, has published work in journals and anthologies, and on her own blog where she shares “fun facts” about language and posts in forms as various as triolets and children’s verse. Her blend of scholarship, playfulness, and engagement with both children’s and adult audiences gives her a uniquely versatile voice. THE FULL ENGLISH blends poems, props, games, and audience participation, but what anchors the evening is Branton herself: an articulate, charismatic and deeply knowledgeable guide. Branton cultivates an atmosphere where even the shyest audience member feels safe to join in. She balances erudition with accessibility, delivering nuggets of linguistic trivia in a way that is inclusive and illuminating. Part of her endearment is the pure delight and enthusiasm she has for her subject - whether Branton’s explaining the quirks of the great vowel change or the haphazard beginnings of grammar, her enthusiasm is infectious. Branton’s genuine love of language is most evident when she sets aside the gimmicks and simply explains the winding histories of words. Her explanations are clear, witty, and grounded in a deep knowledge of her subject. In these moments, the performance achieves its greatest clarity and charm: a celebration of the peculiarities, contradictions and sheer vitality of the English language. Her poems provide a lyrical thread and her explanations resonate, offering fresh insights into something we all use every day yet rarely stop to examine. The intimate space of Barons Court Theatre proves an ideal venue - its close quarters turn the performance into a conversation, making the audience co-conspirators in Branton’s linguistic treasure hunt rather than passive spectators. I left THE FULL ENGLISH entertained and enriched, armed with a host of new facts and a renewed appreciation for the glorious, chaotic mongrel tongue we call English. This is a show for anyone who has ever wondered why words mean what they mean - or who simply delight in them. Photo: Lidia Crisafulli Box Office: https://www.baronscourttheatre.com/fullenglish

 ‘the characters’ reference points and idiosyncrasies feel specific and fully realised’ ★★ ½ Most families are resplendent with resentments. The Morley family is no exception. There is the wife, Louisa, who refuses to engage emotionally with her cancer diagnosis; the husband, Jack, who can never fully atone for the sins of his past; and the daughter, variously Mariana, Mara, and Marnie, who is relieved that it is the mother she hates who got ill, and not the father she adores. Cue the petty jibes, tense meals, and blowout arguments. Miranda Lapworth, the writer and director, has a knack for engaging dialogue. The characters’ reference points and idiosyncrasies feel specific and fully realised: they make fridge cake, fantasise about Mars mousse, play Film Relay, and debate the convertibility of “car mints” into “house mints” (no consensus is reached on this thorny matter). The actors relish the script. Jenny Lloyd Lyons is a particular standout, shifting Louisa from a clipped, aloof, Anna Maxwell Martin-esque figure into a woman exposed and vulnerable, drained of energy beneath the weight of her grief. At times, though, the fun dialogue masks deeper flaws. The play never fully comes into focus. Too often it feels like a series of surprises are thrown at the characters just to see what will stick – and the answer is not very much. These characters are stubborn, and little dislodges them from the spiky, if ultimately comfortable, dynamics we see at the start of the play. That inertia may be true to life, but dramatically it proves repetitive. The same arguments replay with little evolution. Over a runtime of more than two hours this becomes wearing, particularly in the second half. I also struggled to fully understand the relationship between Louisa and her daughter, Mariana – brilliantly played by Steph Sarratt. Theirs is a terse dynamic: Mariana is convinced of her mother’s selfishness, and Louisa is fed up with her daughter’s incessant campaign of vilification. Yet without more detail on what forged this deep-seated resentment, Mariana’s actions drift towards the unforgivable. At every turn she picks a fight – both after her mother’s diagnosis and after Jack’s sudden death. Her ceaseless vitriol starts to feel uncalled for, and it becomes hard to stay with the character. We are assured Mariana has fair cause to be angry, but without specificity her rage lacks grounding. Sarratt does her utmost to humanise the character, but she becomes increasingly unsympathetic in the second half. Lapworth’s play has wit and energy. The performers rise to the challenge of its dialogue and have fun with the detailed set. But with unfocused plotting and relationships left underexplored, it never quite lands the dramatic punch these characters could achieve. Storms, Maybe Snow by Miranda Lapworth / Seven Dials Playhouse / 16 – 20 September 2025 https://www.sevendialsplayhouse.co.uk/shows/storms-maybe-snow

'places these women front and centre of their and our community'★★★ ½ It’s 1985 and the world is grappling with the AIDS epidemic with information and mis-information, initially at least, at a premium. People are scared and confused and need help. Above a bookshop in London’s Kings Cross the newly re-named Lesbian and Gay Switchboard becomes a lifeline for those who need advice, somewhere safe to stay and, once the government promotes them following the infamous AIDS public information film, a re-assuring voice. Referring back to the actual switchboard archives located in the Bishopsgate Institute, Doubletake Theatre blend real-life people and calls against the fear that was perpetuated at the time alongside the public ‘realisation’ that, hey, some people are gay. This melding of the historical, the personal and the general makes for a not always successful pacing of story but does leave the viewer with a clear sense of time and, simply, what it was like to be around and live through this period. The operation of the switchboard office - brilliantly realised by the production and design team in the tiny Hope Theatre - is seen through the lens of 4 different women whose shared sexuality and purpose conflicts with their personalities and what is going on in their lives. The ensemble at play is a real strength of the piece, combined with some nice moments in the script, smart motifs and a story in which we all become invested. Lou (standout Fatima Abdullahi) is confident and focussed, only stressing out when the phones play up and her ex Joan (excellent Megan Keaveny) talks to callers about her vagina (yes, really!). Newbie Jackie (Áine McNamara) is all bluster at first but grows into the job and strikes up a relationship with Nana (Hannah Balogun) who has been mysteriously absent for 6 months……. All 4 actors also play callers to the switchboard and, in a barnstorming opening played against a Blondie / 80’s soundtrack, the scene is set with pathos and belly laughs. As we begin to understand more about their lives and relationships, we also get a greater sense of what is happening in the world around them and our admiration for their work and ability to understand and feel comes starkly into view. There are some very funny moments and each actor gets their ‘moment in the sun’. Everything comes to a head in a scene where, to be honest, too much is realised and this leaves the ending to be something of a damp squib. That said, the final scene of phones ringing and calls from ‘lost boys (& girls)’ being answered re-emphasises the vital work of the switchboard - and that this kind of service is as vital today. Much to laud and enjoy here but, for me, this is a 2 act play waiting to spring free. This would give more time to explore the 4 characters - their interactions, their home lives, their views on the world - and give greater context to lesbian history. The Switchboard Project places these women front and centre of their and our community - bravo for that. BOX OFFICE The Switchboard Project | The Hope Theatre CAST Jackie Áine McNamara Joan Megan Keaveny Hannah Balogun Nana Lou Fatima Abdullahi CREATIVES Director Molly Byrne Sound Designer Arianna Muñoz Lighting Designer Sameer Aggarwal Associate Director Cassia Thakkar Costume & Production Designer Ella Muir Dramaturg Beth Wilson Producer Ella Pound Set Designer Daniel Southwell PR Matthew Parker