Reviews

‘GREEN has strong roots is in its reflection of the music industry, which reduces identity and emotions to business transactions.’ ★★★½ Meg Schadler’s play GREEN has solid thematic foundations, critiquing the exploitative nature of the music industry. It follows upcoming singer-songwriter Jude and ruthless ‘nepo baby’ Zoe as they tour with Ben, a pop sensation that they are both in love with. Schadler must be congratulated for both stepping in last-minute as the understudy to play ‘Zoe’ and a well-structured script; Jude and Zoe’s desires and ambitions drive the narrative and the love triangle between Jude, Zoe and Ben (who we never meet) shapes the play’s central conflict around emotional (un)availability. Where GREEN has strong roots is in its reflection of the music industry, which reduces identity and emotions to business transactions. Zoe, who is constantly googling where she falls on the ‘World’s Most Useless Nepo Babies’ List, uses Ben’s fame and subsequent power to make something – anything – of herself. She poses as his public girlfriend, despite Ben sleeping with multiple men, including Jude, throughout the tour. Jude falls in love with Ben and convinces himself that their ‘love’ is enough to override Ben’s promiscuous nature but – spoiler alert – it’s not. In the intimate setting of the Old Red Lion Theatre, Jack Hesketh’s soothing renditions of original compositions by Stamatis Seraphim make us feel like a part of Jude’s audience, which becomes bittersweet as it underscores how both fame and love are commodified in the industry. There are moments where the play needs more sunlight however, as the characters feel underdeveloped at times. Zoe’s motivations make sense but lack emotional depth; she can’t find the self-worth to leave Ben, even though he doesn’t care about her. Jude’s character shifts – namely being teetotal to drinking heavily – are introduced but not explored, making his naivety feel somewhat forced. As such, Zoe and Jude’s friendship, despite being central to the narrative, is at times unconvincing; Jude believes in it but as the audience we struggle to see why. Zoe is self-centred, pushy. She insists that she acts as his friend but cares more for his fame than his feelings. She is nosey, drinks too much, attaches her self-worth to the success of others, and her views on sexuality are questionable. She is, of course, a victim of public speculation and the play is bookended by soundbites from social media, conspiracy theories and hyperbole about her love life. I left the play wanting more. More hyperbole, more speculation, more gossip to truly reflect the absurdity of life in the public eye. The direction could embrace this missed opportunity, weaving stylised social media moments throughout and injecting more energy into the narrative. GREEN holds back, hesitant to fully explode, but its compelling set of conflicts have the potential to build towards a more dynamic climax with bolder, more adventurous direction. One of the play’s most telling moments is when Jude insists, “I can’t just become a cliché.” He is afraid of losing originality in an industry that thrives on formulaic success, something that Zoe profits from. However, there’s an irony here – despite its sharp critique of the music business, GREEN itself leans on familiar tropes. The love triangle, the tortured artist trapped in an exploitative contract, and the ruthless manager who sacrifices personal integrity for success are all well-worn narratives. GREEN has put down strong roots with its structure and ideas. With more energy, less predictability, and a bolder, fresher approach to its themes, its branches could grow away from the very clichés it seeks to challenge and blossom instead into a truly striking story. GREEN by Meg Schadler FreshFest at The Old Red Lion Pub Theatre 18th – 20th February 2025 Box office: https://www.oldredliontheatre.co.uk/green.html Written and directed by Meg Schadler Original music composition by Stamatis Seraphim Performed by Meg Schadler and Jack Hesketh

‘exploring masculinity, comedy’s evolving boundaries, and the commercialisation of tragedy’ ★★★★ ½ What does fontanelle mean? It’s the soft spot on a baby’s head—the most vulnerable part of the body until it hardens by the age of three. “Oh, what a shame, at least we had something French until we’re three.” This witty remark in the show sets the tone for Jordan Brookes’ latest comedic exploration, blending humour with a deeper reflection on fragility, masculinity, and the narratives we construct. The title serves as a strong metaphor: something central yet easily forgotten. As we grow, we lose our vulnerable spots—both physically and emotionally—and come to realise we are not the protagonist of every story. This is the moment Brookes turns his attention to Titanic, one of the most retold tragedies of the 20th century. Through comedy, music, and theatrical storytelling, he asks: Have we exhausted every perspective on this disaster? Or is there something still lurking beneath the surface? Despite his self-deprecating descriptions, Brookes commands the stage with great charm, captivating the audience throughout. He humorously but sharply critiques Titanic, exploring masculinity, comedy’s evolving boundaries, and the commercialisation of tragedy. Using musical theatre as a comedic tool, he sweeps from backstage to the auditorium with brilliant lighting, sound, costumes, and props. His supporting cast, Eddy Hare, Rosalie Minnitt, Isobel Rogers, and Lami Olopade, anchor the show with stellar comedic and musical performances. With brilliant lighting, sound, costumes, and choreography, you won’t want to miss this show. Images by Jennifer Forward Hayter Title : Jordan Brookes: Fontanelle Dates : Thursday 13th February – Saturday 1st March 2025 Location : Soho Theatre 21 Dean Street, London W1D 3NE Tickets £25 - £20 / £20.60 – £16.60 (members) https://sohotheatre.com/events/jordan-brookes-fontanelle/ Running time 75 minutes Production Company IAM Book/Performer Jordan Brookes (he/him) Music and Lyrics Jake Roche (he/him) Cast Eddy Hare (he/him) Rosalie Minnitt (she/her) Isobel Rogers (she/her) Lami Olopade (she/her) Stage Manager Josie Shipp (she/her) Sound Designer Sarah Spencer (she/her) Lighting Dan Carter-Brennan (he/him) Props Pat Cahill (he/him) Sound Design Ciaran Clarke (he/him) Choreography Jessica Simmons (she/her) Costume Amondine Tison Campbell  Instagram @jordanbrookescomedy

'self-aggrandisement and dramatic fall from grace' ★★★★ Relish Theatre’s strikingly-named Oh My Pain, My Beautiful Pain investigates the use and misuse of trauma as a springboard for artistic expression. The protagonist Natalia (Evie Fehilly), having found success years ago with her one-woman show exploring the aftermath of an assault, finds herself having to delve ever deeper into her trauma in order to create work harrowing enough to satisfy her overbearing agent (a star turn by Posey Mehta) and fans. While this all sounds like a pretty heavy-going evening of theatre, the combination of drag, clowning, poached egg themed tap dancing and hallucinatory dream sequences swirl together to create a genuinely joyful piece of absurdist theatre, which takes difficult themes and rids them of their power by pushing them to Dadaist extremes. At times this in-your-face messaging can get a bit tired, with a little too much of the second act consisting of Natalia begging other characters to “go deeper” so that she can mine their pain for her own work. The message is instead at its strongest when the play loses all grip on character development and plot and instead goes full fantasy, launching into dance sequences to pop songs edited so that every other word is “trauma”. The costumes, designed by Daniel Hall, are beautiful and deeply covetable, from a pink skeleton suit to a dress featuring Goya’s ‘Saturn Devouring His Son’ which Natalia wears while delivering a fateful Tedx talk about exploiting your own pain. The show works perfectly in the Pleasance London’s cabaret-style Main House, a glittering, velvet-draped backdrop to Natalia’s self-aggrandisement and dramatic fall from grace. The staging is simple, and could be pushed a bit further in future to match the camp extremes of the show, but great use is made of projection, as we see Natalia’s frenzied writing spill out across the screen to thumping beats. With the tidal wave of autobiographical one-woman shows popping up more and more frequently in Fringe venues and praised with words like “brave” and “raw” it is refreshing to see theatre makers grappling with the repercussions of such public intimacy, both for the audience and for the artist themselves. Is artistic success worth the repeated reminder of the worst moment of your life? And can any of these theatre-as-therapy-sessions lead, in any real way, to healing? Oh My Pain, My Beautiful Pain at Pleasance Theatre 7 February - 1 March 2025 Written by Evie Fehilly Performed by Evie Fehilly, John-Luke Roberts and Posey Mehta Directed by John King Produced by Morag Davies for Relish Theatre Box Office: https://www.pleasance.co.uk/event/oh-my-pain-my-beautiful-pain

‘masterfully builds an unnerving atmosphere’ ★★★ THE MIDNIGHT CALLER is a chilling thriller that centres on Fiona, who works the night shift at a call centre. Her routine is disrupted by a disturbing phone call from a child in distress. When the police fail to act, she enlists the help of her friend Judy, to uncover the truth - plunging them both into a perilous mystery. With all the hallmarks of a classic psychological thriller - an isolated protagonist, a setting steeped in a sinister past, and an unsolved murder — the play masterfully builds an unnerving atmosphere. The sound design is pivotal in amplifying suspense, with eerie voices and unsettling noises heightening the tension. Just as effective are the moments of silence, allowing unease to creep in and a lingering sense of powerlessness to take hold. The performances are strong, with the cast bringing depth and nuance to their roles. Yazmeen Enoch delivers a compelling portrayal of Fiona, capturing both her sense of disconnect from the world and her growing desperation with raw intensity. Opposite her, Treci Dominique shines as Judy. Their interactions add warmth and urgency to the narrative, keeping the story compelling even as it treads familiar ground. Emeka Agada impresses in multiple roles, seamlessly shifting from Fiona’s officious boss to a sympathetic colleague and an apathetic police officer, adding a rich texture to the world around Fiona. What sets THE MIDNIGHT CALLER apart is its haunting conclusion. Rather than offering a clear resolution to the mystery, the ending remains deliberately ambiguous, leaving audiences questioning what they’ve just witnessed. It’s a bold choice that enhances the play’s unsettling nature. Though some scenes could benefit from tighter pacing, the production delivers a gripping and suspenseful experience. Fans of supernatural thrillers will appreciate its eerie atmosphere and immersive storytelling, even if it doesn’t break new ground. Strong performances, a meticulously crafted soundscape, and a hauntingly ambiguous conclusion make for an engaging night of theatre. Starring: Yazmeen Enoch, Emeka Agada (Reacher) and Treci Dominique Written By Charles Eades Directed By Giulia Hallworth Presented by BlackPen Productions 

‘there’s no safe place’ ★★★★ ½ Sometimes theatre gives you empty entertainment, something to occupy you for a couple of hours and then to evaporate. But sometimes it gives you magic. THE PASSENGER has been dramatised by Nadya Menuhin from a novel by Ulrich Alexander Boschwitz. It traces the journey of a respectable, well-heeled, well-regarded business man, from comfortable, slightly smug self-satisfaction, into a homeless, penniless refugee with no refuge, and if that story sounds familiar, that’s because it is. Tides of unreason wash over anyone, and there’s no safe place. Otto Silberman has the misfortune to be Jewish in Berlin in 1936. As the Nazis cement their hold on Germany, all his erstwhile friends discover just how Christian, how Aryan, how conformist they are, and systematically defraud him of his business, his wife, his home, his possessions. He criss-crosses Germany searching for an exit or for sanctuary, and that’s the play. Ninety minutes in the company of a desperate man searching for a way out. The wonder of this production is the extent to which the audience are all fellow passengers on Otto’s road to nowhere. The intimacy of the playing space, the subtlety of a design that makes the upholstery on the set the same as that on the auditorium seats, the chilling hunt for refugees by uncaring border guards, that doesn’t distinguish between actors and audience. It’s unsettling and immersive, and generates huge sympathy for the man bounced round like a Pinball however unsympathetic he presented initially. Immaculate ensemble acting by the five-person company (Robert Neumark Jones as Otto, Ben Fox, Eric MacLennan, Dan Milne, and Kelly Price as the rest of Europe), simple and effective lighting and design by Mattis Larsen and Hannah Schmidt, and superb, supple, dynamic direction by Tim Supple, and the privilege of experiencing great theatre at really close quarters in a little theatre make this a great, unmissable experience. It runs until 15th March. Photos by Steve Gregson Box Office https://finboroughtheatre.co.uk/production/the-passenger/ Production Team Director - Tim Supple Set and Costume Designer - Hannah Schmidt Lighting Designer - Mattis Larsen Sound Designer - Joseph Alford Producer - Presented by Toby Parsons Productions in association with Neil McPherson for the Finborough Theatre. Cast Ben Fox Eric MacLennan Dan Milne Robert Neumark Jones Kelly Price

‘Where do we truly belong?’ ★★★★ Tradition is a tricky matter, especially for women. As an East Asian woman in the diaspora, I have experienced this complexity firsthand. Westernization has often been associated with the liberation of women's rights, while tradition is frequently seen as something oppressive. But once you leave your country, the world constantly questions your identity. Whenever I go, people ask, What does this mean to you? Is this truly yours? For those of us living in Westernized or modernized environments, this questioning can lead to an introspective search for what people call tradition and where I truly belong too. Learning tells the story of a Jewish couple in London, Deb and Jonathan. Raised in London, they both identify as Londoners while also carrying their Jewish heritage. As Jonathan begins to immerse himself in learning about Judaism, tensions arise within their relationship. For him, this exploration is a way to find belonging; for Deb, it represents the oppression of women's rights. Originally developed from monologues into a full-length piece, Francesca Rose's writing carries a deeply personal and intimate appeal. Sharon Reshef Armony's direction is playful and versatile, using movement, music, and space effectively alongside Gemma Franco's evocative compositions. The production's strength lies in its thoughtful and deliberate pacing, largely thanks to the grounded performances of lead actors Gemma Franco and Nick Delvallé. The only drawback is the ending, which feels somewhat rushed in its resolution. This week, Donald Trump declared the resumption of war in the Gaza District if the prisoners are not released till the weekend. In times like these, the question of belonging becomes even more urgent. Where do we truly belong? Is it to a land, a tradition, or a religion? Where do we find acceptance? Watching Learning today made me reflect deeply on these questions. Photography credit: Sebastian Gonzalez LEARNING by Francesca Rose Artistic Director - Sharon Reshef Armony Musical Director / Debs / Counsellor - Gemma Franco Jonathan / Counsellor - Nick Devillé

‘A truly intelligent and tense core’ ★★★ Jeffrey Sweet’s play opens with a frank debate over its titular subject, as father and daughter Benny (Jeremy Kareken) and Norma (Katherine Lyle) argue over the latter’s intention to have her surname changed from her father’s to her mother’s, a touchy subject for the long-divorced Benny. Norma, trying to strike out on a career as an actress, wants to unburden herself of her father’s legendary surname after his own successful career, but it’s not a name without tarnish as the arrival of Norma’s next director Leo (Tim Hardy) makes clear. Leo and Benny go way back it turns out, and Benny’s name was one that Leo offered up to the authorities during the McCarthy era, blacklisting Benny from show business and ending their friendship. Names are a strong theme then, giving the show a truly intelligent and tense core that brings to life weighty topics of loyalty and idealism. It’s rare to see a play this clever and with this much intellectual depth, and for that Sweet is to be commended. The script is often witty and funny too, rounding out Leo and Benny as cynical and idealistic in equal measure yet along very different lines. Unfortunately the script is also flawed, stretching what feels like a snappy 60 minutes into a diluted and overdrawn 90 that often lacks energy as Leo and Benny simply sit around and talk, offering up very little past the halfway point of their discussion that injects proceedings with pace or energy. Similarly, the performances hit some bumps in the road. While Hardy plays Leo with engaging gravity and nuance, Kareken is a bit one note in his delivery and could feel he lacked other dramatic gears to shift into, stuck in a sarcastic neuroticism throughout and his delivery of lines often suffering as a result. Lyle for her part gives a strong performance, but again frustrations with the script rear their head; despite feeling longer than it should as a whole, the play gives little if any room for Norma as a character and only allows her be a support to the other two, if at all, thanks to her absence from the entirety of the play’s middle. What could be an excellent triangle becomes an overlong two-hander, despite Lyle and Norma clearly having more to give. Finally, the climax of the show fails to spark - Leo and Benny dance around each other and square up for an hour only for them both to end up back where they started, with the same fundamental disagreement at the same emotional pitch. It’s an engaging dilemma, and it has good dramatic foundations, but it fails to build up to heights that its themes deserve. Photography: Zack Layton The Value of Names runs at The White Bear from Feb 11th– March 1st Written and Directed by Jeffrey Sweet Box office Produced by Hint of Lime Productions in association with ANDTheatre Company Reviewed by Harry Conway

‘a dark, funny, and emotional journey’ ★★★★ Charles Bukowski is the archetypal “cult” writer. Despite having stories published from his early 20s onwards, he had very little critical and commercial success, at least not until later in life. Working in a variety of ‘ordinary’ jobs, his experience informed his poems and stories, which are a portrait of urban working-class post-war America. There is plenty of drinking and a fair bit of violence. But there is also great humanity and beauty too. Directed by Anya Viller, Ordinary Madness does well in having so many characters and situations whilst keeping momentum. The staging, (set design by Alexandra Dashevsky), is minimalist but imaginative. The production presents six stories, interspersed with poetry. In fact, Bukowski’s poem Bluebird is read jointly by the cast at the beginning. The beautiful bird kept inside, suppressed by cigarettes and alcohol, is emblematic of his work. The production takes us through the decades with a diverse collection of characters, many down on their luck and often looking to escape. We have the small-time crook who loves playing with his daughter. Then there’s the guy who is broke and must sell his treasured collection of classical records to a pair of nuns who drive a hard bargain. Not to mention the woman who is looking for love through an advert in a shop window, with predictably disastrous consequences. It never becomes repetitive because there is always a twist or unexpected element in each story. Stand out stories include “Love for $17.50”, about a man (James Viller, excellent throughout) who buys a shop mannequin (Victoria Valcheva) and falls in love. This story shows Bukowski’s goofier side but is not without pathos. Perhaps the strongest story is the final one, with Viller playing Bukowski’s alter-ego Henry Chinaski and exploring his tumultuous relationship with a Texan woman (Amy Leeson). Chinaski is pretty sanguine about uprooting himself for what turns out to be a short-lived marriage, chuckling and shrugging his shoulders over a lost fortune. With an excellent soundtrack of music from the period, including Creedence Clearwater Revival, The Velvet Underground, and Jimi Hendrix, the play captures a society changing, although often little changes for the characters themselves. It is great to spend the evening in Bukowski-land, and the talented young cast help to create a laid-back vibe whilst taking you on a dark, funny, and emotional journey. And if you’re lucky you might get treated to a beer at the end. Playing at Riverside Studios 15 February - 9 March 2025 BOX OFFICE ORDINARY MADNESS is based on the poems and stories of Charles Bukowski, directed by Anya Viller, presented by Art Theatre London & supported by the WeExist! Foundation Cast Victoria Valcheva, Andrew Buzzeo, Francesca Wilson Waterworth, James Viller, Amy Leeson

“Are you sure your wife’s not working? Not even a little bit of cleaning on the side?” Social security official in Boys from the Blackstuff ★★★★ Alan Bleasdale’s 1982 five-episode television series BOYS FROM THE BLACKSTUFF has been adapted for the stage by James Graham. I caught it at the start of its tour, at the charming but unadventurous Richmond Theatre on Richmond Green. When a famous TV show is adapted for the stage, we should judge it as though it was an original theatre piece with no previous life. Otherwise, we encourage the commercial theatre down the tempting and well-trodden path of drawing in audiences on name recognition alone, which has led to some lamentable west end productions. This is not one of them. Boys from the Blackstuff as a stage play is a strong and shocking piece of social commentary. Five young men from Liverpool 8 – the city’s poorest and roughest district – set out to make a living during the 1980s, mostly building roads – tarmac is ‘the blackstuff’. They meet a world where unemployment and poverty are being consciously used by the Thatcher government as a weapon to keep the working class in its place. The system grinds them down. We feel their pain and their anger. And we understand why they reject our well-meant middle-class solutions. Should they get the union in? No, the union will only stop their cash-in-hand payments, which, on the rare occasions that they have work, enable them to keep their meagre wages out of the hands of the taxman. What about politics? “I can’t feed my kids on principles and ideology. I need money.” We watch in horror as Yosser trails his children around after him in his desperate search for a job. “I can do that. Gissa job.” Yosser’s gauche approaches do not help him in his job search, but who decided that only the smoothly adept networkers among us should be permitted to feed their children? The talented and intelligent actor Jay Johnson as Yosser leads a fine ensemble cast, performing in front of an interesting if slightly over-elaborate set by Amy Jane Cook. I saw the show with my friend Mike, who like me is easily old enough to have been at work in the eighties, and perhaps saw more of the harsh side of work than I did, for he whispered as we left our seats: “That’s just how it was.” Over a pint at the nearby Sun pub (much to be recommended, especially if you’re a rugger fan), he told me about an older man than us, from the north east, “a really intelligent man, a proud man, and he’d applied for 500 jobs and didn’t get any of them.” Those who persist in seeing Margaret Thatcher as some sort of saviour should watch Boys from the Blackstuff. Perhaps they will remain convinced that this sort of heartless and cruel treatment of our poorest citizens is somehow good for our national soul. For me, the loathing I felt at the time for Thatcher and all her works came flooding back in one evening at the Richmond Theatre. Photography: Alastair Muir Bill Kenwright Ltd presents the Liverpool’s Royal Court and National Theatre production of Alan Bleasdale’s BOYS FROM THE BLACKSTUFF by James Graham Richmond Theatre 11-15 February 2025 BOX OFFICE UK Tour now on sale 29 January - 28 June 2025 Full details CREATIVES Directed by Kate Wasserberg Set & Costume Design Amy Jane Cook Lighting Design Ian Scott Movement Direction Rachael Nanyonjo Original Music & Sound Design Dyfan Jones Video Design Jamie Jenkin Fight Direction Rachel Bown-Williams of Rc-Annie Ltd Associate Director Tim Welton CAST GEORGE CAPLE (CHRISSIE) JURELL CARTER (LOGGO) JAY JOHNSON (YOSSER) GED MCKENNA (GEORGE) MARK WOMACK (DIXIE) REISS BARBER (SNOWY) AMBER BLEASE (ANGIE) KYLE HARRISON-POPE (KEVIN) SEAN KINGLSEY (MALLOY) JAMIE PEACOCK (MOSS) SIAN POLHILL-THOMAS (MS SUTCLIFFE) SOCIALS X: blackstuffstage Facebook: blackstuffstage Instagram: blackstuffstage Bluesky: @blackstuffstage.bsky.social