Reviews

‘much to admire, especially the well-choreographed fight scenes’ A large cast for this spooky show set in a monastery, with plenty of thrills, twists and action to keep the audience engaged. Five people enter into a deserted gothic building having received mysterious invitations, which leaves them curious to know what to expect. Some of them believe it’s part of a game and others that it is a ritual. Only one of them, Evelyn (Phoenix Benham) knows the truth because she is already possessed by Lucien (Dragos Bejanaru), the leader of dark hooded creatures. All five guests are made to face their demons in a ritual, but their worst nightmare dawns when they discover that they cannot leave, unless one of them agrees to sacrifice themselves. What happens next includes some neat twists in this two act production. Although there is much to admire, the show doesn’t quite come off because it sits between two styles of theatre, the melodramatic and the deeply naturalistic. It’s best in its more emotional scenes when the writing and the acting comes into its own. The actors all have much ability and embody their characters with aplomb. Benham is gorgeously expressive, and well matched by Tom Highmore as the charismatic boyfriend, Caleb. Sebastian Scott has a wonderful speech as the brother and Simon Bond adds contrast to the other cast members as Father Elias. Whilst not mentioning all the actors, individually, particular praise must be given to the extremely well-choreographed fight scenes (Tom Highmore, Dominic Quinn and Joshua Richardson) Unfortunately, there are a number of strange directorial and design choices. The opening voice over asking the audience to switch off their mobile phones and to impress upon them that anyone filming the show will be removed from the auditorium, doesn’t really need to be in an ‘evil’ pantomime voice. It adds nothing the show. Neither does the amateur looking backdrop with an image of the interior of a monastery. Something rather more imaginative, might work better. The sound track in the first act and for part of the second act, was too loud and meant that the audience had to strain to hear the actors. Another problem is managing the large cast, at times some of them were standing around with little to do. Some of these things are an easy fix and other need further work. Overall, the main worry is that Benham is director, writer and also places herself as the central character. The show could benefit from an outside eye. Whilst Benham has no shortage of talent it is too much to expect a single person to bring the insight needed to enable a show to reach its full potential. BOX OFFICE https://www.citizenticket.com/events/etcetera-theatre/the-summoned/ Creatives - Phoenix Benham (writer/producer/director), Ermelinda Luisa (Stage manager/Assistant Director), Byron Horne (Sound & Lighting Technician). Cast - Dragos Bejanaru as Lucien Phoenix Benham as Evelyn Tom Highmore as Caleb Simon Bond as Father Elias Dominic Quinn as Victor Katy Bevan as Maya Joshua Richardson as Dorian Marsha Bevan as Poppy Shannon Diggins as Mother/Hooded Figure Sebastian Scott as Brother/Hooded Figure

‘Thoughtful take on a timeless but tricky classic’ ★★★ ½  Mary Shelley’s 1818 gothic masterpiece has been adapted many times for film and theatre although it comes with challenges. How do you present a monster in human form, created by an inventor and make it realistic? Andrew Hobbs’s quite pleasing take on it often feels very faithful to the novel in that some of the dialogue is pure Shelley. On the other hand he develops the plot in a new way by making Frankenstein female (Megan Carter - strong) which interestingly changes the relationship with her creation. That make it feel appropriately feminist since it was Shelley’s mother, Mary Wollstonecraft who wrote the seminally feminist A Vindication of the Rights of Women in 1792. At its heart, though, the novel and this stage version of it explore the nature of humanity and that feels completely timeless. Although the created creature (Paul Winterford – excellent) learns to speak articulately and to express human needs, everyone he (it?) meets struggles to regard him as fully human. We start aboard Prometheus where the crew are battling against dangerous ice. When Victoria Frankenstein is rescued and brought aboard she tells Captain Robert Walton (Maximillian L’Olive) her story. After the interval it’s the Creature who narrates. Stories within stories are hard to do on stage but this production more or less carries it off. It’s a cast of six, one of whom - Alistair Smith - provides almost continuous, atmospheric keyboard music which he has composed. He also contributes occasional small roles from his position in the corner. Carter and the Creature remain in role but the other three multi-role and it’s unusually effective because they help each other seamlessly in and out of costumes as they morph from character to character. Alice Gold is outstanding as a gruff sailor, Victoria’s sister, a county girl who befriends the Creature, a Scottish doctor and more. She is always convincing in her versatility. Luke Adamson’s lighting design ably supports the action with lots of disturbing shadows in what is technically quite a busy production. By the end one is indeed persuaded that this is “a place mankind should never go” which is really the whole point. Frankenstein Adapted from Mary Shelley by Andrew and David Hobbs Directed by Andrew Hobbs British Touring Shakespeare Bridge House Theatre, Penge BOX OFFICE https://thebridgehousetheatre.co.uk/shows/frankenstein/

‘a masterful composition that transcends narrative’ ★★★★★ There is a person, suspended on stage with red strings — an image that evokes a piece of modern art. At first glance, it feels conceptual, almost like an installation. Then the performance begins. What we witness is a repetition of walking — but wait, it’s not just walking. It is breath. The breath that creates movement, that dictates rhythm, that carries the dancers forward. They walk one and two, but there is always something in between — a hidden pulse, an unseen heartbeat that blurs the boundary between step and stillness. They breathe to walk, they breathe to row, they breathe to step. Each jump is not an act of flight, but the natural consequence of a deeper step into the ground. It is the story of a people adrift on water, yet rooted firmly in the earth. The mesmerising repetition of walking unfolds into a quiet symphony of breath — breath that generates sound, movement, and even the illusion of circus-like feats, all governed by an invisible pulse. The traditional timbre of Paiwan song becomes the final touch, like a cherry atop this profoundly human orchestration. Even without knowing the historical context of the Mudan shipwreck that inspired the piece, the work itself feels like a celebration of endurance and survival. It is a masterful composition that transcends narrative. Regardless of this extraordinary performance, I must note — as a viewer with hearing sensitivity — that the overweening noise from one or two audience members who shouted persistently after the show made me leave the auditorium, missing the Q&A. Such sudden, uncontrolled sound excludes audience members with hearing conditions like mine and undermines both our viewing experience and the performers’ effort. Celebration can take many forms — applause, ovation, or silence — but true respect lies in awareness as much as enthusiasm. The film version of bulabulay mun? Is featured in Dance Umbrella’s digital programme, more information available here https://danceumbrella.co.uk/event/tjimur-dance-theatre-bulabulay-mun-film/

‘One can sense the passion behind the project supported by a large creative team.’ ★★★ A highly political play, though not overtly, is set in Moscow 1956, under the Stalin regime. Resistance and uprising led by a group of young rebels called the Stilyagi made waves in the underground world. Their forms? Creative expressions in dance and movement to American Jazz music. Led by Bob, a medical student smuggling western rhythms by carving grooves onto X-Ray films, the stilyagi defied the oppressive regime and would go at any length to preserve their freedom of expression. Or would they? There is a saying that the grass is always greener on the other side. Mels, an officer from the Stalin regime, played by Andrii Zamiatin is attracted to the free spirited stilyagi member, Polly (Anastasia Aush). But little does he know that his colleague Katya, played by Olga Pipechamka, has been developing feelings for him. Another stilyagi member, Fred, played by Max Taptygin, is in a relationship with Betsy (Vera Raskina) and wants to travel to America, alone. But he soon found out that life in America is not as bright as he expected. The Bob character played by Arseniy Cassidy was the one who seemed to stand his ground, costing him an arrest and detention. Boogie on the bones is performed by the ensemble cast of six actors-musicians-dancers, all multi-rolling between characters from the stilyagi gang and officers of the Stalin regime. Four statues like characters of politicians from the Communist regime are created using coat stands with grey coats, topped by moulded head masks of Marx, Engels, Lenin and Stalin (MELS). In contrast, the bright neon clothes and colourful ties of some the stilyagi members, much ahead of their times for being reminiscent of the 1980s fashion disco era in the western world, represented acts of rebellion in Soviet Moscow. Transition between multitude of scenes was aided by the variation of blocking of chairs on stage, the special sound effects, flashing lights, neon and red lighting creating an underground and intimate atmosphere. And of course jazz music, played as recorded and live music, accompanying swing and rock and roll dance. Written by Daria Besedina and directed by Sofia Barysevich, Boogie on the Bones is based on true events surrounding the Stilyagi subculture in the post WWII in the Soviet Union. There is even a movie about Stilyagi of the same name, made about those young rebels who dare to rise up against their oppressors. The Slavic theatre company WITHINTHEATRE’s production is quite an ambitious project to put on in the fringe theatre scale. There were some confusing untidy scenes however one can sense the passion behind the project supported by a large creative team and the six cast members, all with lived experience of a totalitarian regime. With a final display on a digital screen: ‘The songs featured in the show were composed by Russian musicians who are now banned in Russia’ this musical theatre piece seems to be as much a tribute to fellow countrymen as it is an attempt at presenting the Russian culture to a western world. Boogie on the bones is played at Omnibus Theatre until 25 October 2025 and at The Cockpit Theatre from 1st to 7th December 2025. BOX OFFICE https://www.omnibus-clapham.org/ Review by Melanie Lam Written by Daria Besedina Directed by Sofia Barysevich Venue: Omnibus Theatre Photography: Varvara Burtseva

“Satire with Stetsons; a rollicking romp for movie geeks” ★★★  With laughs thin on the ground, anyone interested in films, Westerns or comedy might want to get themselves down to Walthamstow’s Ye Old Rose and Crown for something of an epic endeavour. Seven Magnificent Egos, The Making of the Magnificent Seven is a behind the scenes look at the pre-production, production, and post-production of one of Hollywood’s most beloved Westerns. It’s satire with Stetsons; a rollicking romp for movie geeks. In 1960, Yul Brynner, he of the gleaming pate, wished to direct. His pal, Greek actor, Antony Quinn had seen a Japanese movie called The Seven Samurai and between them, they cooked up a Western inspired by Kurosawa’s art house classic. But when the money people came in, Walter Mirisch of the Mirisch Company, Quinn found himself ousted and would go on to sue. This was just the first of many obstacles and conflicts the film faced, not to mention the constant ego-jousting and jostling of the star cast. There are many laugh out loud moments in this surreal caper: pure absurd silliness such as the many Mexican extras bought in (the film was shot in Mexico) and piles of comedic film references for the buffs in the audience. Also, spotting the contemporary parallels is fun, such as the discussion about individuals being cast because of their existing “followings.” And the one about who should be paid should the film be screened on TV (“Who wants to watch a film twice?!”) which resonates as creatives work to renegotiate their rights in an age of Artificial Intelligence. It’s a great vehicle for the cast and there are some strong performances. Toby Watts as the German actor, Horst Buchholtz – constantly mispronounced as Horse Butthole – is hilarious. Paul McLaughlin as Walter Mirish, the Yes Can Do producer, gives Stanley Tucci a run for his money, and Manos Koutsis, the imperious Yul Brynner, is fond of standing around with a thousand-yard stare, hands on hips. Rose Kaur, the only female cast member, multi-roles as a bride, various actresses, secretaries, and a banging Mexican censor. It’s clearly written and signposted, so even with such a large cast, it’s possible to keep up with who’s who and what’s happening when. This has been a labour of love by writer and director, Lance Steen Antony Neilson, who first wrote the play eight years ago and would watch Westerns as a kid, but the danger of passion projects is that every bit of them can become precious. It could be shorter, more disciplined, and tightly edited; it currently runs at two hours and includes a fifteen-minute interval. This is longer than most pub theatre shows, but while it could be shorter, I’m not sure if it could be any sharper. SEVEN MAGNIFICENT EGOS The Making of the Magnificent Seven at Ye Olde Rose and Crown, Walthamstow 15 – 19 October 2025 BOX OFFICE https://www.yeolderoseandcrowntheatrepub.co.uk/whats-on/7-magnificent-egos Produced by Simon Berry & Lance S A Nielsen Written & Directed by Lance Steen Anthony Nielsen

‘Charming in its honesty, a romance that doesn’t shy away from the tentative uncertainty of those early weeks.’ ★★★ A pleasing and refreshing vulnerability underpins Telos Ensembles’ Castles, written by Dan Blick, who also stars. The romantic highs and lows of Rain (Antonia Reinisch) and Johnny’s (Dan Blick) tumultuous relationship are laid bare. The story begins with the early days and follows them both through Rain’s weed addiction, Johnny’s financial struggles, pregnancy scares and Rain’s ultimate career move to shiny New York. The show plays with monologues and style, opening with a voiceover from the female lead as Johnny lies in bed. It’s as if he is replaying conversations in his head, as they plague him from every corner of the stage. There is a gentle awkwardness between the two – charming in its honesty – and it is refreshing to see a romance that doesn’t shy away from the tentative, tiptoeing uncertainty of those early weeks. However, Blick’s script relies too often on clichés, and it’s a shame that certain plot points feel underdeveloped. Where it excels in stripping away emotional barriers – particularly the scenes that focus on toxic masculinity – it also seems to reinforce the same stereotypes it seeks to critique. At times, the writing lacks nuance, and audience laughter occasionally feels forced. Neither character is especially likeable, and I would have liked to see more of the romance and fewer harsh, argumentative scenes. The romantic scenes were touching and raw, and so it is unfortunate there are not more of them; the relationship deteriorates before we can decide whose side we are on. That said, Blick succeeds in making the break-up feel authentic, allowing us to discover the irritating aspects of each character in real time. The set was cleverly orchestrated. On first inspection, it felt spread out, but as the relationship began to suffocate both players, it seemed to close in. Scene changes and lighting were smoothly executed. The space convincingly evoked a cluttered London flat or ‘apartment’ as both kept saying. This may have been a nod to the company’s New York base, but it felt like a jarring Americanism when delivered by a character otherwise reminiscent of a bumbling Hugh Grant-esque Englishman. Antonia Reinisch’s performance was strong, and her monologues were moving, delivered in a way that rarely felt overly expositional. Blick’s strength was in his delivery of the more touching scenes, which carried much of the weight of the story. There was an honest intimacy between the two, which felt believable and compelling to watch. A tale as old as time, Telos Ensemble’s Castles may not have been the first story to write of a break-up between two flawed individuals, but it’s an entertaining story, nonetheless. TELOS Ensemble Presents CASTLES DRAYTON ARMS THEATRE 7 – 11 OCTOBER 2025 BOX OFFICE https://www.thedraytonarmstheatre.co.uk/castles

‘Clever and witty, a satirical look at shady dealings in the sale of expensive paintings.’ ★★★★ Going to see Da Vinci’s Laundry is a delight for your eyes. As soon as you walk into the theatre, you can see the detailed and precious work on the stage which is beautifully lit and designed. The design is just perfect, and it recreates the spirit of the play. Amazing work from the set designer (Eleanour Wintour) which makes you interested and excited to see the show before it begins. The lighting and simplified use of props is really effective. It all together captures your attention and creates a beautiful atmosphere. The piece is a satirical look at corrupt shady dealings in the sale of expensive paintings in the high-end part of the art world. It tells of people who use their power and influence to achieve what they want, which is money and more power. The art becomes an object; it loses its meaning and becomes a value item owned by the richest and most ambitious. This view makes you appreciate art in the most profound way and go back to its roots when making art was a passion in itself, and making money wasn’t the main incentive. The script is sharp and witty, very nicely delivered by the actors. Each character in the play is unique, and their roles take a comical look and reflects stereotypes/perceptions people may have about others from particular countries. The performances are outstanding, believable and the characters are well constructed. Great work from the actors, writer and director. The body language and gestures are very effective, creating a comic effect at the right moments and making the audience laugh out loud. There were moments of tension and great drama, but the jokes and humour give the audience a moment to breath and release from some of the serious issues of the play. A great night out where you can see wonderful performances, as well as the lovely scenery and lighting. Those are the main strengths of the play. Each actor composes a perfect character which can be funny and dramatic at the same time. Good script which was written by the main actor, Keelan Kember, and good direction too from Merie Wheldon. A play that must be seen. DA VINCI’S LAUNDRY Written by Keelan Kember Director Merle Wheldon Set designer Eleanour Wintour Producer Kit Bromovsky Stage manager Tessa Alderton Riverside Studios, 101 Queen Caroline St, London W6 9BN 6-25 October Mon – Sat 7.30pm, Thurs & Sat matinees 2:30pm BOX OFFICE https://riversidestudios.co.uk/see-and-do/da-vincis-laundry-194901/ Cast Millie Arsema Thomas Tony Steve Zissis Boris Velibor Topic Christopher Keelan Kember Prince Fayez Bakhsh Photography: Teddy Cavendish Reviewer Laura Mobilia is an Argentinian- Italian theatre maker, actor and writer based in London. She holds a master’s degree in Performing Arts from the National University of the Arts in Buenos Aires and has trained extensively in theatre and musical theatre.

'the beauty and the blood of motherhood and the satellite experience of others' ★★★★ There has been (finally) a rise in stories about motherhood that take the sheen off of the glossy images of celebrity mothers on social media. From stories of struggling with fertility (About 500, Avalanche), to the thrills of labour and birth (Gall and Milk), to postnatal depression (Mum), theatre has been putting motherhood on display as never before. That transformative experience of motherhood, now often referred to as matrescence, is getting a further treatment in (the) Woman as Jane Upton attempts a very ‘meta’ piece where a creative woman’s experience of motherhood is explored at the next level. M (Lizzy Watts) is writing a play about being a mother. There is so much that is ‘tongue in cheek’ in this production, from its ethereal Julia Andrews-like opener to its surreal moments of conversations with sexual partners (past and present). Going beyond the aforementioned stories of motherhood, Upton is not afraid to be verbally graphic (a couple of people at my showing left early) and upend the norms of what is expected of a mother. Lizzy Watts is adept at handling the emotional range of experiences that her character endures. Jamie-Rose Mark is utterly remarkable in her multiple roles, sometimes scene after scene. She brings comic relief to the depths of despair, playing everything from the fun friend to a fellow mother in the maternity ward, M’s agent, a midwife, to M’s mother, by changing her posture, accents and inflections, and of course, a constant wardrobe turnaround. The male actors have some opportunity to shine, but mainly as a backdrop to the women (a refreshing change). It is literally all hands on deck, sometimes just the hands as hooks, peaking through the blue streamer-style curtain. The set varied slightly, though not always making as much use of the stage as possible. A lot of the action seemed to be around the curtain, to take objects backstage. The titles were displayed on a panel above, with intriguing headings like “Top of the Pops/Self Harm”, “Getting Out/No Escape”, and “An Ending/A New Beginning (3)”, making visual the dichotomy of M’s experience as a mother. The (brief) visuals on the curtain continue the satiric style, showing graphics of fire as a background to the baby with red eyes lit up, and children released from being tied to a pole (Matt Powell). All very humorous. At the conclusion, there are questions about whether a piece like this (that is, the one that M is writing) is for women, or for mothers, or women who go to theatre. Yet, for all the focus directed at (the) Woman, perhaps what I learned most about the beauty and the blood of motherhood in (the) Woman is more about the satellite experience of others towards a woman who becomes a mother - the ex, the husband, the friend, the fellow mothers, the midwife, and her own mother. One of the lines that was such an insight into the play was “I don’t want to write it in the three-act structure. I want to use the menstrual cycle as a structure. With its constant peaks and dips and optimism and rage, and this fragile fluctuating sense of self”. I think that our playwright has achieved something very close to that goal. I am glad that a play about motherhood was not called (the) Mother, but (the) Woman. The title allows this newly-formed creature to hold onto the Multitudes of who she is. BOX OFFICE Written by Jane Upton Performed by Josh Goulding, Jamie-Rose Mark, Andre Squire, Lizzy Watts Directed by Angharad Jones Designed by Sara Perks Lighting Designer: Lily Woodford Sound Designer: Bella Kear Projection Design: Matt Powell Photography: Charles Flint

‘high on visuals, music and movement, if a bit low on narrative coherence’ ★★ As a playwright myself, I appreciate the value of having a bigger name on the box office bill – being on the same programme once as Rona Munro and even better (sorry, Rona) a double bill with Brian Friel (no mean Chekov interpreter) are among the personal high points. But I’ve never had the chutzpah Molly Spain has in co-opting Anton Chekov as an on-the-bill co-writer for her Masha-up of one of his most famous and performed plays (the fourth sister is Natasha, a sister-in-law in Anton’s early 20 th century world). Chekov has left the world plenty of lasting messages but is in no position to say what he’d have thought of what she’s done with his work in a 40-minute version high on visuals, music and movement, if a bit low on narrative or psychological coherence. One hopes he’d have liked much of it though, or at least liked the ambition, the playfulness and the new prism for themes including existential alienation, the repetitive tedium of quotidian life, remembrance (not always reliable) of things past, and a yearning to be elsewhere – in this case ‘home’ rather than Chekov’s more specific Moscow. Spain herself, a black-clad, stern Masha, is discovered as the audience enters, playing repeated tunes on a keyboard. Her sisters Olga and Irina, played by Helen Baird and Sarah Sinizer-Hopkins, are clad in white and red and preparing a birthday tea and chalking illustrations on an inventively decorated black backing wall. Natasha (Nikki Webber) completes the foursome in green dress, not the scheming sister-in-law of the original superseding them out of their home but a sister in solidarity. The visuals are striking, the attention to detail, particularly in the differentiation of the costume and the tiny tea cups and fairy cakes that suggest almost Alice in Wonderland rather than a remote provincial Russian town. The dialogue’s been stripped to a mixture of fourth-wall breaker (‘The play is beginning’) to repetitive rhythm (“It’s my birthday”, “I have a headache” etc) and a series of non-sequiturs that draw attention again to what we’re seeing more than what we hear. Chekov may not entirely earn his co-credit for any of the words. There’s theatricality here, and talent too – the four performers interweave brilliantly as an ensemble and the pace of the speeches, the pick-up of the cues is great. What there isn’t is much coherence in the story-telling or in the relationships between the four (nothing in the text beyond the title even tells us they are related at all) or the dream/nightmare location in which they perform their rituals, do their dance, play their games. The characters don’t much develop beyond their clear visual distinction, with no discernible conflict or drama as a result. The piece never flags, the energy is high and almost frenetic at times, but neither does it ever reach a point, and none of the wider world of the original play is represented. Chekov’s Three Sisters contains at least two fully realised characters we never see; this version has nothing outside its four walls, and people within them differentiated largely by wearing different vibrant colours. Not quite a drama, then, and, fun as it is, not sufficient weight to linger 120-odd years in the memory. But here’s a company to watch, and a curio of some visual invention and beauty. Be good to see what Molly does next. Meanwhile, I’m off to ask Moliere if he’ll help with my Misanthrope. FOUR SISTERS by Molly Spain (and Anton Chekov) Directed by Everleigh Brenner Baron’s Court Theatre, 7 - 11 October 2025 Box Office: https://www.baronscourttheatre.com/foursisters Director: Everleigh Brenner & Molly Spain Cast: Olga: Helen Baird Masha: Molly Spain Irina: Sarah Sinizer-Hopkins Natasha: Nikki Weber Producer: Little Foxes Theatre Company Reviewer David Weir’s plays include Confessional (Oran Mor, Glasgow) and Better Together (Jack Studio, Brockley, London).