review – A SPURDLE reviews

“Just in time” review

My next show and the first a double header on my last day in New York for this trip is the matinee of “Just in Time”. This production opened at the Circle in the Square theatre on March 31^st 2025 and is currently scheduled to conclude its extended run on January 11^th 2026. The show has a running time of around two hours and thirty minutes with a start time of 2pm for the Saturday matinee. The shows book is created by Warren Leight and Isaac Oliver and is developed and directed by Alex Timbers who has done a brilliant job with the use of the theatre space, but more on him later.

The circle in square theatre 23^rd August 2025

I took my seat in auditorium of the circle of the square and suddenly remembered that I have been in this theatre space before. It was for “Once on this Island the musical” back in the start of 2018. At first I did not recognise the space as it was so different and has now been transformed into a 50s style cabaret club. As this is no a traditional theatre space even for broadway terms there is only one level and floor seating for this particular production. I was sat in the orchestra row 5 seat 119. As per the image below my view was totally uninterrupted and am amazing view. Having said that any seat or even standing behind the Garuda rails at the top would provide an amazing view of the show with no bad seat in the full house auditorium.

I was a little hesitant as I am not aware of Bobby Darin as an individual however the production images of the show made it look like a Broadway spectacle and the draw of seeing Jonathan Groff live was too much and I would like to quickly say I was not disappointed. For those who don’t know like myself Bobby Darin was a singer/songwriter and actor who is considered one of not the best of his time in the 50s and early 60s. This show charts the story of his remarkable short life while highlighting and including some of his iconic songs some of which I knew and most I did not. However that was not a problem as this show did not rely on you knowing who he was or any of his songs as the show provides the full biopic of his life.

The show starts in a pretty unique way by breaking the fourth wall as Jonathan Groff is introduced as himself. After a very quick introduction we are thrown straight into the autobiographical section of the show and suddenly Jonathan Groff IS Bobby Darin. Before I get onto how brilliant Jonathan Groff is, the story and book of this show is fantastic. It was detailed enough for a complete Bobby Darin novice like myself to understand while keeping it fast paced. The two and half hours just flew by also helped by the brilliant direction and staging.

The set was pretty much static with the occasionally sliding of the piano in and out. There was very clever use of a second “mini” stage directly opposite the main stage and across the floor seating tables. This can be seen in the view from my seat image above and is in the bottom right. The performers moved from main to mini stage through the seated tables shown in the same image above or from the aisles literally through the audience. Very clever use of lighting to direct the audience attention to either area meant that small prop and scene setting could occur on the opposite stage. This meant for some very slick scene changes without the need for any actual moving set pieces.

The general lighting and especially direction and use of this unique theatre space meant that the whole show have a very immersive feel. This was aided by the intermit theatre space which really made you feel like you were stepping into that cabaret show space. Along with the lighting both around the auditorium and spotlight on the aisles really made you feel you were in the show rather than just watching it on stage. This was even my opinion from someone sat in the main seating, for those in the seated tables at point there were actually in the show and at all times had performers brushing past them. No matter where you were in the auditorium at some point during the show you were only a few feet away from the action, which as a whole gave an amazing non traditional musical theatre experience which was amazing to be part of. The on stage 9 piece band who did not literally miss a beat during the whole show really added to the authentic caberat club atmosphere.

As mentioned earlier the direction and production of the whole show was brilliant and Alex Timbers deserves the recognition for this as he has made this a truly unique and amazing broadway production. If he does not get nominated for Tony for this show then something is seriously wrong. The music as you would expect contains some of bobby Darin biggest hits including “Splish splash” and “Mack the knife” along with other huge hits from the time in which Bobby Darin covered or recovered over his active years. Each one perfectly fit the relevant part of the story and making this essentially a jukebox musical but not as you know it thanks to the brilliant direction and general production. The full cast recording as of last week is now available and I highly recommend you listen to it. A little taster of the show can be seen in the short trailer below:

Now to move onto costumes for this show which not only added to but made this a true broadway spectacle. The use of very subtle but slick costume changes throughout the show ensure that the slow of the production was kept up and aided the slick scene changes due to some very clever costume and prop movement around the stage. All costumes where spectacular non more so than the three sirens/ Bobby back up dancers. Who seem to reappear within seconds in a totally different but as amazing costume as before. Apart from Groff these three of Valeria Yamin, Claire Camp and Julia Grondin where the hardest working performers in the show.

Aside from these three performers the other standouts for me were the two actresses playing bobby love interests who start with Connie Francis played by Gracie Lawrence and Sandra Dee who is played by in this production the understudy Larkin Reilly. Both respectively are amazing and their vocals were brilliant. Again goes to show the power and talent of an understudy, without a note in my playbill I would not have known. Gracie has more stage time in the first act and Larkin taking the stage in the second act as we move onto the latter part of Bobby career and life. Along side these there are a brilliant supporting cast which also included Caesar Samayoa who I instantly recognised from the original cast of “Come from away” and also appears in the Apple TV recorded version of the show.

Now for a comment on the the star of the show Jonathan Groff. I do not generally support the idea of seeing a show just for one person as I believe as already mentioned in this review how amazing the supporting cast and understudies are. However I have to admit that as confessed earlier seeing Jonathan Groff in person was one of the main draws to the show for me. I can confirm he did not disappoint and was out of this world, one of the best musical theatre performers I have seen. I fully understand why he is a Tony award winner and should be nominated and WIN awards at the next Tonys for this performance. For the entirety of the first act he did not leave stage and took water breaks in characters and at relevant parts of the story. Even during the second act you can count the minutes on one hand that he leaves the stage. All this while performing every song in my mind to perfection along with every dance routine and his acting was spot on. Just to top off this triple threat perfection he even plays multiple instruments and the piano on more than one occasion during the show, all live. Showing he really is a quadruple threat and has to win another Tony.

Overall if it is not obvious already I loved this show and as a result is has to be 4 out of 5 stars. You do not need to be a Bobby Darin fan or even know who he is to appreciate and love the quadruple threat that is Jonathan Groff in this brilliant immersive production of Bobby Darin life where you are literally feet away from the action wherever you sit.

More information on this show can be found on their website.

“Rolling Thunder” review

This year I decided to do an extra Broadway trip over the August bank holiday. As per the new usual way I was able to tie in a quick day and half visit to Nashville before arriving in New York. As this is an extra quick visit to New York in addition to the two other trips I only plan on seeing three shows this time. I already booked two for Saturday, which left Friday evening. After landing from Nashville I booked my first show in the lyft to the hotel.

The show in question is “Rolling thunder” which opened on 10^th July 2025 and is currently running until 7^th September 2025 which is only a few weeks away. The show has a running time of around 2 hours with one interval. The show is directed by Kenneth Ferrone more on him later and has a book by Bryce Hallett and music from many of the top artists from the 60s and 70s. The show is currently playing at “New world stages stage 3”.

New World Stage Theatre, stage 3 22^nd August 2025

The new world stage theatre is a really interesting theatre space which is officially an off broadway theatre. However only being literally a couple of blocks away from the official “Broadway” theatre locations. I really like this as a theatre space as it is able to host seven shows at any one time with five playing consecutively across the different capacity stages. Stage one and stage three (Where I am) are the largest it’s 499 seats. I have been here once before to watch Avenue Q back in 2016. I took my seat in Orchestra central row G seat 108 which is mid way and centre of the stalls. I was surprised by the fairly emptiness of the auditorium with only really the central stall seats being occupied. However as fairly expected the general audience age was a lot older than myself due to the expected jukebox music in the show from the 60s and 70s.

The show is effectively a jukebox musical telling the story of the Vietnam war using songs from the top artists of the time in the 60s and 70s, this range from Bob Dylan, the Rolling Stones, Simon and Garfunkel and many others. The story uses a book by the writer of the show and journalist Bryce Hallett so is I assume very factually accurate. Most scenes are formed in the reciting of letters between those fighting and their loved ones at home. The main characters in which the bulk of the show centres around are Jonny (Drew Becker), Linda (Cassadee Pope), Thomas (Justin Mathew Sargent), Andy (Daniel Yearwood). The rest of the cast is made up by Courtnee Carter, Deon`te Goodman, Ethan Hardy Benson and ErinRamirez who all play multiple characters through the production.

The show does not really utilise any real set and very little in the forms of props. The stages stages as shown in the “View from my seat” picture above. With the 5 piece band surrounding the performing space. The staging does use three large screens which are used to play historic new reels/ documents style footage and also show the letters that are being read out. The is six or so retro/ authentic TV sets which are used in conjunction with the large screens and at time so their own. The band are visible the whole time and during the songs are as at times as much of the show as the performers with at times their own solos during some of the songs. The band consist from left to right guitarist one, pianist and MD, Drummer, bass guitar, guitar two. All of which were amazing and able to play these iconic songs brilliant live.

Due to the lack of set and props lighting and projection were used heavily throughout the show. Both done brilliantly and meant that the lack of set was not missed at all. With great lighting design to simulate a lot of the war and helicopter scenes and projection used to simulate rain and the names of fallen soldiers during the war. The lighting design targeted the audience a lot which gave a more immersive fell for the war scenes.

Like the set their was no real costume changes as the characters stayed mostly in the same outfits. There is one quite effective scene when Daniel Yearwood changes out of his civilian clothes into the army uniform as is enlisted to the war. Other than the costume are either military style or 60s or 70s themed for those located at home.

As mentioned earlier the songs are some of the top artists songs of the era. A lot of which I did not know however they did seem to fit the relevant part of the story. All were performed in a rock concert style. Which brings me onto my main opinion of the show and its choice in direction by Kenneth Ferrone. This is because all but one of the songs were song in a concert style with hand held mics and even mic stands.During a lot of the songs the performers did not seem to stay in character which for me along with the mic stands and hand held mics broke the illusion of a musical, even a jukebox musical. At time during some songs the band were even acknowledged by the performers again breaking that musical theatre style. I am not sure what the director was trying to aim for but for miss he missed. As the show seemed to be two different concepts shoe horned into one production. The talking/play historically accurate part of the show was great and the concert style performing of the songs were great however together they did not merge into one show seamless enough for me. There was one song “Killing me softly” which was song is proper musical theatre style with no hand held mics and just actors mics and it was brilliant. It really showed me wha the show could have been if it was a straight musical theatre production with the gimmick of concert style performing. Having said that the harmony’s amongst the cast during the songs were perfect and really did take the songs lyrics and make them part of the story. However this was tarnished by the boy/girl band style performances with even mic stand choreography at times which again would have worked if the whole show was like that with the straight plan/acting scenes.

During this performance I had no understudies performing. For me there were two stand out performers for me both vocally and with their acting ability there were Daniel Yearwood and Cassadee Pope who were both outstanding. Having said that it should not take away form the quality of the band and the other cast who were all brilliant just for me as a musical theatre nerd these stood out the most. An example of Daniel Yearwood performing “People get ready” from the show can be can be found on YouTube below.

The show works in America and off broadway due to the topic of the show and how I expect most people in the audience will have a direct link to the Vietnam war which has its 50^th anniversary of its conclusion this year and due to the songs of the era being used. So if you are an America who loves this period of music then I am sure you would love this show more than I did. Having said that I did find it very enjoyable and once over the harsh difference between the two styles of concert style songs and the play scenes I did enjoy it as the quietly of the musicality performances were brilliant and the light design was great.

Overall I give this show 3 out of 5 stars. It is a not a musical and it is not a play. It’s 60s and 70s rock jukebox concert and a historically accurate play around the Vietnam war. Either would have worked better separately but not necessary together. As a Brit born in the early 90s I was not the target audience however the lighting and concert part of the show was worth the watch.

Further details on this show can be found on their website.

Day 3 (Friday 15th August):

Day 3 once again start around 8am to attended the NT breakfast again. This was a great breakfast as I was sat with the writer and MD from yesterday show “I wish my life were like a musical”. It was such an insightful chat about his show and others he is working on. Along with an insight in what it is actually like creating and running a show at the fringe. As well as lots of generally theatre and industry chat. It was one of the best breakfast conversation I have had with a creative. After a long chat it was time to head back to the Pleasance courtyard.

The big bite-size breakfast show

Playing at venue 33 (Pleasance one at Pleasance courtyard) with a start time of 10:30 and a running time of 1 hour 10 minute. I have seen a big bite size breakfast a couple of years ago and was pleased when I was able to fit it into my 2025 itinerary. The concept is five different short plays performed by the five actors. Each day the 5 plays rotate around three sets. So that’s 15 shows by 5 actors in a three day window and then repeat. I really like the format of a 10 to 15 minute play/scene very much like a short film. I find it very impressive that a writer can create characters and good story in such a short time frame. The performance I watched was menu one. Which had the following plays (Some synopsis contain spoilers).
Such dreams as stuff is made on (Dan McGeehan)
A opportunity for a wealthy couple to keep up with their friends and prove how nice their belongings are during an burglary. However proving wealth does not bring inelegance when the burglars appear.
The unbearable lightness of bring on the the phone (Karl Minns)
Two different phone conversations on the bus which seem to answer each others questions.
The gaffer (J.P Mannion)
What seems like a Dear England football manger and phycologist style scene takes a twist and answers the question of is this actually a football manager simulation from the the future. My favourite of the five shows
Emergency contact (Laura Bonang)
A man unable to get over his exe girlfriend of two years takes drastic action of being hit by a bus. Just to get the opportunity to speak to her as his emergency contact which seems to be working until his bride to be turns up fro the alter.
Annnd scene (of the crime) (John Busser)
An American improv group member is killed in the UK and the police have a prime suspect. They are able to find out the truth using the “ding” improv game. In which every time the bell rings the scene changes.
I highly recommend the big bite size breakfast show it is multiple snippets of great playwriting and a perfect way to start your fringe day, you even get free tea/coffee and a croissant. Overall as a concept I give this 3.5 out of 5 stars.

Thanks for being here

Playing at venue 82 (Main house at Zoo Southside) with a start time of 13:45 and a running time of 1 hour and 15 minutes. After finding out this show was another immersive theatre experience, I was slightly worried after last night “immersive” experience. However I was pleasantly surprised as this is not immersive theatre as you know it. As the show is a fully immersive show as the audience is the show however you do not have to do anything. There is great use of Jamie Lloyd esc/style camera and projection work. While the camera is recovering the audience as soon as you enter the space. Then this is narrated by the cast in a very clever way. There is also amazing use of lip sync that provide the perfect depiction of voice real recordings of audience members. At times is felt like an art exhibition and at others more like a social experiment that an traditional show as there is no real plot. It is appreciating that without an audience there would be no performance. It did seem that they only really had enough content for around 30 to 40 minutes and had to drag certain sections out for the whole time slot. Overall I give the experience 3 out of 5 stars.

Hot mess

Playing at venue 33 (Pleasance Two at Pleasance) with a start time of 15:10 and a running time of 1 hour and 5 minute. I was really looking forward to this show mainly because it a brand new musical but also the cast. About 5 minute into the show starting it encountered my first ever technical show stop at the fringe which lasted about 10 to 15 minutes. However was resolved eventually by the amazing tech crew and the show went on and what a great show it was. It’s a modern day style musical romantic comedy between Earth and Humanity (Hu). Which at first sounds very strange but due to the great writing it actually works really well. As it is able to align the different stages of earth development with the different stages of a relationship lifecycle. For example it uses climate change to highlight one partner in a relationship taking advantage of the other. Also using humanity extinction on earth as the break up of the relationship. The staging and especially lighting and sound effects were used very well and almost seem to complicated and developed for the very small space it was performing in. The vernal style is very modern day musical theatre with very heavy beat based songs, think “Six the musical”. Danielle Steers played earth who I have seen a lot in the West End most memorably in “Bat out of hell the musical”. Her voice is so powerful and unique but works so well in a musical theatre format. Tobias Turley played Hu (Humanity) was the winner of the ITV show “Mamma Mia! I have a dream” was brilliant as expected. I always find it so strange yet amazing when you get to see West End talent perform in such a small and intimate space. It’s a climate change rom com modern day musical, this show definitely has a future somewhere. Overall 4.5 out of 5 stars.

Abnormally funny people

Playing at venue 33 (Beside at Pleasance Courtyard) with a start time of 16:50 and a running time of 1 hour. This show was located literally next door to the previous show so even after the late finish due to the tent all issue in the previous show I had plenty of time between the shows. My last two shows at the fringe were stand up, this was not a conscious choice it was just how the scheduling it worked out. This show has been running for 20 years at the fringe and consists of 5 stand ups which all have some form of disability. The only difference between this show and any of stand up show was that the audience was on thie acts side from the beginning. It was not your traditional audience where some of them are trying to get at the act. Everyone was on the acts side and the result of it was a really good atmosphere and one of the best stand up shows I have seen at the Fringe. The acts who performed at this particular show were:
Jake Donaldson
Don Biswas
Ria Lina
Gabriella Rolls
The show was compèred by Juliette Burton who was brilliant and my faviotie out of all the performers. I highly recommend this show to anyone attending the fringe. As a result I give it 4 out of 5 stars.

Farewell dinner with Indhu Rubasingham
The next social event as part of the National Theatre trip is the dinner. This used to be a welcome dinner however due to Indhu currently being in the middle of rehearsal for her debut show as the new director of the NT the dinner was moved to Friday night. It was a great catchup opportunity with other patrons and NT staff discussing all the good and not so good shows and experiences of the fringe. It is always a great time with some great food from the three course meal at the Balmoral hotel. Before I knew it was time to wrap up the conversations and make my way to the final show of the trip

Best of the fest: The new class

Playing at Venue 3 (Piccolo Tent at Assembly George square gardens) with a start of 22:35 and a running time of 1 hour. This was my show 16 and my last show of this year fringe. The purpose of this show is to take five stand up comics you are new or entering talent and give them a 10 minute slot. I have attended this event in the past and watched some great stand up. However the same can not be said for this particular show. The audience did not seem to be onboard form the outset and due to the inexperience of the performers there was no crowd work to attempt to turn this. As a result the audience were pretty flat and also though some of the jokes landed it was not a great general stand up experience. The abnormally funny people acts were so much better than these. In this show the follow comics performed:
Annie Boyle
Shalaka Kurup
Jacob Nussey
Lou Wall
May O’Connell compèred the event.
Lou Wall was the best act even though I had seen some of her act which went viral online recently about a marketplace sale of a bed frame. Overall I have to give these set of acts 1 out of 5 stars.

I then made my way back to the balmoral for the last time of this trip at around midnight. It had been another 16 hour day with just over 14K steps completed. It only leaves one more breakfast in the morning before I have to make my way to the airport for my return flight.

Fringe Day 2 (Thursday 14th August)

Day 2 was a not too earlier start of 8am to attend the NT breakfast along with fellow patrons and a familiar faces from some of the shows on the suggested list. After a quick catch up with other patrons talking all things fringe and theatre in general, it was time to leave to catch my first show of the day at the Traverse which is about a twenty minute walk from The Balmoral.

The beautiful future is coming

Playing at Venue 15 (Traverse 1 at Traverse Theatre) starting at 10:0 with a running time of 1 hour and 30 minutes. The show follows three duos one from the past of 1856, another from modern times of 2027 and one from the future of 2100. All three couples highlight the different stages and affects of climate change. From the original women scientist struggle to highlight such change is possible. To the current effects of hot summers and heavy storms. To the total different world caused by the dramatic change in the climate. The switching between the three timelines is very easy to follow while at the same time able to highlight similarities between them every though the lives and situations are totally different. It also kept the pace of the shown which meant the 1.5 hours flew past. The overall writing was brilliant. The play is a fully formed no interval production which could easily drop on any West End stage and not be out of place. Not very fringe due to the completeness of the production but very good never the less. Overall 3.5 out of 5 stars.
For more details about Consumed click the image above.

Consumed

Playing at Venue 15 (Traverse 1 at Traverse Theatre) starting at 10:00 with a running time of 1 hour and 20 minutes. As it was in the same theatre space as the last show for once I didn’t have to dart across Edinburgh for the show. Instead I was able to sit in the Traverse theatre/ foyer and grab a drink and start today’s blog. I had not been to Traverse one until yesterday and now three consecutive shows in. I have realised that the productions are full ready to run shows and not your traditional Fringe shows. Consumed was no difference, in fact it was the most fully produced show I have seen at the fringe. This was as a result of a full set and prop display no different to any one set play I have seen on either the West End or Broadway. The production and run time could easily slot into any West End or Broadway stage. The show depicts four generations of females from the same Irish family. Who have convened for the matriarchs 90^th birthday. The play deletes deeper and exposures the huge cracks in the family dynamic and relationship which crescendo in a dark conclusion. With some jokes and Irish quips along the way. A great ready to drop onto any stage production and as a result 4 out of 5 stars,
For more details about Consumed click the image above.

Aquapella

Playing at Venue 64 (Auditorium at Gilded Balloon at the museum) starting at 16:15 with a running time of 1 hour. This was not a pre booked show and something I only booked a few hours before as their was a gap in my schedule. There were two reason for this choice, one it is in the same venue and the show before my already booked next show. Also seeing a competitive a cappella group live is something that I have always waited to see, after watching lots over the years online and in movies. I did MiCapella in Singapore many years ago but they are not traditional a cappella. The show did not disappoint, you have to keep reminding yourself that there is no backing track and all the sound is being made by the voices on stage. The talent on display is unbelievable and no wonder Aquapella from bath university is on their 9^th consecutive fringe year and toured the UK and performed on Broadway along with regular top 3 finishes at national competitive level. You have to see an Acappella group live to really understand it. Overall 4 out of 5 stars.

I wish my life were like musical

Playing at Venue 64 (Auditorium at Gilded Balloon at the museum) starting at 16:15 with a running time of 1 hour and 10 minutes. This is a comedy musical about being a musical theatre performer and its devoted fan base. It charts the whole life cycle of a musical theatre performer from auditioning as a fresh drama school graduate to becoming that successfully diva. It is very cleverly written and contains so many theatre and especially musical theatre references, that only a real die hard musical theatre fan will understand. As a self confessed musical nerd I am happy to say that I picked up on the majority of them. However not everyone in the audience did and I feel were not able to fully appreciate how clever this show was. The four performers where very talented musical theatre performers. It was great fun and can see why they have been at the fringe since 2019 increasing their capacity. Overall 4.5 out of 5 stars.

Nina Conti: Whose face is it anyway?

Playing at venue 302 (McEwan Hall at Underbelly Bristo Square starting at 19:20 with a running time of 1 hour. This venue has to be one of if not the biggest venue I have been in at the fringe. Nina has been someone I have seen online for years and always found very funny and clever. So was really pleased to see that her fringe show managed to fit into my itinerary. I am so glad I did see Nina. I was literally crying with laughter within the first 10 minutes. The show is self confessed to be not scripted and solely relies on the input from audience interactions. The way Nina is able to take very little input from the audience member and suddenly great a whole new persona and voice for them while having brilliant comedic call backs. Is pure genius, the quick whit of Nina while doing at some points over seven people voices on stage at one time. Due to the unscripted nature you could watch this show every night and every night would be as hilarious as the last. Absolutely amazing and Nina has to be seen live as a result 5 out of 5 stars.

Club NVRLND

Playing at venue 322 (Checkpoint at Assembly checkpoint) with a start time of 21:15 with a running time of 1 hour 30 minute. This show is the first dud of the fringe, there has to be at least one otherwise it is not a successfully fringe. The show is roughly based on Peter Pan with Neverland as a nightclub. This show is where I really wished I read the fringe show site a little more detailed. It was an “immersive” experience in the fact that you were in an actual club with the actors moving around you. With a mid 2000s nightclub/rave environment. The performers blasted out nostalgic classic in which the audience joined in. If you like or liked clubbing and have a group of friends all brought up in the late 90s early 2000s this would be a 5 out of 5 star show. However for me who can count on one hand the amount of nightclubs I have been to did not enjoy this one bit and as a result 0 out of 5 starts.

Adam Riches and John Kearns are Ball and Boe

Playing at Venue 33 (Grand at Pleasance courtyard) with a start time of 23:00 and a running time of 1 hour. This show could not be the polar opposite of the previous show and was glad I left the previous show 15 minutes earlier. The very late start time seemed very strange even for the fringe due to the target audience, it did result in the youngest Ball and Boe related audience I have ever seen. With people actually younger than me for once. I can only assume the odd billing timing is due to the fact that this was the first of only three nights this show is playing at the fringe. This show had played in London which I missed but aware that the real Ball and Boe attended and approved of it. I have to state that I am a huge Ball and Boe fan having seen their concerts many times including multiple times at the O2 as well as their Les Mis appearances. The show was brilliant again crying with laughter at the caricatures versions of Ball and Boe. They took the obvious differences and traits of both Micheal Ball and Alfie Boe and had them down to a tee. Ball was the “darlings” theatrical persona while Alfie was the straight serious tenor. The few songs actually song mainly “The greatest show” where performed very well with amazing voices. But the script and physicality of the charters where hilarious and the more of a Ball and Boe fan you are the funnier it becomes. Overall the show was 4.5 out of 5 stars.

That brings to an end of day 2 and my first full day at the fringe this year. I totally forgot how insignificant the time of day becomes at the fringe. You never have any context if it is afternoon or evening. Day 2 ends with me back in my Balmoral hotel room at around 00:30. It’s been around a 16 hour day with a modest 10.5K step count

Fringe Day 1 (Wednesday 13th August):

The day started at 6am to enable me to get to the local airport to fly up to Edinburgh. After a slight delay we eventually landed at around 10:45 (45 minutes later than scheduled). For me it was straight to the Balmoral hotel to meet the brilliant NT development staff, where I picked up my tickets for the first shows of the trip.

Nerds: The Bill Gates vs Steve Jobs Comedy musical

Playing at Venue 302 (Cowbarn at Underbelly, Bistro Square) starting at 12:30 with a running time of 1 hour 10 minutes was my first show of this years fringe. It was my two worlds colliding. My day job of IT and tech with my favorite hobby musical theatre. The combination was even better than I could think of. The show charts the intiail and continued rival of Bill Gates and Steve Jobs as they try and dominate the energy tech world. This is the most full rounded/completed musical I have seen at the fringe. With a fully rounded musical with story, costumes, props/small staging and dance routines. Has to be one of the best musical I have seen at the fringe it is up their with “Cathy and Stella solve a murder”. However unlike Cathy and Stella I don’t really see a place for this production outside of the fringe. The whole cast was amazing but “Dan Buckley” as Bill Gates steals the show for me. A very strong start to my 2025 fringe with an overall 4.5 out of 5 stars.
For more information about “Nerds…” click on the image above.

Ohio

Playing at venue 139 (Upstairs at Assembly Roxy) starting at 15:00 with a running time of 1 hour and 15 minutes. Although billed as a 15:00 start time, for this showing it was around 15 minutes late. Which meant that I had 5 minute turn around at the end of the show to catch my next, on a google map journey time of 9 minutes. Luckily I made the next show by the skin of my teeth. “Ohio” provides an insight into the life of the two performers while concentrating on Shaun who is gradually loosing his hearing and has turned his back on his religious up bringing. There were a number of technical issues during the first section of the show, however they quickly rectified by the crew. The show utilised a Ed Sheeran esc loop panel which was used throughout the show to create all musical aspects of the show. At some points I did find the looping a little grating especially amoughst the many chants that occurred throughout the show for no real reason. The whole show seemed a little disjointed with no real clear story arc and the songs some of which were good did not add to the overall narrative. It did contain a surprising but very interesting science lesson around the cause of tinnitus which I found very interesting. The show is coming completing a very short tour including performances at the Young Vic. Overall I give the show 2 out of 5 stars.
For more information about “Ohio” click on the image above.

Shantify

Playing at venue 3 (Palais du Variete at Assembly George Square Gardens) starting at 16:35 with a running time of 1 hour. This show takes classic and modern pop songs along with musical theatre and “shantifys” them. Think “Choir of Man” but in a Shanty style, if you have liked Choir of Man you will love this. It contains a little more of a storyline based around a fisher harbour in western England and a pair of brothers and their friends. The songs fit perfectly the narrative and really make you listen to the lyrics so much more than you would even during the musical songs. There is not much else to say that it is a lot of fun with very talented performers. Towards the end of the show we were told that the ruction has secure a 2 show performance in the West End, which I highly recommend seeing. Overall the show is 4 out of 5 stars.
For more information about “Shantify” click on the image above.

NT Welcome drinks
The next stage of Day 1 was to make my way to “The Scotsman” hotel for the National Theatre Welcome drinks. Were I was able to catchup with other NT Patreon’s and NT staff on the trip to discuss what we have already seen and what is to come. After a few hours it was time to move onto my last show of Day 1.

She’s behind you

Playing at Venue 15 (Traverse 1 at Traverse Theatre) starting at 21:45 with a running time of 1 hour and 15 minutes. This was my last show of day 1 and first at the traverse this trip. There was around a 15 minute delay to the start of the show which was well worth the wait when it started. The show consists of Johnny McKnight one of Scotlands biggest and best pantomimes dame. The shows charts Johnnys journey through the pantomime dame world from his early 20s through to writing some of the most progressive pantos on stage today. The shows consists of the expected snippets of one Panto one liners. However there is a deeper more meaningful story of how changeling the pantomime and dame stereotypes is the only way to move forward. I came out of the show with a new found appreciation of pantomimes and not only how they are constructed but how they challenge wider cultural differences and opinion. This show is A perfect way to end any day at the Edinburgh Fringe Festival and for that I give this show 4 out of 5 stars.
For more information about “She’s behind you” click on the image above.

And just like that day 1 of my Fringe 2025 trip is over. It’s been a long 18 hour and over 18.5 thousand steps kind of a day. Which started at the literal other end of the country and ends with me sat in my room at the Balmoral writing this final review.

“Redwood” review

My last show of this Broadway visit and the second show of this last Saturday in America. The show in question is “Redwood” the new broadway musical staring the one and only Broadway legend Idina Menzal. This perticular show is had its opening night a few weeks ago on the 13^th February 2025. The show has a book by Tina Landau with music by Kate Diaz and lyrics by Kate Diaz and Tina Landau and directed by Tina Landau. So between the two of them they really did do everything. The show is a straight through no interval production lasting around one hour and fifty minutes starting at 8pm on this Saturday at the Nederlander Theatre.

As I took my seat in the second row of the centre mezzanine I really was surprised how close it felt to the stage. Reviewing the ticketing site again there is a note which states that it is an immersive experience in which the mezzanine features the best view of the stagings full scale and scope. And they were not wrong, the full stage length screens wrapped round to the same level of the mezzanine seating. As shown the in the view from my seat image, I had to I take it in a wide angle else shot to grasp the full scale. You can even see how much the staging is protruding the original stage front. The wrap around effective of the screens really make you feel you are in the stage.

The book for this show and therefore the story was very and surprisingly basic. The story itself did not really progress at all throughout the nearly two hours of the show. This is very unlike any show especially a musical. Due to this lack of progression the synopsis of the show is very basic and does really tell you everything you need to know.
We meet Jesse (Idina Menzel) and her partner/wife Mel (DeAdre Aziza) who are struggling with the loss of Jesse adult son Spencer (Zachary Noah Piser). Jesse finds herself in the redwood forest where she meets scientists Finn (Michael Park) and Becca (Khalistan Wilcoxon). We then follow Jesse through a metaphorical journey of grief acceptance thanks to the large redwood tree “Stella”.

As mentioned before the above is pretty much the story will very little progression and not enough for me for it to be a really good musical or even play. Even the songs didn’t really have much point to them apart from the odd one, generally it seemed both the book and lyrics were just there to fill time and not really adding anything to the show or storyline.

On the other hand the theatrical experience which this show created was outstanding and some of the best I have ever seen on wither Broadway or the west end. The use of these huge screens along with projection made you feel you were in the scenes. At times almost too much and almost felt disorientating. I can only assume it is the same experience gained within the sphere at Vegas. An experience I personally am happy not to witness first hand. However due to the screen and projection use age there was no set as such as the screens and white stage were used to create the scenes. The only major set piece was the tree “Stella” itself which appeared from a the revolving centre screens. I feel like I have to name the tree Stella as the show was able to personify the stage piece of the tree so well it felt like the sixth character of the show. The whole theatrical experience was one of the best I have ever had on either side of the pond. An extra shot of the stage after the show had finished really highlights the screen and projection usage and also includes Sellla.

The only moving pieces of the stage were a small raising platform from the stage don’t which Jesse utilised as a seating platform. The other main moving piece was the tree platform in which most of the second half of the show is presented from. Apart from these two there was not much real life props. Apart from the climbing parfernally that was needed to climb Stella. This was one of the most impressive parts of the show as all three performers were at various times actual long climbing up and down the tree and the whole height of the stage.

Although the theatrical experience was amazing this was meant to be a musical, and for me it is were it fell short along with the lack of story. Although the vocal performance from all were amazing the songs enever really meant anything. Apart from one of the latter songs “Still” lead by Zachary Noah Piser. One of Idina Menzal songs “Great escape” can be found on YouTube linked below which highlighted her great talent, not that we needed to be convinced.

“Great escape”

As mentioned before the vocals from all were amazing but for me the two standouts have to be obviously Idina but also Zachary.

Idina Menzel vocals were outstanding in this show as expected. However I did not feel like the book or lyrics really gave her an opportunity to show her true musical theatre acting talent. Just being in the same room room and peri ending her sing anything live for the first time was breathtaking. It is unbelievable how effortless her ability is. Her voice really was mind blowing and like nothing I have seen before, it is just a shame the book and lyrics did not give her much to dig her teeth into. Her natrual ability was highlighted when she has to belt being literally upside down and swinging around Stella the tree.

For me the other outstanding member of the cast was Zachary Noah Piser who played the dead son Spencer. His vocal ability was outstanding and the way he was able to portray the feeling in the song “Still” was really moving. He really is a true talent and one to watch for the future.

As mentioned early all the others cast vocals did not disappoint but for me these two where the most notable perofmrance of the production.

This has seemed like a shorter review than normal however there really was not that much going on apart from the amazing theatrical experience created by the screens and projection. There was little story and just had amazing vocals from all.

Overall I give this show 2 out of 5 stars as a musical and or play. However as a theatrical experience it is 5 out of 5. An experience like no other from the mezzanine seats, with amazing vocals from all especially Idina and Zachary however a lack of story progression hindered the show.

“Smash” review

My next show show on this Broadway trip is the first of a double header for Saturday as it is the matinee of “Smash” the musical. I was dry excited to see this as it is based o the huge TV show first broadcasted in 2012. However I somehow missed the boat on its original run. As a result I only just finished watching the the whole series a few weeks ago in preparation to see this show. So the concept and characters are very fresh for me. This production is still currently in previews which started on 11^th March 2025 and has an official opening night scheduled for 10^th April 2025. The show has a book written Rick Elice and Bob Martin with music & lyrics by Marc Shaiman and Scott Whittman and directed by Susan Stroman. The matinee has a start time of 2pm and a running time of two hours and thirty minutes at the Imperial Theatre.

I took my seat in the orchestra row K seat 105 of the imperial theatre, which has great stagger so any seat within the stalls is pretty much uninterrupted. I was readying myself for a stage version of a the great TV show. A to show I highly recommend if you missed the orginal run back in 2012 and are a fan of musical theatre. It is currently available on Amazon Prime in the UK to binge the whole series.

*View from the orchestra row K seat 105*

First of all I have mention how surprised and taken back I was by the total change to almost all the characters and all the supporting cast. With only Ivy Lyn and Karen viewing kept from the original TV show. This was a total shock as I was expecting a stage version of the to show. Which in a way it was but not with the same character which is what I was expecting. Even the character dynamics between Ivy and Karen were changed. Along with all new characters playing similar positions but different dynamics. For example the womanising director of of Derek Wills is replaced by a camp Nigel. A Karen is married to one of the ensamble and the writers are married. If you have seen the TV show you will release how different this was and also reflect in my disappointment of the change. Which did take some time to readjust.

For those who have not seen the show or have but want to know the full character run down. Here is a brief synopsis. We take a step into the rehearsal room of a brand new Broadway musical “Bombshell” the Marilyn Monroe musical as well as seeing some of the “bombshell” songs. It during this time we meet the leading lady Ivy Lynn (Robyn Hurder), the understudy Karen (Caroline Bowman) and the director Nigel (Brooks Ashmanskas). We are also introduced to the writers husband and wife Tracy (Krysta Rodriguez) and Jerry (John Behlmann). Along with the producer Anita (Jacqueline B. Arnold) and her assistant Scott (Nicholas Matos). During the show we also also introduced to Chloe (Bella Coppola) who nearly takes the leading role from the production team and Susan (Kristine Nielsen) who plays Ivy Lynn Marilyn’s advisor. Between all of these and the ensemble they all highlight the trails and tribulations of putting on a Broadway musical.

The overall concept although very similar if not the same to the original TV show it did have a few touches of modernisation. Mainly around the use of social media and the role that “Influencers” play on the modern world.

The set design was good and mainly in the first act switched between the rehearsal room and the bar. With the second act bringing in set boxes to represent the back stage areas of the theatre of the dressing rooms and writers rooms of the theatre. While having the occasional curtain drop to reveal the “Bombshell” song performances. The overall staging was very good and had a triangle design which worked well and along with the lighting made for very good scene definitions. During some of the “box scenes” having the rest of the stage fairly well lite meant that we were able to see the actors walk out of the scene into the rest of the stage no kind of spoilt the illusion of the scene for me. However there overall scene transfer and slickness to it was Broadway quality and was impressive.

The musical theatre part of this musical only really came form the “Bombshell” scenes. Which were lifted directly from the TV show including all music & girls and choreography. Which seemed unaltered as each song I was able to recall watching only a few weeks ago on the TV show. These include Mr & Mrs Smith, the 20^th Century Fox Mambo and “I Never met a wolf who didn’t love to howl”. I for one am so glad that these remained untouched as they were amazing in the TV show and amazing in this show. There was definitely something special about seeing these songs being performed live on a broadway stage after watching them on my iPad on my daily comments a few weeks prior. There did seem to be one or two new original musical theatre pieces added to this production but I was glad they kept the orginal “Bombshell” songs. As well as the title track of “Let me be your star” my fave outer track from the whole show and still is after seeing it performed live is “Don’t forget me” which luckily has been recorded on the “Smash” YouTube channel and can be found below.

Don’t forget me

As a new Broadway musical I am not convinced that it hit the ark. Although it did have some comical parts of the script and the amazing “Bombshell” songs. I am not sure it really hit the mark and will be very interested in what the critics say in a couple of weeks time for the opening night. In my opinion they should have kept more to the original TV show characters and not just used the concept. As a musical theatre show I would rather have just seen a staging of “Bombshell” the musical. As it was only the Bombshell scenes which had the musical theatre aspects.

And now for more on some of the individuals from the cast. It was very interesting to see Krysta Rodriguez live as she is the only cast member who was in the orginal TV show. However if not a bit confusing as she was not playing her Ana character but instead one of the writers Tracy.

Robyn Hurder as Ivy seemed almost nervous during the start of the production. I am not sure if this is on purpose to highlight the progression of the character throughout the production or weather it was because the prodcution was still in previews. However I was pleased to see that by the end of the show her vocals were perfect. However I was still slightly distracted as I just was thinking that she is not Megan hilly (Who I watched live a few days prior in “Death becomes her”). Maybe this was just me and almost hindered by the fact that I have just watch end the original TV show. This view should not reflect on Robyn and a great performance.

I had a similar preconception and distraction with Caroline Bowman playing Karen as Katharine McPhee was amazing in the TV show. However Karen on this stage show did not have such a major role however Caroline vocals were spot on and amazing Tom start to finish throughout the whole show and was a great talent to witness live.

The next person who deserves a perticular mention is Bella Coppola as Chloe, a brand new character to the Smash world. Who vocals if not exactly beat Caroline or Robyn but were perfect for this role.

My final mention has to go to Brooks Ashmanskas as the very camp director Nigel. As soon as I saw Brooks bin stage I instantly remembered him from the original run of “Prom” which I watched o broadway a few years ago. He was brilliant in that and was brilliant in this and fitted this role perfectly. He brought the campness and more importantly the comedy to the production perfectly. Even though portraying a similar role his performance was great and expect another Tony nomination in his future fro this role.

Overall I give this production 2 out of 5 stars. A different skew of the orginal TV show with different characters added to the same concept. With the same great “Bombshell” songs/routines. If you haven’t seen the TV you might like it even more than I did and if you did see the TV you will love the iconic performance live.

More details on the show can be found on their website.

“Death becomes her” review

It’s that time of the year again when I visit New York to see a number of broadway shows. This first show is the start of a very musical theatre heavy broadway weekend trip. It seems that since my last visit in October there has been more and more musicals opening on Broadway. I for one am not complaining as I had pretty much ran out of musicals to see, so a new smorgasbord of musical is very much appreciated.

The first show in question is “A death becomes her” which had an original run in Chicago back in the middle of last year (2024) and transferred to the Lunt-Fontanne Theatre towards the end of the year. It had its opening night on Broadway on November 21^st 2024. Much of the orginal cast fro m hi cargo reprised their roles for the Brando way run. It has a book written by Marco Pennette and musical & lyrics by Julia Mattison and Noel Carey. On one show days like the Thursday I was seeing the show it has a scheduled start time of 7pm however in typical broadway fashion did not start till at nearly 10 past. It has a running time of two hours and thirty minutes however it seem to finish before 9:30 PM so can assume since opening night they have tightened the show up.

*Lunt-Fontanne Theatre 20^th March 2025*

As I took my seat in the front centre mezzanine of a theatre which had fully been taken over by the show themed décor. With period design covers all walls and large chandeliers around the whole auditorium. It is a big befit that Broadway has over the west end, as the theatre spaces are not historical and therefore can be altered and fitted out to the theme of the specific show. Which is impossible for most West End theatres due to the limitations of the historic buildings. Due to the high stage and the lateness of the booking due to only booking it a few hours prior to curtain up due to only landing in New York that afternoon. The front middle front mezzanine was a perfect view as shown in the view from my seat image below.

*View from Front Centre Mezzanine row C seat 105*

The show is a musical theatre adaptation of the 1992 film of the same name. Once again like many of these shows I have not seen the original film. So for those in the same boat as me her is a very brief overview of the synopsis of the show.
We are introduced to Madeline Ashton (Megan Hilty) a very successful and popular actress who seems to have it all. Until her long time old frenemy Helen Sharp (Jennifer Simard) turns up with her husband, Ernest Melville (Christopher Sieber). Madeline proceeds to steal Helens husband. Then we skip 10 years to where the tables have seemed to have turned. With Madeline aging and having less and less of a career while Helen is making it big a successful writer and looks better than ever. In a desperate attempt to save it all Madeline is introduced to Viola Vans Horn (Michele Williams). Who seems to shave the answer to save her future for the next ten years due to her magic potion. A push down the stairs proves that Madeline is invincible. During the second act we are exposed to the downside of immortal living as both Madeline and Helen are struggling with the side effects of living forever while everyone else continues a “normal” life expectancy.

Both the book and lyrics to this show are hilarious. This is very difficult to do and most “comedy” musicals are unable to achieve it correctly. But this show does with both the spoken scenes being equally as funny as the songs and vice a verse. Which really does create a literal laugh a minute. It was also very impressive how the concept of the original 90s film was able to be modernised. The most obvious is Viola Van Horn literally calling herself an “Influencer” and the brilliant ensamble of dancers her influenced. Which is such a modern concept which definitely would not have been “a thing” in the early 90s.

Not only was the whole production a laugh a minute funny it never forgot that it was a musical. And this was double down by the epic vocal performances from the three main leads of Megan Hilty, Jennifer Simard and Michele Williams, but more on them later.

All other aspects of the show also did not disappoint. The first being the costumes which seem to be constantly changing during the first act. And especially during the first act scene of Madeline character acting quick changes where she literally had four or five costume changes in the space of a few minutes. A glimpse to this scene and the amazing performance from Megan Hilty can be found on the “Death becomes her” YouTube video here.
Link YouTube video “for the gaze from their YouTube channel .

“For the gaze”

The amount and variation of costumes really did add to the whole “broadway” worthiness of the show and really made you feel like you were watching a broadway show. Another aspect of the show which added to this was the staging which had huge set designs and changes throughout the show. Each scene to be as grand and “broadway” and the one before.

The lighting for the production was outstanding and seem to be able to take over and engulf the whole themed auditorium. It especially came into its own during the many “magic tricks”/ illusions that occurred during the whole show. But especially within the second act each scene seemed to have at least one magic trick or illusion in it. I assume this is to replicate what would have been CGI in the original film. The lighting along with the amazing prop department and amazing direction made all the stunts and misdirection possible. Which is needed for this kind of show. The costume department also aided with the trickery and was high tied during the shotgun shooting sene and providing th on stage illusion of one of the characters having a whole in their torso. It was up their with ghost the musical for the illusion but more of a slap stick version which was needed for this comedy musical.

Before I talk about the main characters and actors, a special shoutout to the ensemble has to be made. As without them the show would simple not work, they aided in a lot of the misdirection as “stunt” doubles. As well as providing amazing dance routines which ensured that the musical theatre aspect of the show was not lost. Each and everyone worked continuously and tirelessly with constant contumely changes and appearance in the majority of the scenes.

This brilliant ensemble cast supports an amazingly strong cast which has many Tony nominees and even Grammy winners.

The first is Megan Hilty playing Madeline Ashton. As someone who has recently (within the last few weeks) has just finished the show “Smash” in preparation to see the broadway production on Saturday. I was very excited to see Megan Hilty perform live. I am so glad to say that she did not disappoint and was brilliant across the board. She was funny and her vocals were amazing. Her harmony’s with Jennifer Simard playing Helen Sharp where some of the best I have seen in any musical theatre show. The show has released a “Broadway sneak preview” EP which is on all major streaming platforms. Which I do recommend listening to especially “Alive Forever” which highlights both Megan and Jennifer vocal talents. It also gives me hope that their will be a full cast recording in the shows future.

Another cast member who deserves a special mention is Michele Williams, who for a Brit I did not know individually before the show but can see why she is a Grammy aware winner. Her Perla ovals and personalisation of the Viola Van Horn character was amazing and perfect casting for the role.

As mentioned before the whole cast was brilliant but the last specific mention goes to Christopher Siber who portages the husband Ernest Menville who really becomes a more and more important character as the show goes on and epscailly during the second act. He ability to portray the comedy but also emotion which is needed for the role is great.

The Thursday show was also a broadway debut for Nick Alvino who got a special dedication during the curtain call. It is also special to witness someone broadway or West End debut.

Overall I give this show 4 out of 5 stars. It is one of the best comedy musical theatre shows I have seen. A hilarious book and lyrics create a literal laugh a minute. Which set, prop and costume all living up to a high Broadway standard. With amazing vocals and performances from the whole cast. A must see for any musical theatre fan.

Further details and tickets can be found on the shows website.

“Alterations” review

My next review takes me once again back to the national theatre and the Lyttelton stage for another NT young patron club night. This time for a show which is currently still in previews and officially opens on 27^th Feb and scheduled to close on 5th April 2025. This play is originally written by Micheal Abbensetts and directed by Lynette Linton. It has a running length of one hour and fifty five minutes with no interval.

Like many plays and productions I see I was not aware of the text or ideas of the play so once again entered the Lyttelton theatre with an open mind of what was to come. I took my seat which was chosen by the NT development team. The only other people apart from myself who I trust to choose a seat for me. And once again they did not dissapoint with a seat in the stall in row G seat 24.

The play transports us back to the 1970s where we enter Walkers (Arinzé Kene) tailors shop. Where he dreams of become a suit designer and maker. Were we spend the next nearly two hours living 24 hours in the life of Walker trying to complete a demanding trouser alteration order from Mr Nat (Colin Mace). With the help of his trusty expecting to be father friend Buster (Gershwyn Eustache Jnr) and his young driver Courtney (Raphel Famotibe). With the help or as it becomes more obvious hinderance of Horace (Karl Collins). Along with the occasional appearance from Walkers wife Darlene (Cherrelle Skeete). We learn of the hopes and dreams along with the struggles these characters have to face on a day to day basis of being black in the 1970s.

Before the “curtain up” as there was no physical curtain a number of the ensemble cast started to appear on stage with boom boxes and push bikes. Attempting to prepare us for this step back in time to the 1970s. The set itself was basic and is shown in almost in is entirely within the view room my seat image above. As the play is based in a short timeframe of the same location it meant that there was no need for large set pieces of even major scene changes. However momentum of the play and time changes were achieved by rotating the whole set within the centre of the the Lyttelton stage. This allowed for the actors to seamless move from the front of the shop to the back simply by walking through the hanging clothes rack while the whole set piece was rotating. At very few occasions the front of the stage was used as a scene setter. The only main addition to the common stage was during Walker dream sequences when additional set pieces appears from the wings with ensamble replicating a suit shop. With the aid of very simple light design the different scenes and timings of the play were able to be progressed and portrayed.

As usually with the NT the set design was perfect for the play and the props were amazing. With the expected NT attention to detail not disappointing. When looked at closely you are able to see the exact detail of the tailors shop from the cotton to the time period sewing machines. Once again the NT prop department did not dissapoint with not a single prop or item on stage being out of place for a 1970s alteration shop. It is this small attention to detail that makes the NT so impressive.

Talking about relevant time period aspects the costumes were amazing. The style and fit of each costume was perfection for the time period. Not only the costumes being worn by the actors but the outfits that were hanging as effectively props and set where exactly in style and design. I can only imagine the fun that the creative team had walking through the many racks of the NT green store to find these outfits. Again the attention to detail that makes an NT production an NT production.

In the same vain but slightly different tack the attention to detail within the accents of the characters was great.If not a little difficult to start with by the end of the play it seemed very natural. Each actor had what I can only assume is a very authentic accent which was needed for the original text which was written by the late native Guyanan Micheal Abbensetts. However for me this is where the play had problems. As the original play was written in 1978 by a native there were at times certain dialects and phases/comments that were made which went totally over my head and only hit with a very small proportion of the audience. As well as these more specific references I found a lot of the more comedy aspects and points of the play didn’t land with me and also didn’t seem to land in general with the audience of this preview night. I don’t believe that this text originally from 1978 really has a place with a modern London National Theatre/ West End audience. Although you can see the play attempting to hit some very major topics which are still relevant today including race, dreams and strong women. The style in which it is presented in the play does not fit for me a Morden audience.

The running time of nearly two hours straight with no interval also did not seem to fit this perticular play. I am huge fan of straight through plays with no interval. However for this production there were many different opportunities for a break in proceedings and not having one just seem to elongate the play rather than keep the audience on side and on board. Perhaps by the time the play has opening night in a few days the timing may get shrunk a little.

Although Karl Collins was marketed as the “main star” of the prodcution. I recall it was his face that appeared on the slide show presented by Rufus during the launch of his last season. I was surprised to see him not in the title role. However I really enjoyed Arinzé Kene portrayal of Walker. He was able to portray the character and emotions brilliantly. Really making the audience buy into his dream of the suit shop as well as the heart ache he endures nearer the end of the play. Along with these two actors Gershwyn Eustache Jnr was able to reduce such an endearing character as the expectant father.

The other two actors which deserve a special mention is first the only female character of the play Darlene played by Cherrelle Skeete. Cherrelle was able to bring that strong female energy to the stage and if you see the show you we see the power and control she has to make a discoing which would not normally occur in the 1970s. The other actor to mention is Raphel Famotibe playing the young Courtney who simpployises the hope of youth and the belief that the future will be not only internet but better. These two actors had some great scenes in which they were able to show their great talent.

As per above the actors and production value of this play was as ever the National Theatre very high standard, it was just the orginal text not fitting in with this modern audience.

Overall I give this play 2 out of 5 stars. A great NT production of the original 1978 play, portrayed by some great actors. However unable to save what seemed to be a inaccessible text for most modern London theatre goers.

For more information on this show, further details can be found on the National Theatre website here

“Elektra” review

My next show is Elektra currently playing at the “Duke of York theatre”. Which transferred after its very short run at Theatre Royal Brighton from 13^th to 18^th January 2025. The show started its 11 week run at the Duke of York theatre on 24^th January and is currently scheduled to close on 12^th April 2025. The show has a running time of around 75 minutes with no interval. Which as mentioned before is a format I really enjoy for a West End show. This particular production has been translated by Anne Carson and directed by Daniel Fish with Hollywood star Brie Larson in the tile role. More on her later.

The Duke of Yorks Theatre 3rd February 2025

I watched this production on the evening performance starting at 19:30 on the 3^rd February 2025. I did forget how small the Duke of York theatre was and as a result I don’t believe there is a bad seat. However for this production I choose Row A seat 8 in the Royal circle. The main reason for this seat choice was due to the little to no rake within the stall of the theatre. It happened to be that when I booked the show earlier in the day this solo seat was available. As it did not disappoint as per the below image you see there was a fully uninterrupted view of the whole stage.

For those who are not aware of the origins of Elektra. This is Anne Carson adaptation of the Ancient Greek story complied Sophokles. This production keeps the orginal character names. Here is very brief outline of the story while introducing the actors partying them in this production.

The story is based around the death of Agamemnon and the revenge that his daughter Elektra (Brie Larson) is seeking from her mother Clytemnestra (Stockard Channing) and her new lover Aegisthus (Greg Hicks). While involving and dragging her brother (Patrick Vaill) and sister Chrysothemis (Marième Diouf) along. All the time supported by Elektra chorus made up of (Hannah Bristow, Wallis Currie-Wood, Jo Goldsmith-Eteson, Nadia Ruth, Rebecca Thorn and Adeola Yemitan).

This particular adaption did not seem at all story driven. I am not sure if that is due to the orginal story lacking any depth. However Anne Carson was not able to add any during this production. Although short in run time did at points scenes seemed to drag as if to use up the running time rather than progressing the story. Of which from my understanding there was not much of. With no real start, middle or end. The whole play is a slow plod to the final confrontation with their fathers murder. A very basic storyline that was not advanced on at all. There was lots of dialogue however it was not used to add or progress the story.

The direction and general production had lots of unique theatre tricks. However were seemed to become more gimmicky due to the lack of progression of story. The production style and direction was the only thing that kept the show alive. With lots of tricky and different direction and media use which is not seen in a traditional play, of which this was not. However instead of using this theatric/direction differences sparlying throughout the play. The whole production relied on it and was the only thing it was giving the audience.

The main theatrical gimmick One of the these theatrical gimmicks was the use of a hand help microphone used by Brie Lawson throughout 90% of the show. Instead of using it on the odd occasion to add emphasis, which I have seen in other plays, it was used all the time. The use of a second microphone was an attempt to emphasis certain points however just seemed more random than useful. There was also a use of effects pedal which changed the vocals of the main microphone however again did not add anything just pull the audience out of whatever train of though Elektra was having at the time. I felt that the constant use of this microphone took away from the show instead of adding. For example due to the use of the microphone by Brie Larson any other actor on stage who was using a normal stage mic seemed to be very quite. I don’t thin this was a sound level issue but just the comparison between a handheld mic and normal stage mic. As well as creating a one dimension performance, on which I will explain more later when discussing Brie Larson. Only having one actor using a handheld microphone created a barrier when interacting with other actors. It hindered the performances between the great cast as they were unable to bounce of each other and each exchange seemed stunted due to the microphone.

The direction choice of a almost constant spinning centre stage also hindered the play part of the production as actors were rarely opposite or facing each other. As a result also unable to bounce off and perform with each other. An interesting choice and again if used more sparely could have been effective. Along with the direction choices the set design or lack of set also hindered the play aspect of the production. While it was an empty Duke of York stage apart from a white back sheet is used as the “set”. The lack of set pieces meant that the whole stage was exposed which resulted in no wing or backstage space for the actors. Which meant for most of the play the actors were on stage on benches at the back of stage like they were on a sub bench for a football match. As the play progressed they eventually peeled of stage.

Due to the lack of set the importance of lighting become more apparent. The lighting played a critical part in attempting to dictate some kind of story line by hinting at scene changes. Which worked well but again was hindered by the total lack of story and story progression.

As well as lack of set there was not a huge use of props either. Which is not normally the case when a production lacks set it makes it p with prop usage. However this production did not. There multiple chairs and mic stands many used by the ensemble (More on those later). As mentioned before the microphones were critical however overused and did not provide the effect I assume they were trying to achieve. One prop which was very interesting and unique was the black spray painting machine. Which when used live spray pained a black line across the white backdrop. Which was proved to be real as it dripped down when raised above the stage for the rest of the prodcution.

The black line was used throughout the costume design as well. I assume for some symbolic reason which was not broadcasted to the audience. The ensemble cast had a Greek style tabard costume which was very fitting with the origin of the story. The black line was also portrayed across Aegisthus chest during his final scenes of the play.

One of the theatre gimmicks which did work at certain stages of the play was the harmonisation of the ensemble. Again with handheld mics who attended to progress the story while providing a backup singer situation for Elektra. However once again the ensemble sections where overused and lost their impact due to the amount of time the feature was used. With towards the end of the play their scenes/ performances seemed unnecessarily elongated. Having said that each cast member who made up this ensemble was very talented. As a musical theatre fan I was able to appreciate their performances as stand alone events but for me did not add anything to the story or the production. Along with the musical theatre theme there was some great microphone stand choreography.

One aspect of the production which did well at modernise a literal ancient text. Was the general fast pace nature of the dialogue. A lot of the monologues where very fast paced and wordy while still keeping the diction and as a result were still understandable. A perfect example of this was Patrick Vaill who main monologue was so fast pace and rhythmic that it resembled more of a rap that a play monologue and was as a individual piece very impressive. Along with the fast general speech pace the use of music and volume at times did create a very frantic enters however due to the lack of story did not have the dispersed effect it was meant to.

Now to talk about Brie Larson who was a main selling point for this production and was used heavily during the advertising of the show. Even the front of the programme lists it as “Brie Larson IS Elecktra”. As mentioned bewilder the sole us of a microphone by Brie Lawson created a very one dimensional perofmrance. I don’t believe this is a reflection of her stage acting talent. Unlike Sigourney Weaver in the tempest from a few weeks ago. It did feel like Brie was treating more as a film role which was highlighted by the commencement she made by having a buzz cut which I can only assume was real and showed her commitment to this stage role. General Brie performance showed lots of conviction and stage acting potential. But very let down by the script and directing choices which produced a very one dimensional performance and not a reflection of her ability.

Now for some of the other cast. Starting with Greg Hicks playing Aegisthus who had a very limited dialogue and only really spoke onwards the end of the play and did not add anything to the plays dynamics. Stockyard Channing as Clytemnestra was again one dimensional. However once again I believe this was not as a result of her ability but the limitations of the text and lack of story. As mentioned earlier with the speed of dialogue Patrick Vaill was very impressive in his monologue abilities as Orestes.

Overall I give this production 2 out of 5 stars. If you are looking for a traditional play then look away. The use of theatre and direction tricks were an attempt to modernise an ancient text however heavily overused and created a very underwhelming and story lacking production.

Further details can be found on Elektra website here.