Category Archives: Uncategorized

Review Fiji, Conflicted Theatre Company/Clay Party Omnibus Theatre, by Tanica Psalmist

Written by Pedro Leandro, Eddie Loodmer-Elliott and Evan Lordan

Directed by Evan Lordan

Produced by Conflicted Theatre Company and Clay Party

Fiji plays at Omnibus Theatre until 25 March. 

Fiji is a black comedy framed as a living room, this play is full of laughs and quirky moments from the off. The concept of Fiji is Sam (Pedro Leandro) and Nick (Eddie Loodmer-Elliott) met online only a short while ago, during the weekend they finally meet in person where it all spirals out as fast as lightening.

Sam’s destroyed his devices & told everyone he’s bought a one-way ticket to Fiji but instead he’s with Nick. The two feel that they have a deeply special relationship and plan to spend the rest of their lives together. However, for Sam that life will be very brief, he has asked Nick to kill and eat him, with a strong belief that Nick ingesting Sam will be the ultimate exchange of love, making their bond inseparable. 

From mundanity of cheap Spanish wine, an enormous lemon & sarcasm – their humour contrasts like an avalanche with what they have planned ahead. As individuals their human vulnerability and tenderness grips the audiences attention whilst grasping onto the concept of cannibalism. Coming together for this horrific purpose, both intensely relate on how internet dating can be poisonous within the fanatical world of perverse relationships.

As the true reason for the weekend becomes clear, you can’t but help become transfixed on how this weekend will end. Their frequent questions & answers sparks conversation by a tense countdown, which we directly visit during the final moments of the abrupt murder. These questions offer deep & reflective considerations about what has led to this shocking decision: does it stem from maternal issues, as scientific research, what will Nick’s ‘experiment’ disclose? And all the while the two men reassure each other that they want this to happen, each for their own personal reasons. 

This play is based on a real life incident in Germany. It interrogates what the rules would be in a situation like this: who gets to decide how it plays out, and what responsibilities are involved, both between participants and in their wider social circle? The discussion is remarkably balanced, as the characters reconcile the issues within their own instances, arguing the case for personal choice, whilst acknowledging there is a world outside where these actions are known to be wrong.

This is a well articulated production offering romance and laughter alongside repulsive horror, there’s really deep, dark & deadly thinking in the midsts that invite you into the world of the unknown.  

WNO’s Jenůfa, a review by Eva Marloes

WNO Jenufa Eliska Weissova Kostelnicka Burjovka Elizabeth Llewellyn Jenufa photo credit Clive Barda
 out of 5 stars (4 / 5)

The evening began with the orchestra conductor Tomáš Hanus wishing the performance be an island of humanity. Sorrowful and deeply humane, Leoš Janáček’s Jenůfa was the perfect opera to bring reflection upon the devastating Russian invasion of Ukraine.

The WNO’s Jenůfa touches the audience with the perfect balance of intensity and quiet sorrow. The interpretations of Elizabeth Llewellyn in the lead role and Eliška Weissová as Kostelnička stand out in this impressive production. The orchestra under the capable baton of Hanus conveys the complex beauty of Janáček’s music.

WNO Jenufa Elizabeth Llewellyn Jenufa photo credit Clive Barda 

The story of Jenůfa is decidedly unpalatable to contemporary sensibilities. She is disfigured out of jealousy by Laca, the man who claims to love her, and abandoned by Števa, the man she loves and whose child she bears. Her own stepmother Kostelnička kills her child for fear Laca would not marry Jenůfa. Yet Janáček’s music makes one overlook the misogyny of the story and brings out a deep sense of humanity.

Elizabeth Llewellyn gives an intense and nuanced performance. The tonality of her voice adds a deep and pure emotion. Eliška Weissová’s powerful voice and dramatic interpretation capture well the complexity of Kostelnička, whose strong personality is diminished and consumed by her crime and sin.

WNO Jenufa Eliska Weissova Kostelnicka Burjovka Peter Berger Laca photo credit Clive Barda

Janáček’s Jenůfa is no epic tragedy but a journey taking us to a place of pain and compassion. The WNO orchestra is impeccable in conveying the moments of tragedy, quiet sorrow, and intimate love. Peter Berger gives a solid performance as Laca revealing a compassionate note and Rhodri Prys Jones interprets Števa convincingly. Of note is also Aaron O’Hare in the role of Stárek.

The production is let down by an unimaginative setting that emphasises the ordinary neglecting the tragic and religious dimension of the opera where the infanticide is not only a crime, but a sin. Yet there are a couple of good tableux: one when Števa is at one end of the stage away from the rest of the village that underlines his culpability and one when Kostelnička confesses her crime in front of the jury of the crowd.

The performance was well received by an audience already moved by the current tragic events in Ukraine.

Review, The Night Larry Kramer Kissed Me, David Drake, New Wimbledon Theatre Studio by Hannah Goslin

 out of 5 stars (4 / 5)

In a little black box in Wimbledon, we encounter the coming of age LGBTQAI+ tale in 80’s America. Next door is a LGBTQAI+ club which I have been to before, and so having this show next door seems hugely apt and hopefully, educational to young people of the community who may walk past and be intrigued by the stand out poster.

The Night Larry Kramer Kissed me, written by David Drake, is a critically acclaimed off-broadway show. Based in 80’s America, we travel through one man’s self discovery in the gay community, awoken by Larry Kramer’s The Normal Heart, showing how Theatre can awaken someone’s passion but also make them question their very existence. John Bell’s (star of Outlander) character uncovers what many men of the LGBTQAI+ community discovered during that time – the impact of the AIDS/HIV pandemic and the fears, concerns, and lack of education around it during this time. It looks at his own discovery of the community and his sexuality, yet also on protesting, speaking out, love and loss.

Bell is in general just perfection. Each word, syllable and speech is perfect, diction and projection on point, and every part of the story he tells feels like it could be autobiographical. He addresses each of us in the room, not afraid to make eye contact, and with such a small theatre, this is important, making us feel included in his story; as if he is just recounting it for the first time with all its elements and emotions. Finding out that Bell is only 24 years old shocked me. I know him well from the show Outlander, where we practically see him grow up as it is, but the maturity and the earnest nature he brings to the character made him seem way beyond his years. While I was also not yet born during this time in history, Bell being much younger than me also shows how in depth he has clearly looked into the history and the impact it had on people of that time. He is genuinely heartbroken; genuinely enjoying life as he discovers who he is; and every aspect of him is fabulous and in keeping of the culture both of then and now. He also flips through ages – a time when he is just a little boy is mixed in with his first kiss as a teenager to finishing as a young-middle aged man. And each mark of his life is clear. A brilliant feat in itself for a performer.

The set was minimal but effective – big crossed metal pipes, stretching diagonally to the sides of the stage, later lit up, make us feel like we are in a city, with its harsh architecture. This is softened by many candles later, electronic, but effectively made to look as if they are really flicking. Subtly put in nooks and crannies are the historical coloured handkerchiefs, symbolising gay men’s position when it comes to interaction with each other, sex and love. A brilliant moment is when Bell is singing/rapping to a song as he discovers different men in a club, pulling out the handkerchief’s and describing each of them, climaxing to an outburst of fear at those who are HIV positive is poignant, fun and eventually heartbreaking. We hear much of the support given in the community and protest at the time, but little of how some turned their back at some point through fear and lack of education.

In a time where we are all fearful of a virus we at the start knew little about, there is some element of reflection on how the community must have felt at the time. However, an element of fun in put into this production, with scenes in clubs and gyms and meeting different people, lovers and how sometimes it culminated in the death of a person puts this on another level. To live life, only to die of it in the end.

Finally, a comment on the costuming – on point for the era, Bell evokes images of Freddie Mercury and the leather fashions of the community and of the 80’s. Eventually, with tee shirts of the AIDS/HIV support networks and protests at the end, this and the telling of this tale is a blast into the history of such a big part of this community and of history in general, something that even today still feels swept under the carpet.

The Night Larry Kramer Kissed me is such an important production to see, not only to learn a impactful part of history but also of a community that, in the 21st century is still facing hardships and censoring. Bell only makes this so much more poignant with his natural and excellent performance.

Review, Dirty Dancing, Dominion Theatre by Hannah Goslin

 out of 5 stars (3 / 5)

I once went to a shop, bought a watermelon, uttered the infamous line “I carried a watermelon” to receive from the cashier “…Isn’t that from a film?”.

We all know Dirty Dancing. A quintessential love story from the 80’s. Based in the 1960’s, this coming of age story sees teenagers growing up in this time, breaking out of the post war /post 1950’s prudeness and traditions and embracing life, sex, culture. They are becoming more aware of socio and political climates, and women are becoming more vocal and independent. This is when Baby, with her family, spends time at their holiday resort (think American Butlins) and when she leaves 3 weeks later, she has grown from daughter to woman, after meeting Johnny and together, facing a mountain of challenges and issues. Baby’s world is cut open and she soon grows up.

Firstly, I would say that calling this a musical is a little misidentified. Yes, there is music; yes, there is dancing; but very little in singing. Most of the music is pre-recorded. There is the occasional band playing, maybe 3-4 songs sung on stage but other than that, it’s very much like the film; lots of talk and lots of dance. Don’t get me wrong, the dancing is BRILLIANT. Carlie Milner (Penny) has the most envious of techniques, along with Michael O’Reilly (Johnny) who epitomises Patrick Swayze and his snake hips. Together, you can believe they are the envious duo that smashes into the campsite scene. Kira Malou (Baby) also does a great job at performing as if she cannot dance, to slowly building up to being worthy of Johnny’s partnership. But it did feel as if she wasn’t given much stage time to really showcase her skills, until the very end in the encore.

The music is typically 80’s – we know all the songs and sing along, and this does pick it up in enjoyment. There’s more comedy added than the film, and the performers do well to be hammed up enough to be these stereotyped characters supporting; it allows the depths of Johnny to be shown in more detail. The whole cast is so in sync that you wouldn’t quite believe that this was a press night – such perfection in movements, in synergy and in the graceful scene changes and line delivery.

The director for sure knows what they are doing; likely, a show catered for the Millennial and Baby Boomer female audiences, there’s absolutely no hesitation in ensuring that Johnny is swooned over. He is quiet, brooding and tormented, just as we expect from Swayze’s original character, and maybe more muscular. It isn’t until he strips off his top and an accidental bum flash and I think most of the audience had collapsed. As a hot blooded woman, yes it is enjoyable to see, but it also feels quite seedy and thrown in – and I couldn’t help but feel sorry for O’Reilly and the objectification.

What also did not sit right with me was the issue of race. Rightfully so, the cast is a mix of races, which is great to see when theatre and musical theatre especially can be so white, middle class and cis. However, to showcase Baby’s growing independence and outspokeness, the issue of race in America at the time, Martin Luther King, and even the word “Negro” are thrown in. It isn’t developed upon and unfortunately feels uncomfortable, badly placed as well as fueling white savior syndrome. With a number of persons of colour in the cast, I’m sure if this didn’t sit right then I’d hope they would speak up, but to an audience member, it only felt like it was there to show Baby breaking away from tradition and not making a important point about race and history. My memory of this in the film is hazy (and that in itself probably shows a further issue of the original film and their take on this) but even if it was featured in the same way, this is where we, as a reprise to stage, can change this and either fully and completely bring that story to light or not at all. Baby’s independence can be shown in other ways, other than her being the person to speak for a race that is not her own. I also felt it limits the casting process – can a person of colour therefore play the role of Baby or Johnny or any of the other characters? The whiteness of the characters isn’t a point of the narrative in the stage production, as it is in the film with the camp being of Jewish-American tradition, so why limit the casting!? Argument would say that as Baby is Jewish-American, she is part of a minority and can speak but as this isn’t eluded to or even distinguished, I do not feel that there is an argument there.

Dirty Dancing is not what I’d exactly call a musical, but it is good fun nonetheless. Fans of the movie and of 80’s music will be happy to attend for a light-hearted take on this well known tale, with a pink wine in hand and a dance at the end, along with times to swoon, the famous lift and “Nobody puts Baby in a corner”. However, there is a huge conflict of messages throughout and some uncomfortable areas that are never really realised and could probably have done without.

Review, Purple Snowflakes and Titty Wanks, Sarah Hanly, Royal Court Theatre by Hannah Goslin

 out of 5 stars (5 / 5)

Ireland is a place I feel a lot of pride, despite having no blood connection. It was thought we have Irish in my family and so, like anyone, I took that and ran with it whenever Ireland was brought up. Sadly, recent discoveries say otherwise. However, some of my best friends are Irish and since the day I met them, I’ve enjoyed learning about the culture, mannerisms, phrases and the socio and political state of Ireland through history.

It’s quite well known that there is a huge aspect on religion in Ireland. With this, as soon as Catholism is mentioned, you think “Oh here we go. Another Irish play talking about growing up Catholic”, by Purple Snowflakes and Titty Wanks is fresh, and new in its approach and is unlike any play, Irish or not, that I’ve ever seen.

Purple Snowflakes… is a one woman show about coming of age in relatively modern Dublin. It sees the character of Saoirse finding her way through life; her family, her sexuality, religious repression and eating disorders. She fights through life, retelling her story to her friend who is only a memory now. It picks on loss and love, and growth from child to fully fledged adult, and what is important throughout each stage.

Sounds a barrel of laughs right? Well.. actually it very much is. There’s an element of very unique comedy, relating mostly to the Irish culture. The Irish are some very clever and comedic people, using their repression and perhaps sheltered upbringings to be darkly funny. This is no exception for this story – it’s honestly hilarious but when you get too comfortable with this, you get a punch of the serious into your stomach. The highs are perfectly punctuated by the lows; this is what makes this play so brilliant.

It also educates – how would someone growing up, trying to discover who they are, really do this when there is little to no information, no openness and certainly no help with figuring out sexuality, gender or mental health. Perhaps this isn’t the same all over Dublin or Ireland, but certainly it feels like a tale often told and Hanly picks this apart – she encourages and supports feminist morals, of LGBTQIA+ ideals, of being who you are and unapologetic. She makes a statement; not only of the state of lack of education on these elements but also about sticking two fingers up to it and saying I am who I am.

Sarah Hanly, writer and performer, is excellent. She is energetic, bounding around the stage with a vigor we can only imagine having. You feel as if she is growing up on the stage in front of you, not just in her story. By using lights, a small amount of staging and props, the scene is changed quickly and effectively. A very small stage, it somehow expands and with the help of the narrative, you can easily imagine the different places that the character is existing in.

We feel like we are her friend – she speaks to her friend as if she is right in front of her, and we fill that void. She addresses us, often with “do you remember that?” and, while we clearly don’t, she convinces us that we do. And we are there, with her and no one else, not even the other audience members.

I loved every minute of Purple Snowflakes. Your emotions are constantly on edge and this makes it exciting, makes your heart break, makes your sides split, and you cannot tell what happens next. Purple Snowflakes needs to be your next show to watch.

Review, The Queen of Hearts, Greenwich Theatre, By Hannah Goslin

 out of 5 stars (4 / 5)

This isn’t my first Panto of the year, but I could happily see Panto after Panto all year long. And so my invite to The Queen of Hearts at Greenwich Theatre reverted me to my childhood of Panto tradition around Christmas.

We are all used to a Panto being based on some famous tale: Aladdin, Cinderella, Snow White e.t.c. so I was massively intrigued by a Panto with a title and potentially a premise that I didn’t know about. Of course all the same elements were there; the audience interaction, “HE’S BEHIND YOU!”, the call and response of the tragic yet loveable sidekick, the moment where audience birthday’s are called out and of course, the pantomime Dame and her ever more extreme costumes and lust for… well… men.

However, The Queen of Hearts is to some degree a new story. Following most of the basic pattern, we see a love story between a Prince and a Princess; Jack the side kicked is over looked; The Dame has been widowed and on the search for her next man, yet is the mother to all and finally, the bad guy is only out to destroy the kingdom and support his own cause. But it isn’t as straight forward, when the twists and turns that usually we would see coming as we know the initial story (think of Aladdin will at some point rub the lamp; Cinderella will run away from the ball). It is new. It is shiny. It is fun.

Not a lot of Pantos have live music either. Usually it’s a recording or if they are lucky to, they are in the orchestra pit. But, much thanks to the Theatre’s architecture, some to just sheer genius, the small band featured on stage and they were every bit part of the production. From the piano player breaking out of his pit to come and act, to the guitarist laughing at every joke, corpse moment and funny improv, them and along with the other performers who clearly loved every moment on stage and had liberty to change slightly and corpse, showing that they loved it as much as the audience.

My only grumble was the absence of two distinctive Panto parts – the throwing of sweets (ok, Covid!) and the song and dance when they are randomly in the woods and sing a song to keep the Ghosts away; slowly being picked off one by one. Sadly, I waited for this bit and it never came. I love the ridiculousness of it and how it never fits in with the story and it was just a shame that it wasn’t in this particular production.

The Queen of Hearts is a fresh and exciting take on the traditional Christmas staple. It keeps to all the things we expect but adds something new and refreshing to the age old tradition.

Review, Dog Show, The Pleasance Theatre, By Hannah Goslin

 out of 5 stars (3 / 5)

In the upstairs of The Pleasance Theatre, in the cabaret space, a unusual and interesting world unfolds. Firstly, I want to comment on this space and how brilliant it is with what the theatre has done. And it felt sophisticated and relaxing like the 1920’s cabaret theatres of old.

Dog Show is a cabaret meets storytale by the masterminds that are Ginger Johnson and David Cummings. Think drag meets Battersea Dogs Home… in fact, this is the aptly named Crappersea Dogs Home, and we are all the mangey mutts that have been left here. At Christmas, we are told to be on our best behaviour while the highly stylised drag-dogs show us the best ways to be a dog, the dirtiest ways to be a dog, and how we can too find a home for Christmas.

This is, without a doubt, the most unusual of Christmas shows but I think this would be a great start to your Christmas theatre season. It is rude, it is funny, it is utterly hyper real. Each performer has their own Drag-Dog persona: The utterly glamourous who reminded me much of the Poodle in Oliver and Company, the social media Pug star, the raggedy mutt who is a little deranged and so many more. Each are given their own performance moments and they are crude, they are hilarious and in a weird way, recognisable. For instance, a feature of a dog being lustful with a footstool, a age old tale that we hear about dogs and their strange behaviours.

There is also comments and stories that relate to the history of dogs such as the first dog in space. Many were laughing at this, but actually the whole scene was very sincere and quite emotional. It was that perfect addition to the comedy and the camp (although, featuring a swing on stage is a little of both anyway).

Unfortunately for Dog Show, Drag and Cabaret really thrives on its audience and for some unknown reason, the atmosphere wasn’t there. Jokes and beautiful moments fell on deaf ears and while I was cackling in the corner, I felt awful for the performers that there wasn’t that oomph from the audience to support their creativity.

Dog Show is full of comedy, of s-mutt, with excellent content and vision, not to mention beautiful costumes and even more beautiful performers. With a ready and willing audience, they could reach the stars!

Review, Night, Mother, Hampstead Theatre, By Hannah Goslin

 out of 5 stars (4 / 5)

Hands up who grew up with Stockard Channing on your screens as Rizzo in Grease? I think anyone alive today remembers this stunning and fabulous woman, gracing our screens wherever we turn. And i’m sure she is sick of us pointing her out for this and only this.

This is where, Stockard Channing, shows that she is not just Rizzo.

Night, Mother, by Marsha Norman is set in a little farm house in the USA. A unusual evening, a mother and daughter spend time together, chewing the fat, but when Jesse, the daughter (Rebecca Night) drops a big bombshell, this chewing the fat turns into a conversation of love, loss, mental health, pain and ultimately a Mother’s love for her daughter.

Firstly, this naturalistic play is utterly captivating. It is simple and yet extremely effective. I felt intrusive, breaking the fourth wall, yet I could have sat and listened to this duo talk to one another for hours. Channing and Night has instant chemistry, that it is actually really hard to believe they are not this Mother and Daughter pair. They somehow show true family love and a bond which lights up the stage and makes your heart ache and miss your own mother.

Night is everything that her character needs to be – traumatic, struggling, proactive and organised. She looks after her mother and organises her life, and as the story unfolds she naturally does things that anyone would in this situation; as she is talking about the most traumatic things, she folds laundry, she puts things away – she is very matter of fact, and that makes the story and her character all the more unnerving.

Channing is the doting mother – she will do anything for her daughter. But she is funny. She’s the mother we all have, who will bend over backwards but can be sarcastic and ridiculous and your heart just warms, but also breaks for her.

The story is inevitable. The premise is set out in front of us and so when the end comes, while we know it is coming, there’s always hope it doesn’t. We hope there is a change. Doesn’t stop it being a surprise when it doesn’t. And we break, along with Channing at this point.

My only criticism is that I would have loved both actors to annunciate more. Such quiet voices for such a big stage. But yet, in a way, completely naturalistic.

Night, Mother is a hard watch. It touches upon difficult topics but at the same time, you are entirely invested in it. It is absolutely heart breaking and Channing and Night’s relationship doesn’t help this emotional reckoning, with how perfect and naturalistic it is.

Review, Rare Earth Mettle, Royal Court Theatre, By Hannah Goslin

 out of 5 stars (4 / 5)

A mixture of traditional music, mixed with techno, easy but interesting staging and serious topics meeting comedy, Rare Mettle Earth was not what I was expecting.

Set in South America, we see the conflict of Western countries pressurizing the indigenous people to succumb to their needs. The salt of this little area contains lithium which could either help fuel energy saving cars or help the mental health of people during the beginnings of the Covid Pandemic. Both sound, on paper, as very useful and morally sound things to strive for, but those behind the initiatives are not quite so angelic. In comes power play; from both the Western societies and Indigenous societies, of the pressure on the poor and the stereotyping of poorer people being for some reason unintelligent.

I did not know what I was expecting. I do not read about shows beforehand, with concern that it might influence my opinion or give me unconscious bias before even seeing the show. And so a really great part of this play is that it strips away layer after layer, bit by bit, adding to the story, making the plot thicker and mixed with moral dilemmas.

As always, the Royal Court’s design is perfection. Simple, yet effective, the transition between places such as America or the UK to the South American countryside is done minimally but it works. White, blank, modern space is created for the former, with something more earthy and natural for the South American town. You can certainly feel the different in spaces.

Majority of the performers double up characters. I heard a person in the audience say this was confusing. That a differentiation wasn’t bold enough to tell. But I highly disagree. The changes in their appearances while, yes, subtle, the performers themselves were able to perform very different characters and I found it very easy to tell. To me, there were more characters on stage and at no point did I come out of that theatrical reality.

The story is, to some degree, a tough one. There is a sense of being, of place, of something that reminds me a lot of conversations that are current and been going on for years in places such as Aboriginal cultures where the impact of the Western societies have pushed aside the true beings of the land. Often, just for monetary reasons. One story thrown in is that the lithium is helpful to others, that it could be a mega discovery in our fight on Mental Health. The other, to save the planet in the long run, with affordable cars. But both of these people are deeply selfish and deeply flawed. It puts you in a conundrum and makes you think truly about your own morals and opinions on the state of our world.

Rare Earth Mettle is a surprisingly thought provoking and intriguing production. It touches upon centuries, of years of white washed culture and in the deep selfishness of those who seemingly are trying to save us and our planet.

Review, Boy Out The City, Declan Bennett, Turbine Theatre by Hannah Goslin

 out of 5 stars (5 / 5)

Firstly, a comment on this new theatre. Based around the bottom of Battersea Power Station, I was really impressed to see this new theatre, with its new and inventive décor and friendly staff doing so well and with such a brilliant and versatile space. It was perfect for the show I was about to review.

Boy Out The City is a quirky, comical, heart wrenching and heart warming one man, autobiographical story. Written and performed by Declan Bennett, it is the first show I have seen that is based upon the pandemic. I thought there would be more but maybe they are still in the making. I mention this, as I hope this review highlights that this was the perfect show to return to normality with and really picks up on what most of us felt during the last year. Bennett talks about how he and his partner moved from London to the countryside. With his partner also an actor, he gets invited to a job in the States, while Bennett is left alone in his cottage in the middle of nowhere. Bennett talks about mental health, about the bad habits we all adopted to cope, about loneliness, about sexuality but also about nostalgia and how it makes us who we are.

Bennett’s show is absolutely hilarious. Perfect in execution, not a single falter, high energized and full of information, at times it feels very much like sitting with a friend and talking. He is personable, he is down to earth, and this all helps with telling his story.

While he is funny and picks upon things that were huge parts of the pandemic for many (drinking wine at 2am, sleeping till late, being lonely, nothing to do) he also effortlessly moves this into very serious questions and issues in society such an men’s mental health, of sexuality and growing up denying being gay to fit in and avoid violence. These moments, I wouldn’t say, came out the blue, but when they are slotted in, your smile from the hilarity before has gone, and your heart aches for what he has been through.

He isn’t afraid to touch upon, and negatively, about his past and what he thought at the time. Of the mistakes he made just to fit in and be safe. A story that i’m sure many in this community can associate to. In fact, those who also are not but can identify the things they did, growing up, just to feel a part of the world.

We talk about the Pandemic as being different for everyone. Yes, we went through the same rules and regulations, and while mental health issues went through the roof, as individuals, we all coped differently. Bennett is clever and picks up on the ones that he did that we can relate to, and therefore a good chunk of his comedy is laughing at the relatable nature and all we saw and heard during the last year.

He uses the stage well – different points highlight the different parts of his story, from the cottage, to his neighbour, to the bar on St Patrick’s Day, even to his past. Minimal set and props are used but they are effective. Nothing is there just for the sake of it. And I loved this. All too easy do theatre makers find props and set upon props and set to fill a room, when it isn’t needed. I also notice that one person productions also do this, to slightly shy away from their performance. Bennett was loud, he was present, he filled the stage. And that’s one of the many parts that made it perfect. As someone writing their own one woman play, it gave me much food for thought.

Boy Out The City is a cultural revelation after a tough time in the World. It is raw, it is emotional, it is absolutely hilarious and it is essential.

Please do look out for this production which aims to have future life across the country.