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Opera & classical

Review Tamsin Waley-Cohen & Cordelia Williams: Lullabies, Purcell Room, London by James Ellis

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out of 5 stars (4 / 5)

What is a lullaby? We have ideas and famous musical pieces to give this an answer. Yet, how to we continue to perceive this style and honour it with newer creations?

Here comes Tamsin Waley-Cohen on violin and Cordelia Williams on piano, to answer this question with considerable breadth. Arriving at the space, we heard gurgles of babies as sparkly lamps would suggest a night light for younger ones. Beginners was Spiegel I’m Spiegel by Arvo Pärt. Still going strong in his 90s, this is one of Pärt’s most cherished creations.

Tamsin captured the reverence and stoney stillness it demands, Cordelia on piano got the scales through and they can feel like a fine partnership. Brahms’ Wiegenlied is truly his most famous creation and one of the most recognisable works of music today. His lullaby is arranged here by both players, and an all-round sense of serene cheer comes over the stage. It might be considered easy to play, naturally I doubt this is true.

Dvořák and his Songs My Mother Taught Me, another fitting tribute. Filled with evocative Czech allure, again Tamsin brings her all, her sense of control over the violin. I grew up playing the same and found it a nightmare to really work at. Seeing her play is a reminder why you should keep going. A world premiere from Freya Waley-Cohen, sister to Tamsin, in a four-thousand-year-old Babaloyinan text. A mother comforts her baby who cries, this little piece was sweet and will see more outings, I’m sure. Scriabin’s Nocturne in F sharp was expectedly moody, the Russian composer often in a sensual realm of expressivity.

John Cage is a rare delight to hear live, and his own Nocturne was no different. Very folk like in writing, with many different techniques for Tamsin to try, as Cordelia gets further strange structures on the keys. The Lullaby by Schubert is curious, touching in its offering, yet slight. Hearing the full Fantasie in C was the big, meaty finale. Tamsin played with a passionate zeal, seeing swooping moments, with a rich, romantic fibre demanded of Schubert. Moments of dance, smiles and reflection all ring here. Cordelia is a fine, clear accomplice, you sense the warm connection between her and Tamsin. An encore of Schumann would lull us off into our day. 

Opera & classical

Review Scriabin’s 3rd Symphony, Royal Philharmonic Orchestra, Royal Festival Hall by James Ellis

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out of 5 stars (3 / 5)

Any trip to the Southbank should be spent with the RPO. Even more noteworthy was their concert the day prior in Bristol, which got the premiere for the UK by Joe Hisaishi. With the rest of the programme all Russian, how would this concert fare?

Opening with Ilse of the Dead by Rachmaninoff, conductor Vasily Petrenko introduced the music with his usual dry humour and insight. I can take or leave some Rachmaninoff, this is in the later for me. Inspired by the painting of the same name, there is an effect of mood and dread, yet it never really mingles with much more than mediocre. Hating to write like this, but this is the truth. Yet, with the Royal Phil and Petrenko the playing is always tight and played with conviction.

Joe Hisaishi is best known for his scores for Miyazaki’s timeless animations. In what sounded like great fun, The Border, Concerto for 3 Horns and Orchestra got its first London outing. I’ll say it felt very hushed at the start, the melody for the horns was stringy, with no grab. Said horns are Ben Hulme, Katy Woolley & Alexander Edmundson, who are musically solid in their roles. Moments where they disconnected their mouths pieces of the horns, to sing into them was a nice touch. The through line mostly felt John Adams like in nature, with bouncy and pounding passages. I was mostly unwowed by it, yet with Hisaishi as RPO’s Composer-in-Association there are chances to hear more.

Petrenko speaking of Scriabin in the first half, informed us of his talent and vision as a composer. Had Scriabin finished his Mysterium, it would have been the greatest work of art every created, an artistic apocalypse. Fate would play his hand and the composer would die young of blood poisoning. His 3rd Symphony is dubbed ‘The Divine Poem’ and has many hallmarks of his style. Saying this, the ecstatic, feverish energy we often attribute to the Russian composer are here, yet are muted. Nearly fifty minutes in length, it is hefty and I think some might struggle with it. He was obsessed with light and the sun, moments would prove this, aside angst and passions. Later, manic work of Scriabin would attract me more, though some moments in here suggested the violence and colour of what was to come and what could have truly been.

This concert will air on BBC Radio 3 on 14th July 2026 at 7:30pm and on BBC Sounds for 30 days after broadcast. 

Opera & classical, Theatre

Review 8 Songs for a Mad King, Manchester Camerata, Kings Place, London by James Ellis 

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out of 5 stars (3 / 5)

Photo credit: Kings Place/Viktor Erik Emanuel

This wrap up gig for me in London saw an extensive week of opera and classical. I’ve heard new work and standards all in the space of same evenings. London really is a true cultural capital in many ways for arts and music. Not to be confused with the Manchester Collective, the Manchester Camerata are an other fine musical group who are proud of making music and getting it out there to people. Saying this, I was rather sad to see sways of seats, certainly in the first few rows near empty. Could audiences not handle the work to come? 

An evening inspired by mental health would delve the depths of misery and lamentation. Judith Weir and their typically Scottish themed Blue Green Hill would start and set the tone for vision and brilliance. Errollyn Wallen took a snippet of Hamlet, in Ophelia’s famous mad scene. Both singer, Rebecca Hardwick and the instrumentalists shout and mirror each others outbursts. By Gis and by Saint Charity, the name of this piece is odd, perfect for tonight’s theme. A clever, brief companion piece to the 8 Songs that would follow. Wallen has written music with bizarre undertones and even delighted us as well. Schumann’s Kreisleriana, in an arrangement by Simon Parking, would end the first half and this position in the programme a loaded one. Schumann has such mental anguish we might say he had this or that by today’s standard. This take on the piano piece, gently alludes to these troubles, though is still extremely faithful. Light in nature and some moments not the most alluring, we did get a fine cello duet with Hannah Roberts and Ben Powell on piano, towards the finish. 

One thing I did find annoying is the pocket programme when trying to write this review, constant flipping and flapping back and forth. No to this. Yet, the big guns of the night was Peter Maxwell Davies and his 8 Songs for a Mad King. An icon of the British Avant-Garde, there is so much that goes on in this swift thirty minutes. John Andrews as maestro is militant, keeping all the antics in check, are attentive circus leader for this. Company Chameleon teamed up with the Camerata to focus on the music yet still have the expected music theatre elements that are baked into the work (the musicians wore jumpsuits suits). But was it enough?

Mezzo Roșie Andrews (in a billowy red dress) might be a first for the role as King George here. We have seen many great men attack the role: Julius Eastman, Roy Hart (who premiered the piece) and Leigh Melrose to name but a few. There may not have been a clear intent to have this figure a king, yet I also doubt if this is even a queen either. The character’s lucidity comes and goes, as we hear shrieks, vocal fries, mutterings, neighs, bird song and rattles just in the voice. The sheet music is equally fascinating, one sheet famously made the bars resemble a bird cage, a theme there. The players are rather busy through out, percussionist Ben Powell has his work cut out for him. King George’s writings are the basis of the variable word-song play, his stranger moments where nothing made sense and a chasm emerged between himself, his family and his subjects. 

Andrews has fun and also seem to grasp the role well. Yet I wonder if something was missing? Maybe it was the touches of staging you expect. Thinking down this experiment made me realise just how thrilling Barbara Hannigan would be in the role and perhaps…even Björk! There appears many more ideas could come about for this Mad King. 

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Review Krishna, Grange Park Opera, Surrey by James Ellis

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Photo credit: Marc Brenner

out of 5 stars (4 / 5)

I thought I had heard the last of John Tavener back in 2015 with Floods of Dreams, from the Britten Sinfonia. After a lifetime in Orthodoxy, Tavener passed in 2013, just shy of his 70th birthday. Prior to his death, he spent many years considering the universal nature of faith. Through this, he found many source materials in Hinduism, Buddhism, Islam and other beliefs. His fallout with his main writer for his music, Mother Thekla who sadly saw this as a step too far and a step away from Orthodoxy.

Originally written in 2005, Krishna was never a commission. Sir John just wrote it for pleasure. Hearing it now over twenty years later was rather moving. Most of his work is filled with infinite sadness. Listening to his last opera on record, Mary of Egypt proves you simply have to be there in person. I think Krishna has more going for it, as this “mystical pantomime” has some truly quite beautiful music, Tavener never afraid to embrace traditional modes. There are much respect to the story of Krishna, Indian music and the culture surrounding. There may be notes on appropriation here, though this shared experience is another universal truth.

Tavener is still the youngest ever commissioned composer at the Royal Opera and his popularity has never gone away. His honouring of the celestial Krishna and how he created such a strange and trippy opera on the subject gets a lot of respect out of me. David Poutney, who did heaps of work with Welsh National Opera,  took the directing reigns here. He loves pageantry and there are numerous silly billy moments for the chorus sat in a traditional structure.  I was not expecting a giant, inflatable cobra to be on stage, as Krishna battles it, a phase of good verses evil. There is not a conventional story here, but rather moments from Krishna life.

Mark Shanahan as conductor and The Gascoigne Orchestra brought this treat to life with joy and reverence. We get the ringing temple bowls and sombre handballs, percussion Tavener has used for decades. Drummer Nao Masuda had many moments of dramatic interjection on these beautiful drums, as well as rain trees, bowls and more. Designer Rachana Jadhavhas committed to the most faithful costumes and they are a stunning sight to behold. Krishna’s transformation into maturity is shared between four singers, each costume the familiar and dazzling clothes of the god.

The set of women dancers add auras of expressionism and further traditional moves thanks to choreographer Shobana Jeyasingh. There is some top-class singing on  board this production. Ross Ramgobin as the Celestial Narrator (who’s costume appears to have changed since the photo run) is the announcer of each scene. Calmness in the sung line is the ideal and is seen off and on in this compressed role. Sara Fulgoni as the weeping cow Bhumi and Krishna’s mother Yashoda has many moments of depths for mezzo, evocative and impassioned. Nazan Fikret as Rikmini who marries Krishna and Radha from Juila Sitkovetsky north get stratospheric bars during their extensive Love Duet and other embraces. Jennifer Statham is seen little as the child version of Radha, blindfolded and playing games with Krishna, vocally sweet and playing a child well.

Most remarkable are the four singers who see Krishna is various stages of his development. Child version is Rosa Sparks, who getting the biggest applause at the curtain, has real colour and range and a voice that absolutely should be heard much more. Adolescent Krishna is Eliran Kadussi a touching countertenor and joy to listen to. Young man Krishna is from Welshman tenor Elgan Llŷr Thomas, who has hefty voice demands for the role. He seemed to struggle slightly in the blockbuster love duet, but it is just so demanding. I’d like to hear more from him. Krishna as a man was Brett Polegato, very Messiaen St Francis like in his broad, wise aria. With bow and arrow abound and fabulous attire, it was great to just see him on stage. Though, all four singers together united on stage, was a lovely vision. 

Sir John’s popularity is justified thanks to the deeply emotional core to his faith and therefore his music. This was a lovely send off of a life in music.

Krishna continues at Grange Park Opera till 2nd July 2026

Musical

Review Richard O’Brien’s Rocky Horror Show, New Theatre by Bethan England

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out of 5 stars (4 / 5)

Once again, Rocky Horror returns to the New Theatre, and the staff and theatre have certainly gone all out this time, with costumes and top hats galore, and even themed cocktails for the show! This is perfectly matched by the enthusiastic dressing up of the audience members who do not disappoint with their commitment to imitating their favourite characters from the production. There are high heels, boas and sparkly hats galore which adds to the overall joy of the show.

The show looks back to its classic roots but with a fresh new face, courtesy of direction from Christoper Luscombe and excellent synchronicity from choreographer, Nathan M Wright. The Phantoms and cast are slick, utilising the full stage and, surrounding, but never encroaching upon the main action. There is a freshness and a joy to the movements which I think I’ve missed in other productions of this show. The contrast between the bright, popping colours of the first scenes and the later darker, yet still fabulous interior of the castle is expertly designed by Hugh Durrant. The whole set is surrounded with a twisting film reel and the musicians sit above it all, looking down upon the action. Lighting makes the stage truly pop with disco balls, lasers, projections directly onto the stage and more, another layer to the craziness of the plot, designed by Nick Richings.

What truly made this show for me was the outstanding cast; every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. I adored the relationship between Janet and Brad, ably played by Hayley Flaherty and James Bisp. Their vocals are particularly wonderful, especially when they’re harmonising with one another. They also strike the comic elements perfectly, their wide eyed innocence descending into their inevitable descent into the lustful situations initiated by the delightfully naughty Frank.

Ryan Carter-Wilson, Laura Bird and Daisy Steere, as Riff Raff, Magenta/Usherette and Columbia respectively, also bring exceptional vocals to their roles. Time Warp in particular brings the audience to its feet mid show, and it’s really testament to their fantastic rendition of the classic song.
The Narrator is brought to life in this tour stop by Jackie Clune. Her dry wit and impeccable adlibbing, as well as excellent local references place her firmly amongst my favourites who have brought this role to life. She effortlessly moves from ambivalent observer to being directly involved in all the action. She ably handled all the heckling, and her sarcastic put downs were a highlight of the show.

Frank N Furter is played by Stephen Webb, a veteran of the show who has played the role on multiple occasions. From the moment the doors open, and he appears, draped in his cape to perform Sweet Transvestite, to the final curtain call, Webb is a brilliant, loveable yet devilish Frank, strutting across the stage with so much poise, a twinkle in his eye and a phenomenal voice. His performance of I’m Going Home was such a poignant moment, proving he can show us the softer, more tender side of Frank too. There is so much confidence in his portrayal of Frank, and he is simply a joy to behold. I particularly loved the interactions with Brad and Janet in the opening of act two, which seemed even more heightened in this production!

The show is truly a rollicking, fast paced, no holds barred production, and the finale has the audience up and dancing as one. The plot is crazed, and so reminiscent of the ‘double feature’ sci fi showings of the past, but we’re not really here for the plot. It’s all about the incredible talent on show and truly, this is one of the best casts and choruses I have seen for this show. They ensure that the audience have the best time and leave the theatre humming the songs and ‘pelvic thrusting’ back to their cars. It’s a classic production that returns time after time, but it’s a great one and a show that is going nowhere anytime soon.

Opera & classical

Review, Lise Davidsen & James Baillieu, Wigmore Hall by James Ellis

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out of 5 stars (5 / 5)

My first encounter with Norwegian soprano Lise Davidsen was back in 2023 with the Royal Opera’s Tannhäuser. Even with a ropey set of singers, Davidsen shone through proving to be the star of the night. And a star she remains, after her breakout Isolde, opera houses and concert halls are fighting over her.

Even in Wigmore a semi-intimate space, Davidsen in this total set of Schubert reached heights not heard for some time. Audiences and critics really seem to love her, everything is in place. It’s the mood of her voice, perfect for Wagner and German lieder too. It is rare to hear such a thing today. The word effortless has been said a lot and it’s true. Gliding patters, deeply affectionate phrasing and her immaculate pacing are many standout skills of Davidsen. I’m already hearing Kundry, Elsa and Senta, adding to more perfect Wagner characteristics.

These many songs from Schuburt prove his might as a composer. It is one of music’s great losses to have had him die so young. Modesty, reflection, heartbreak, faith, glory and resignation are many of his whirlpool themes, thanks to Goethe and other sharp writers. ‘Gretchen am Spinnrade’ shes the character from Faust linger over love and lose focus on her spinning wheel, the piano cleverly mimicking the later. I should also say on piano, James Baillieu is a worthy contender for these treks, youthful and highly coloured.

The ‘Death and the Maiden’ song would naturally nod to the famous string Quartet and doesn’t quite set the tone for that, but is serious in its dread. ‘Lachen und Weinen’ asks the question of why laughter in the day and tears at night? ‘Der blinder Knabe’ details a young boy, though blind finds contentment in life anyway. The famous and perhaps over done ‘Erlkönig’ is a stirring as ever, though I may have seen it acted better. A father dismisses his son’s vision of a spirit whilst they are on horseback, leading to a stinging finale.

‘Erlkönig’ remains one of Schubert most famous leider, certainly one of his masterpieces. Hammering piano, galloping horses, disturbing supernatural vocal lines and a real sense of the Gothically operatic. ‘Die junge Nonne’ remains holy with further opera and a resounding religious fever. ‘Am Tage allergy Seelen’ was the send off (we were soon gifted two marvellous encores) in what proved to be a a highlight of the year. Lise Davidsen is on the rise and rightfully so!

Listen on BBC Sounds for 30 days after airing live and to be released on Decca label in the future.

Film & TV, Theatre

Review Buffy The Vampire Slayer, Once More with (Even More) Feeling, Gigi Zahir and Crusty, CABARET, Wales Millennium Centre by Megan Pritchard

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“The UK’s stagiest drag clowns, Gigi & Crusty present a gloriously chaotic, queer-as-hell take on Buffy the Vampire Slayer’s iconic musical episode: Once More, With Feeling.
Yes, they really do play everyone.
Yes, it’s queer AF.
And yes – you will be singing along”

Let me begin by confessing that I am a HUGE Buffy the Vampire Slayer fan and I’ve been to my fair share of ‘Buffy’ themed events, and something that always strikes me is how nice it is to be in a room of fans. There’s an inherent joy in sharing space with people who love something as much as you do; it breaks down barriers and makes the whole room feel like friends.

When I saw that Crusty & Gigi were touring their two-person re-telling of Once More With Feeling (the musical episode of the show) to Cardiff after three years in London, I grabbed my Buffy-besties. We had seen Crusty perform in a different Buffy drag show previously and knew we’d be in for a good time but I hadn’t anticipated just how good.

Two drag artists, two hours and a lot of wigs. The premise is simple – sing, dance and perform all the songs from the musical episode of Buffy the Vampire Slayer in order. Give enough context to the audience so that the non-geeks can follow along, and get the audience involved wherever you can. The songs were interjected by banter, funny stories and interesting Buffy facts which felt really well balanced.

Crusty and Gigi are incredibly engaging as a double-act, and you can see how much they admire one another when on stage. There’s an ease in their relationship that comes from years working together which made the show feel slick and the audience feel safe. There was no dead air in this show, and every time I looked around the room I saw a sea of smiles, and I was grinning too – all the way through. The show was funny, silly, serious when it needed to be and really respectful to the source material.

Throughout the show there were screens playing karaoke style lyrics and audience participation throughout with people invited on stage to sing, dance and act out additional roles. Rarely have I seen an audience so willing to get involved, and whilst this dwindled towards the end of the show I think that initial eagerness speaks volumes to how confident the audience were in Crusty & Gigi’s ability to hold the space and share this story we all love so much. None of the audience cameos felt awkward and the room was really supportive to those taking the stage.

These moments were well balanced by duets and solos from Gigi and Crusty who are incredible singers – they describe themselves as ‘stagey drag clowns’ and a ‘west-end meets gay bar’ which feels really accurate. There were naughty jokes, tongue in cheek moments, as well as impressive vocals. Gigi and Crusty both played almost every role in the show, swapping between caricature and more serious character acting and belting songs with ease.

One of my favourite moments was hearing the whole audience sing the finale song together – for this Gigi and Crusty stepped off the stage and sat amongst the fans – a rousing chorus of ‘Where Do We Go From Here’ reminding us that when times are tough, we can stand together, hand in hand, a message the queer community needs right now.

I could talk more about some of the sweet moments with audience members, of the brilliant gender-play and nods to original choreography – but I’ll end by saying instead that if you are a Buffy fan, you will love this show. If you enjoy drag, cabaret or musicals, you will love this show – not just the performance but the whole experience; The warmth in the room, the fun facts, the ability to sing along – it was just a really good night that I’m glad I got to share with my friends.

Cardiff was the last stop on Gigi & Crusty’s tour but given that they sold-out the show at CABARET, I hope they’ll return in the future.

Music

Review Come Together: The Lennon and McCartney Songbook, Theatr Clwyd by Donna Williams

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Come Together is a wonderfully intimate celebration of the music and partnership of John Lennon and Paul McCartney. Rather than being a traditional tribute show, it captures the spirit of two friends making music together, giving audiences a glimpse into the songwriting magic that produced over 300 songs and changed popular music forever. From the moment the band takes to the stage, there is a genuine sense of affection for both the music and the story behind it.

Tom Connor and Mark Newnham, who also wrote and produced the piece, are superb as Paul and John. Their vocals are outstanding, their portrayals feel authentic without ever slipping into caricature, and the chemistry between them is what makes the evening so special. Backed by the excellent musicianship of Adam Keast, Mike Woodvine, Ben Gladwin and Greg Joy, the songs are performed with warmth, energy and genuine passion, reminding us just how extraordinary the Lennon-McCartney catalogue really is.

There are plenty of standout moments throughout the evening. A multilingual rendition of I Want to Hold Your Hand is both inventive and great fun, while Connor’s intimate piano performance of Yesterday is beautifully understated and vocally spot-on. The recreation of the famous rooftop concert atop Apple Corps headquarters is another real highlight. Having watched the recent Get Back documentary more times than I care to admit, it genuinely felt as though I was witnessing a live version of that iconic moment unfold before my eyes.

Under the direction of Bob Eaton, with musical direction by Howard Gray, the production wisely keeps the focus firmly on the music. There are no unnecessary pyrotechnics, flashy effects or overblown theatrics—just fantastic songs performed by talented musicians who clearly love the material. The result is a lively, engaging evening filled with nostalgia, humour and moments of genuine emotion. The double standing ovation towards the end of the show said it all.

Adding to the experience is a strong visual element, with multimedia projections combining retro graphics, song lyrics and photographs from the Beatles’ 1960s heyday. It’s a thoughtful touch that enhances the storytelling without ever distracting from the performances on stage.

Having worked in entertainment and on cruise ships, I’ve seen a plethora of Beatles productions and tributes, but this is the best I’ve seen by far! This journey through their story and songs felt like an intimate studio session and a live gig all in one. Newnham and Connor shine as the legendary songwriting duo with incredible vocals, uncanny mannerisms and effortless chemistry. We experience just the right amount of pathos and wit, and I left realising that this is probably the closest I’ll ever come to spending an evening with the real John and Paul.

If you’re a fan of The Beatles—or even if you only like them a little bit—you NEED to see this show!

Musical, Theatre

Review Sunny Afternoon, The Kinks Musical, Wales Millennium Centre by Elle Rees

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I went into this production with little to no expectations, as an individual in my mid 20s the band has never been on my radar save for a few of their well known classics. This meant that this performance was able to speak for itself outside of any pre conceived expectations or admiration of the popular British group.

The production was a well rounded example of how a jukebox musical can be produced, with the story line leaning into a biographical depiction of the bands rise to fame. You really felt as though you were along for the ride as they chased fame and ascended the ranks and became Rock and Role legends. The ‘Concert Style’ interludes were a great accompaniment to the story and was the guiding force of these moments in history.

In these days of modern musical theatre actor/musos are more prevalent than ever, placing them at the heart of productions and this show was no acceptation. Several of the leading cast were proficient in various instruments and supported the musicality of the show as a whole alongside the band onstage. This allowed for a more integrated and believable portrayal of these characters, to whom music was such a guiding force in their lives.

The choreography as a whole harkened back to the 60s with its flagrant use of rhythmic and carefree stylistic choices. This allows the audience to be immersed in the culture and style of an era long gone but never forgotten. The ensemble gave such heart and vibrancy to these dances and we were encouraged to have fun alongside them.

Stylistically the direction and staging took a very liberal approach to the 4th wall and frequently had the performance entering/ exiting through the audience in the stalls. It was interesting to see up close the nuances in the performers faces as they braced themselves to enter into their world from ours. Personally I saw this as a stylistic parallel to the band and their working class origins, just as they attempted to break down the classist barriers in the industry, The performers are breaking down our preconceived notions that we are two worlds apart as actors and spectators.

The cast blew me away with their talent not only completely embodying their characters traits, abilities and relationships but performing such technical songs on stage whilst playing the instrument really resonated with me and I believe the whole audience.

A prior Kinks fan or not this show is not too be missed and will have you on the edge of your seating waiting for the next uplifting song to blast through the sound system!

Theatre

Review Twelfth Night, Sherman Theatre by Bethan England

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out of 5 stars (4 / 5)

‘I am all the daughters of my father’s house, and all the brothers too…’ takes on a whole new meaning in the latest offering from Theatr Clwyd; a reimagined interpretation of the classic ‘case of mistaken identities’ Shakespeare play, Twelfth Night. Juliette Manon’s vision for the play is exciting, fresh and brings whole new meaning to the gender swapping of the original. Putting queer relationships at the forefront of the production is something that never feels forced and gives whole new meaning to the classic romantic comedy.

After a shipwreck, we follow the action of Cesario, who is a reimagining of the character, Viola. Viola metaphorically drowns in this bold new interpretation, however, and is transformed into Cesario. This negates the original ‘disguising’ of Viola as Cesario and thrusts Cesario centre stage. With slight plot changes and pulling subtext to centre stage. Lee Braithwaite’s delicate handling of the role is a centre piece to the audience accepting of the change of Viola to a trans character in this production. It never felt forced or as if it was preaching to the audience; a lot of this was down to the charismatic and grounded delivery of Braithwaite. The Bard’s original lines actually fit remarkably well and his delivery only aids in realising this new vision.

The theme of queer relationships run throughout the production, with gender swapped characters and amalgamation of Feste and Fabia into one character, which blurs the binary of gender. Sir Toby Belch is transformed to Lady Toby. Her relationship with Maria, is joyous and raucous. The relationship of Antonio and Cesario’s brother, Sebastian is also playfully explored throughout the production and once again, it’s amazing how well Shakespeare’s original lines play into this. For so many changes, it takes remarkably little time for us to fully accept the amendments and throw ourselves wholeheartedly into the reinterpreted tale.

The whole design of the piece leans heavily into the 1970s and Cai Dyfan’s costume design is suitably bold and vivid. The costumes play well into the comedic elements of the play, with a particular stand out being the sequinned gold catsuit, worn by the hilarious Phylip Harries as Malvolio, which he tears asunder to reveal his yellow stockings and cross garters. The whole cast are suitably suited and booted and fits in really well with the set design, also designed by Dyfan, resplendent with chandelier, vinyl player and lift which pings with great hilarity throughout many of the scenes. The set seems to also be in transition, with stone peeling away, the chandelier initially crashed onto stage but lifting to become the centrepiece and the shallow pool used to great effect at the end to really drive home the transformative theming.

The production feels slick and confident, the design and direction bolstered by an excellent cast throughout. The pace is rapid, the jokes and slapstick comedy unrelenting and the talent is obvious. Manon’s production draws on the original gender flexibility of the original piece in new and exciting ways and delivers a production that is visually beautiful but also beautifully inclusive of every aspect of the community of Ilyria. This is a joyous production and one that I am definitely glad to have been able to catch before it leaves the Sherman Theatre.