It’s nothing new to combine classical music with acrobatics. In recent years, the Southbank Centre have embarked on combined multi-disciplinary acts together, often with classical or orchestral music with another art form. The blend of these goes well together and very complimentary art forms.
But what if I told you that the acrobatic performers were also the musicians? I hope the news of this blows your mind as much as it blew mine to see. Tale of the Firebird takes on the fairy-tale story of the Phoenix, delivering this through music and physical theatre alone. The greatest achievement in this is the ability to play the instruments perfectly through mid-contortion or being propelled into the air. The music and performance already does well to bring the story to life, making it easy to follow and understand, even if you’re not aware of the tale.
The awe inspiring performance nicely builds throughout… we start with the performers playing music but soon, the odd trick in thrown in, separate to the instruments until they combine these, then fire, then even more intricate techniques. This gentle crescendo warms us up – they don’t try anything complicated or fancy with this but the simple build is enough to shock us and be open-mouthed at their incredible abilities.
While there is a protagonist and a villain who occupy the narrative, all the performers have their moment in the light and are all as clearly talented as one another. This isn’t just a commentary on their circus skills but the fact not a single note was out of place, while upside down, mid-air, whatever it may be, was just amazing to watch. What was even more incredible was a mini-harp – I never knew this existed! With plenty of children in the audience, the audible noises of excitement and awe was only vocalising what we were all thinking.
Tale of the Firebird is unlike anything I have seen before – the existence of performers with the ability to not only perform music but to also perform body-defying tricks at the same time is so unique and so impressive to see – it has to be seen to be believed.
If any of you were a teenage girl, you will have had a “boyband” moment – the moment where you were obsessed to some degree with their music, their looks and were convinced you were destined to marry one of them. For me, this was punk and emo bands but I definitely get the hype and we all know the “Take That” euphoria stereotype.
MAN!FEST: The Drag Boyband does exactly what their production company says on the tin: they provide a production that is very on the nose about boy bands. We meet the group, comprising of 4 very different characters, but ones we all recognise in a boy band: the quiet shy one, the athletic girl-mad one, the bad boy and the posh boy. Together, they provide unique songs, all perfectly catchy but, when you listen closely, the lyrics reveal something a little darker or highlighting male stereotypes. Think, a song about leaving you on read, or telling you everything you want to hear as a teenage girl about your attractiveness and worthiness. But between interpersonal relationships and the dodgy demands of their production company, the cracks start to form and chasm. And soon, this boyband aren’t the perfect men after all (not that they ever were).
The production is full of unique and one off songs. They are so quintessentially boyband-esque, with toe tapping beats and a catchy-ness you would find hard to forget. When you listen closer, the lyrics are something unsavoury, reminding me much of my adult years of listening to old songs and suddenly knowing what the lyrics now mean. Their ability to pull this off and put thought into it is commendable and the attention to detail is fantastic. This is accompanied by impeccable choreography that N Sync would be jealous of. The performers have a great ability to show the tension in the group while still being able to “perform” and we can then see the trajectory of this demise woven throughout.
While entirely enjoyable, there felt like there was something missing. It was easy enough to get involved and at no point did I feel boredom. I was invested. And I will always be impressed with anyone who can sing, dance, break dance and still sing without gasping for breath . But the story-line over all hit a flat note for me. I know it’s a slight cop-out to not give more reason but maybe, for me , it just missed the mark.
MAN!FEST: The Drag Boyband is an enjoyable production, harking to all our inner teenage girls and our unobtainable idolisations. But something was just missing to give it the wow factor.
Bi-curious George the drag king, is back again with more theatre based on nature. This time, moving on from an array of animals, George has decided to focus on the humble Snail and I for one came away well informed!
Bi-Curious George: Snail Trail in a comedic drag king act meets reflective piece on transitioning. We firstly expect this to be a full-blown cabaret/drag king act, with the snail as the main focus, as they come on the stage, sllloowwllyy and with a giant snail shell on their back. They interact with us throughout, telling the story of the snail but also themselves, in the most endearing and friendly fashion that we soon feel like close friends.
George does well to change the tempo and play with our feelings from comedy, to camp cabaret and then personal and very vulnerable moments. We learn intimately about the formation and life of the snail, which I never thought I would be so fascinated by. Thrown in are some exaggerated and humanised elements to bring humour and relatability. But soon there are moments when the shell comes off and they unveil themselves and their journey through transitioning. George is entirely loveable and these moments connect us, whether we can resonate or not. Soon, the comparison to the snail, the “coming out of your shell” phrasing, all makes sense and we soon see why George loves this little creature so much, especially through their personal journey.
This is a relatively new show and some honing is still needed. Moments which could have been cut down or sharpened slightly but this is all part of theatre and creating art. We already know that with a bit more time, George will have this as sheer perfection like their last show.
Bi-Curious George: Snail Trail is a raw and honest production, with moments of comedy and one hell of a giant handmade shell.
If you had told me that there was a theatre in a sauna… I would have been confused and told you you were lying. Why would anyone think that (albeit genius) idea up? Well, in come Sauna Theatre, who have done just that and triumphed beyond anything.
I love a sauna like anyone else, but it’s usually just a place you relax as a spa or post gym workout. Not somewhere I really thought of theatre being positioned. How would it work with the intense heat? How does a performer even get on with this environment? But my expectations were by far surpassed with actually how genius an idea this is.
Sauna Theatre has set up at the wonderful Summerhall, with a huge circular sauna built in their courtyard. Everything is thought of – changing rooms, lockers, places to dry your hair after, spare flip flops, costumes, towels, the whole lot! Comms beforehand with all the things you need to bring as so clear but still, if you need anything or forget anything, it’s all there for you.
There are a range of sessions you can join – some look like they pull on the traditional sauna, with relaxation sessions in the morning, but there are also raves, night time activities and, what I chose, Mysteries of the Picts – a storytelling, theatrical session where you are immersed in the sauna and the history of the Scottish lands. Anyone who knows me knows my deep love of Scotland, its history and everything in between and beyond. So to know more about the picts in such a setting was truly exciting. I couldn’t anticipate exactly how brilliant it was.
Set in 3 sessions, there’s enough time to have a short break from the heat, quick cold plunge, drink and back into it. The acts felt like no time at all – I found out later that these were 15 mins each but they were so enjoyable and I was so involved that it felt like no time at all. It was only noticeable when the heat became ever so slightly uncomfortable, meaning the break was well needed and timed. This isn’t a criticism – this would happen at a normal sauna, but part of me never wanted to leave, another desperately needed some cool air.
The sessions were broken up from the beginning to “the end” of the Picts, picking up on archeological finds and theories, with verbatim voice overs but mainly wonderful storytelling from two actors. They were supported by our Sauna gurus, who equally took up space, adding ice balls filled with beautiful scents of lavender, mead, thyme and then performing intricate and traditional fan and towel movements to circulate the air and smells. It was a wonderful equal measure of relaxation, awe and invested learning. It was absolutely perfect. It evoked the feeling of days gone by of swapping stories across a fireplace and potentially in sweat lodges such as this. It felt tribal, traditional and ancient. We felt part of something more earthly and worldly.
The end really leaned into the relaxed lifestyle, when our sauna guides really became playful – water and scents dripping from immersed leaves were artfully moved around the space, around us and then, deeply submerged and playfully thrown across us. Cue laughter, an intense coolness and then increase in heat, smiles all around from participants and performers – it really was a beautiful ending to such a fantastic experience.
Sauna Theatre, Sauna Sessions and especially, Mysteries of the Picts is a tour de force in immersive theatre. An experience like no other, I could do this over and over again, never tire, and only want more. It was total perfection.
Take all the typical royal stories you hear of succession, throw in a drag king and a whole heap of humour and you have Lil Wenker’s Boyking.
I was introduced to Lil Wenker last year with their western cowboy turned accountant act and instantly knew I needed to see more of them. This year, they bring the story of 8 year old Prince Wilfred who is 14th in line to the throne and very unhappy about it. What ensues is a catalyst to trudging up his deep and dark evil side, as he embarks on becoming King through any means.
Boyking is rude and crude from the start. We get multiple characters out of Lil Wenker, from the court jester, to snippets of his father and the odd brother. His mother appears but only as a giant boob, manipulated and grotesque in a Bouffon style appendage that appears from off stage and breast feeds the Prince. The characters are distinctive and prompted with different voices, mannerisms, physicality and associated props which are all very clever to bring the story forward. They’re not deep characters and that works perfectly; enough to give shock but also enough that you’re not emotionally invested.
Everything is highly elevated and exaggerated. A large crown that allows Lil Wenker to provide some hilarious physicality with audience interaction that could border on too much for anyone else but who for Lil Wenker pulls laugh after laugh from it the more it goes on. There’s also to say that we are all involved throughout; don’t think that you can go without being interacted with or asking for some involvement. And this is always welcomed – it adds to the hilarity and, when audience interaction is unexpected, Lil Wenker is skilled enough that this doesn’t throw them – they go with it and it only adds to the fun.
There are really dark, black comedy moments however – when Boyking is evil, the grotesque boob, to name just a few and this is a level more than their last show. Without the traditional physical aspect of Bouffon, it still touches on this dark and taboo humour which makes you occasionally gasp-laugh with the shock factor but also, with great intellectual comedy.
Boyking is dark, naughty and ever so funny. Prepare to be hilariously shocked and belly laugh throughout.
It’s hard to miss a large giraffe head across the fringe. I heard of Francisco last year and sadly never got the chance to see him. But that yellow and brown pattern has haunted me ever since – haunted me for a missed opportunity.
What transpires is one hour of complete and enjoyable nonsense. I’m not sure if there was a story per se but little small sketches throughout that seamlessly linked into one another or slightly circled back.. The majority of the narrative is to enable a healthy dose of audience interaction and it works very effectively. So, easy to say, if you’re the shy and retiring type, this is not for you – but nothing to fear, Francisco is nothing but friendly, even if his visible bum cheeks feel slightly daunting at first.
Francisco has made a very impressive headdress, something from Lion King comes to mind. Made out of cardboard and not entirely accurate or anatomically correct, the small hole for his face allows him to make confident and hilarious eye contact, sound and facial expressions. This all adds to the ridiculous humour and there’s no rhyme or reason to why the giraffe’s interactions are sometimes from his face or the giraffe’s inches above him. We don’t question it as it only adds to the humour and ridiculous nature.
I’ve alluded to it but moving down, we are often treated with a full view of his bottom. There’s nothing sexual or necessarily crude in this, but only elevates the nonsense more and adds to the overall costume – with slightly mismatched patterned accessories, verging on leopard rather than giraffe. It might seem like something that a starting out act might do in absence of funds but this is actually a very clever approach and weirdly goes together.
There’s a little bit of Mr Bean about this act. Very little actual speech is uttered, and if it is, it’s almost mime. But we entirely get what he means. Slight, more obvious prompts are made to help the audience along but he fully embodies his act through physicality which is innately funny. His interactions with the audience are abundant but nothing terrifying. There’s some slight crude-ish humour – think sniffing his ever growing quantity of g-strings on a washing line, but mostly it has a tinge of slapstick and a touch of flirtation.
Francisco de Nata is just pure nonsense of the best kind. It’s one hour of surprising comedy, evoking the naughtier side of Rowan Atkinson and providing humour that trails one after the other in perfect succession.
Walking into the main space of The Royal Court, you are confronted with a huge tunnel. highlighted by a lighted ring. This imposing stage is phenomenal, careering off and around the back to an area you can’t see. This initial image is something special and sets you up for something so unique.
Archduke is a black comedy theatrical production, based on the pre-events to World War I, where three men are recruited to commit the murder of Archduke Franz Ferdinand. All are coming to the end of their lives and are coaxed by a slightly power hungry and sexist captain, and supplied final meals by a quirky but slightly mad older Serbian woman.
One of the main things that stood out the most to be is the absolutely astonishing staging. Yes, you may go to large west end theatres and see something like this. With the higher funding and large scale stage capacity. But there’s something about this intricate and beautiful staging within this space which is awe-inspiring. As mentioned at the beginning, the whole stage is a tunnel that curves to the back of the stage and this is often the entrance for the characters. It’s upgraded with furniture throughout to create other chambers, acting as rooms. But an audible gasp is triggered when a full train carriage looms out of the darkness, as if it is about to fall into the audience. The detail is beautiful and execution is seamless. Even without the narrative, I could have given these stars for the staging alone.
The narrative and writing is also brilliant. The three young men are strangers but are joined together in this quest to complete this final act. But what comes across and within this relationship is almost a Inbetweeners-like group of men. They are a little inexperienced with life, not the brightest, young and interested in things only young men are – sandwiches and women. They bounce off one another, fight, laugh all like you would see in a coming of age comedy. It’s almost like a modern comedy show on Channel 4 has been sucked back in time.
But amongst the comedy, there are moments. Moments where they realise the complexities and impact of this quest and the end of their lives. It is so well planned, between the comedy, enough to evoke emotion and not take away from the humour or the humour take away from the serious points.
Our Serbian woman, is quintessential – dressed in traditional serbian clothing, but with a mothering instinct, she drives home comedy regularly with her attempts to distract and not send the men to their deaths, with pudding and sacks of snacks. It’s interesting to see that we later get a diatribe about women being witches and weilding power, and the only female we see has little power and conducts traditional “female” duties – cooking, cleaning etc. She’s both a pocket of sunshine as well as a stark reminder on sexism.
Finally, we have to mention the Captain, played by Marc Wootton. We probably know him the most as Mr Poppy in the Nativity film series. A bumbling, bubble of joy and positivity I’ll admit, I haven’t seen him in much else but even comparing the two characters, he is fantastic. He commands the stage and is completely a different character to what we know. You easily forget him as anything else and he is entirely the Captain. He is also darkly humorous and, amongst this band of misfits, fits as yet another character who is lacking in life but in such a humorous way.
Archduke is a stellar production, with beautiful staging and fantastic writing; a darkly humorous production performed by a brilliant cast.
ARCHDUKE by Rajiv Joseph;
Production;
Cast: Janice Connolly, Stanley Morgan, Abraham Popoola, Chris Walley, Marc Wootton;
Directed by Lyndsey Turner;
Designer: Es Devlin;
Lighting Designer: Neil Austin;
Sound Designer: Tingying Dong;
Costume Designer: Evie Gurney;
Illusion Designer: Skylar Fox;
Casting Director: Julia Horan CDG;
Fight Director: Sam Lyon-Behan;
Royal Court Theatre in association with Brian & Dayna Lee;
London, UK;
19 June 2026;
Photo: Helen Murray
www.helenmurrayphotos.com
Please note there may be a slight spoiler in this review.
Harking back to many a youth, we are catapulted into an American school room to be amongst the teens, as they start to face questions around love, sex, misogyny and pop stars. They also have to face school, with all its complexities and a latest assignment, based on The Crucible.
John Proctor is the Villain is a story about a group of young, high school girls, around the time of the Me Too movement, with its impact on them, the local community as well as the trials of growing up, boys, pop culture, feminism, growing bodies and minds and confusing feelings. We see it from their conversations in their literature class with their young male teacher, their after-school feminist club and the moments in between, before and after school where an empty classroom is meant to be a place of sanctuary but doesn’t hold itself as that safe space. As they delve into sex education and The Crucible, their lives unravel, almost mirroring the story-line of the play with woman being the blame, men supported for wrongdoings and gossip running riot, resulting in them really reaching their feminist height, pulling the boys along with them and fighting back.
Remembering my own days of reading and performing The Crucible at school, this already evoked memories of discussing the play and its impression upon me as a young wannabe-actor. However, even these nearly 20 years later, I found myself newly informed and immersed in the discussions, factoring that John Proctor was pictured a hero and the women still as the villains. A story about the dangerous spread of gossip and rumour, we still side with his stoicism and rarely comment on the play being written by a male and the male view on the female characters. I found myself already with a renewed outlook, feeling like I was one of the girls discussing this and all the interpretations. Oh my horror when I remember how I was cast as Proctor way back when…
There’s a real sense of relatability as a female – while set in America, teenage girls are teenage girls, and all the performers (Lauren Ajufo, Holly Howden Gilchrist, Clare Hughes, Miya James and Sadie Soverall) evoke that youthful-ness, excited-ness and awkwardness that we all felt at that age. In a specific time where our minds and bodies are growing, our brains being somewhat working towards adulthood but still children, they brought this to life without it feeling satirical or unnatural. Each with their own personalities, there was no stereotyping here but something still very relatable. The excitement over a boy liking you, the girlish crush on your young teacher, the blow ups of friendships and family… all so normal yet still so dramatic. We want to be part of them, and we gasp and laugh as they do. We want to dance when they dance and we cheer them on when they fight back. Their relationships are so easy and natural and funny – so teenage and so girl-like. I can remember those moments with my own friends back at school.
When things get hard, we feel it. And we remember it from our own time. While the shocking turn of events may not have happened to us in our lives, we maybe heard stories of it in other places with other people, and went through our own serious moments while trying to grow up and be children at the same time. It’s still shocking and the theatrical techniques used to drop these bombshells is impactful. It only heightens the great acting on stage. The lighting, scene changes, spotlights highlighting character’s feelings at the time, all add to enhance this production from the script to the stage.
One can’t go without a mention of Dónal Finn. Like many, I am on the Finn train after his recent appearances in The Other Bennet Sister and Young Sherlock. Already two very different characters in themselves, Finn throws in yet another drastic change of character as Mr Smith. A likeable, excitable character, we can’t help but have a girlish crush ourselves and lean to liking him. So when things are turned upside down, the change from our impression of him is still as shocking. His character doesn’t change necessarily but it is felt under the surface; something running as a current. And his uncomfortable-ness at the crescendo is plastered naturally across his face and enveloped in his tense body language, ready to burst. If you happen to see all 3 of these credits in quick succession, you will see what a real upcoming talented star this man is becoming. One to look out for.
John Proctor is the Villain is a triumph of a production, relatable yet sufficiently dramatic. It questions everything we were ever taught about a fantastic play and forces us to continue to question feminism and the long way we still have to go.
What does it mean to feel strong? A question, not often thought about but an important one none the less. Have we ever thought what it means to feel strong before? She Goat therefore ask this question and investigate it further, turning the results into a musical and comedic filled theatre show.
Iron Fantasy is the journey of these two performers to find what it means to feel strong, as a human, as a woman, from the influences of Xena Warrior Princess, Medieval storytelling and culture, and the world of fitness. However, while they body build, drink raw eggs and get new Knight costumes, their journey develops more into questioning them as females, their past and their future – what does it mean to be strong really, in both themselves and as women?
The duo start this quest by peeling themselves out from behind the curtain, with wrist and knee braces, reciting random phrases, some hilarious and some with little sense to them. We find out that these quotes are from children and the youth as they researched for their show. “As strong as eating a bear” or “pulling a car with your teeth” are funny and almost joyous thoughts on what being strong means. They investigate how this changes over age, when life becomes different and the quotes change, from not only the children but themselves as they get older.
Comedic takes on re-enaction of their body building sessions, their love of Xena, are fun to watch and they have a great dynamic between them, bouncing off one another, showing a true friendship and creative partnership. We fall into this comfortable pattern with them, relaxing in our seats and letting the musical interludes and funny scenes wash over us. That is until it gets all too real.
The duo each choose a real life scenario, that does build up, with sneaky interruptions up to this point, until they break through the facade. These aren’t a whack in the face, or massively shocking but they are impactful. A gentle approach is taken to delivering this but it felt a little lost from the high energy up to this point. The important points and stories soon feel a little of an after thought and that feels a real shame.
Overall, Iron Fantasy is a fun and unique debut for She Goat. It is fun, the duo are likeable and have a great concept. I just wanted the final end note to hit more of a punch and not get lost when it was so important.
Forewarning: this review may allude to spoilers and trigger warnings related to pregnancy.
Sometimes, theatre needs to pull back the pomp and circumstance and deliver work that is raw and unfiltered. And this is exactly what the Royal Court Theatre have done with Guess How Much I Love You?
This production shows the relationship between a young married couple, from their 20 week scan and through the unexpected turmoil from the results of this. We watch as their hearts and relationship break and rebuild, through unimaginable circumstances and laid completely bare to us and our own emotions.
Robert Aramayo, who has just won himself two Baftas, and Rosie Sheehy present an intimate and realistic couple, so much so that it almost feels as if we are peaking in through that fourth wall to something private. They bounce off one another in a natural way and present something ever so real.
The writing itself lends itself, along with their fantastic acting, to build us up, wrap us in their love, which packs the punch so much more when the blows come. It makes us feel their pain as raw and heartbreakingly as they may feel and it does not stop when we think it will… it’s almost like Luke Norris when writing the play thought “are those all the tears you have? I want more!” Norris has not shied away from the real conversations, the moments of anger and hatred as well as deep love, unconditional and the juxtaposition between these moments is again, so raw and truthful. No pretending this is some fairy story or happily ever after… which, there is somewhat of one, but, a very difficult happily ever after.
The set is simple – glimpses into hospital wards, their bedroom, their bathroom, and propped up high above us. We look in but the rooms are small and again, we feel like we are peaking into the privacy of their lives. It makes when we meet their baby all the more close and makes them seem even smaller, unconsciously, and we want to reach out and cuddle him ourselves. Scene changes are abrupt, filling the room in pitch black and ominous instrumentals that are neither jolly nor frighting, but creates an uneasiness; and this is so effective to give us the tiniest of reprieves. We’re then treated with this open, full stage, in the end scene, with the two at the beach, almost like the pressure of their feelings and situation has relented. The writing brings the story back around full circle, but not after we’re beaten and bruised by the former emotional roller coaster.
Guess How Much I Love You? is every bit beautiful, painful and hard hitting. Not a dry eye in the house, you’ll come away in awe of this production and needing a few minutes to collect yourself – all in the best way that fantastic theatre creates.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
(3 / 5)
(5 / 5)
