Lessons On Revolution is an immersive documentary theatre. This production reviews numerous global pre-historic events which imposes unrest from political & social injustices, conformity, despair and racial suffering, causing uproar from activists and conscious citizens who refused to accept & integrate at the expense of material comfort for disguised agendas serving the elites greed & mass corruption.
Lessons On Revolution journeys us through 1968, London School of Economics. Where members of the LSE Liberated Zone combine to disconnect from worldwide aparthied inequalities to voice their thoughts. Changing the status quo for radical change despite the powers that be having their resistance, whilst those proceeded doing their due diligence for humanity worldwide.
Writers & performers; as well as flatmates Samuel Rees & Gabriele Uboldi, during 2024, in their Camden flat embark on a discovery of archives from 1968, the student movement that led to the life changing events that made history. Where despite gentrification affecting the cost of living, both guys enter the past in pursuit of finding hope, retelling a story of truth; exploring themes of suicide, racism, and homophobia; restructuring how theatre could reshape reality.
Both men deeply discuss the past, present and future of activism. Especially as the human race at this moment in time have become despondent & dispirited at the breaking point of fleeting fear, worry and energetic awareness in the midsts of capitalism, and the abyss of the unknown within a potential revolutionary future.
Based on real life events, director Łukasz Twarkowski delves deeply into boundary-pushing in ROHTKO production. Highlighting the crucial fundamental strategies from Mark Rothko’s legacy. Various moments details collectibles vs investors, making their fortune in their world polluted with schemes, fraud & con-artists within the financial market, decline of intrinsic value & the risks at play. As well as the differentiation between real vs fake when depicting original art.
As exacerbated in the production: There are 4 stages in the game. Step 1: The artist, 2. The dealer, 3. The museums & 4. The collector. ROHTKO explores market value, legitimacy of the seller, Appraisals, legal disputes & considerations in an intensely compelling way to reveal what deemed a nightmare for ROHTKO, played by Juris Bartkevičs, and his wife, Mell, played by Vita Vārpina.
Each cast member creatively, expressively & artistically created a sensation of depth, culture, emotion and expression. From synchronised contemporary dance movements, embodying internalised pain, passion, thrill & disharmony.
The multimedia incorporated was phenomenally cinematic & . The split screen on stage presented live recordings of each close-up, long-shot, angle & raw takes captured by the two camera-men on stage in the midst of the action-packed dimensions, amongst the actors & dramatic scene changes, set designs & transitions, which all worked brilliantly, on the large centre stage.
The techno music was stimulating & felt like blazing flames running through your veins. Each motion of sound was profound & channelled the energy, empowerment, & creed of the configuration of the sound wave frequencies. Interwoven effects of anticipation, non-mitigation, & preparation for further intoxication was heartfelt, due to the audible intensity & uproar repetitive beats, combined with the flashing lighting simultaneously.
This production is cinematically enthralled. You get to experience deconstructions of the concepts inauthentic & fake, attributes to the value of real art, all whilst utilising the power of video to narrate authenticity and creation.
Highly recommended!
ROHTKO directed by Łukasz Twarkowski. UK premiere at the Barbican Theatre, Thu 2 – Sun 5 Oct 2025.
In the heart of Leicester Square Theatre, the cast of Hamlet join forces for a night to remember. Filled with dark humour, spontaneity & creative formula, chaos is only ever around the corner from start to end. The rules explained from the start by the narrator are simple – tools and a bucket to be used by a member of the audience to help the performer either get more tipsy or in case of the alcohol finishing up too soon.
The layout features trained actors, a narrator, & Lysander who gets to drink his way through A Midsummers Night’s Dream; sailing through ‘Sh!tfaced’. Lysander whilst drunk causes plenty of commotion due to being in scenes that weren’t his to get involved in, his character remains animated and predictably amusing, due to being gun-loaded with puns (fully intended) and quirky improvisations.
The uniqueness of this show is that every night will be completely different, as each night a different actor is drunk, giving off a different flavour. The second part of the show is defiantly more livelier, as the drunk appears quietly mellow whilst soberish, making his jokes at moments cliché and more punchy than hilarious. The atmosphere could create a more energetic crowd fixed on an engaging audience participation.
Charm & chaotic excitement become one in this show. With a fusion of playful pantomime, and the feel of a pub crawl – bringing the essence of British humour combined.
You can find out more about the production and book tickets here
A shadow workincorporates infused acoustic piano & synthesiser, blended sounds to engineer the depths between living in conflict with the illusions & reality. Visiting the quantum fields to face the past, present & future; where we can no longer run away from suppressed truths & conditioning, returning to inescapable sentiments to explore infinite possibilities of emotional currency to sustain vitality & redeem creation and soul activation.
A Shadow Work highlights significant stages of manifesting your inner light subconsciously & consciously, being the architect of your energy, giving yourself permission to be vulnerable to restore your inner-power. Entering portals & tunnels that will psychologically challenge you but eventually revive your innate power, to allow life the flow through your good, bad & ugly experiences, feeling multi energy forces to move strategically within you to protect your energy, reinvest your power to operate around negative aspects that’s depleted areas we struggle to amplify who & what we allow into our quantum fields to reactivate, re-cleanse & detox with the end goal to empower, own your truth, validate self & intuitively guard your essence when leaving the shadows to pour back into self for healing purposes.
The journey told through dance channels curiosity as we divinely follow dancer Taraja Hudon on her spiritual & mental endeavours as she emotionally breaks through vicious cycles to learn past lessons to prevent them from reoccurring, to stop attracting unpleasant experiences, where we acknowledge her running away from a box, with her shadow’s encouraging her to reopen the box potentially filled with images of past trauma, hurt, pain, difficulty & imbalanced relationships. The fellow dancers play both her inner & outer demons; reinforcing her to free her mind, face her face & enter into the unknown aspects of ourselves to become complete, whole & victorious.
In the second show entitled: About My Sister, The Serial Killer, inspired by the book ‘My Sister’ by author; Oyinkan Braithwaite. The audience were taken on an intensifying choreography piece that was suspenseful both musically & metaphorically. All dancers generated movement that was sensual, cunning & intriguing as we witnessed two different material happening simultaneously, keeping us at the edge of our seats. Cassa Pancho herself had both choreographed & directed this performance, she incorporated themes of fantasy, infatuation, allure, fatal attraction & vindictive tendencies well, the adaption of this book onto the stage offers a distorted reality of introspection & deception intertwined.
In conjunction Abel Selaocoe & the BBC singers concert, was the prepared setup, as the live show recorded for BBC Radio 3 in broadcast of Radio 3 Live concert on Thursday 5th December 2024, at the Milton court Hall.
Presenter Al Ryan gave a triumphant introduction to Abel Selaocoe; South African cellist & singer, as he hit centre stage alongside his band members Fred Thomas (pianist), Alan Keary (electric bass guitarist) & Sidiki Dembèlè (African percussionist), whom all majestically energised the space with traditional South African sounds, rooted deeply with Sangoma & Khoisan cultural infusion. Featuring different layers of tribal rhythms from his vocal cords alone chanting high frequencies of spiritual tranquillity, soothing depths of magical symphonies enmeshed with raw passion, power and precision of harmony, love and identity. The themes of his powerhouse music were all in his song titles; Ancestral Affirmations, Emmanuele, Tsohie Tsohie & Hlokomela to name a few.
Abel Selaocoe & his band played six tracks on the night, all which exuded angelical, sensational as well as hypnotising melodies, taking you into a trance effect with the various instrumental sounds from his magnificent band, alongside Abels’s combination of Sangoma grunts and Mongolian throat singing effects which effortlessly blessed the space.
Abel Selaocoe has a raw talent which is undoubtedly stimulating, guaranteed to send shivers down your spine, with his uniquely diverse & varied heightened sounds effect, where when you close your eyes your senses amplify in his culturally empowering & enriching classical music, both satisfying and rewarding to hear as you see pure enthusiasm, joy & soul driven fulfilment whenever he plays.
BBC singers were conducted by Grace Rossiter, with the choir presenting nine songs during the night also, additionally adding to the melodic background & enhancing the atmosphere when their angelic vocals, creating to the ambience of the rich sounds from Abel Selaocoe & his band.
The entire concert was profound, carrying sentimental weight due to the depths of passion, love, deepness, grace & charisma, as he poured his mastery of libation in different ways to reflect his inner artistic genius. Reminding us all how perfection once mastered in any craft can be equally abstract and therapeutic simultaneously. The multiple streams of creativity explored without fully understanding all the words created a blissful & beautiful dynamic which only became more exciting, warming & demure throughout the performances.
Overall, the venue was perfect at capturing the entire essence of the African fusion of Abel, his band & the performance quality of the BBC singers, especially with the corporation of having audience participation neatly intertwined during various moments, making the concert a collective experience that was buoyant, jovial and deepening. I trust Abel Selaocoe tours will reach new ears in the new year to ensure more individuals get to experience his unique voice activation without reverb nor auto tune. Mind-blowing & extraordinary performance.
The Acts is more than just a performance, CRIPtic Arts allows those who identify as neurotypical to watch from a place of humility and awareness. Featuring a disabled cast who played themselves to present political yet integral conversations around their personal experiences due to rigid restrictions disabled creatives often face due to discrimination and therefore, being heavily underrepresented within the world of theatre. Integrated audio description, BSL-interpretation and captioning fulfilled the significance of inclusivity.
Genuine and authentic monologues revealed personal stories of real lived experiences around cancer, learning difficulties & other unconventional rhetorics linked to disability, impairments and limitations, causing individuals who don’t fit a standard or ideal prototype, to get boxed in consequently which prevents the need to be resuscitated and liberated as a human right need, having to justify yourself in response.
The set design consisted of three projector screens, displaying surreal artistic dimensions to reflect abstract self expression as each cast member metaphorically expanded on candid expressions experienced as a neurodivergent, tapping into internal conflict, self-critical natures & insecurities having to feel, act & be a certain way to get by within society.
The self expression articulated in the form of poetry was impactful, addressing clear distinctions between connection, universal language, freedom of speech, direct communication, togetherness and unapologetic vulnerability. A true testimony to innate perseverance, strength, personal truths which help us as human beings redefine stigmas to reclaim personal narratives to inevitably recover & overcome trauma to restore hope, peace and liberation futuristically.
Overall, The Arts is an enchanting & deeply enriching introspection on the inhumane labels considered ethical, in contrast to humanistic elements seen as taboo within society. This play specifically sits at the centre of realism and humanitarian principles which encourages food for thought from different perspectives & livelihoods where you inevitably feel compassion, empathy and sympathy.
Written & performed by Paula Varjack, devised and performed by featured casts members; Julienne Doko, Endy Mckay & Pauline Meyers.
NINE SIXTEENTHS retells the most searched incident over the internet. On the 1st February 2004, where we witness during the play the extent of ongoing warranted investigations, meetings, interviews, congressional hearings and biased coverage distorting the narrative of the feminine, an unprotected Black woman within patriarchal society, simultaneously tackling unethical white supremacy within show business causing infliction at every angle, complexing narratives through choice of language, encouraging further scrutiny, working against the woman.
NINE SIXTEENTHS well depicts from start to finish the challenges & turmoil Janet truly experienced. In the opening scenes we evidently see how the finale of the SuperBowl during Half time released the wildfire, with two of the most Iconic artists Janet Jackson & Justin Timberlake’s duet on Justin’s popular song ‘Rock your body with the final line’… “Have you naked by the end of this song” taking the world by surprise as he unapologetically revealed Janet Jackson’s breast in slow motion.
Each talented cast member perfectly highlighted the necessity for the world to have & share their opinion in their great multi-character takes, displaying the deepness of Janet’s never-ending humiliation, rage & hate speech for Janet Jackson daily shameful accusations, one being it was all a publicity stunt!
The obsession for more air time on this topic brought the attraction to the founding of YouTube! With the Founder of YouTube keen on erasing & destroying Janet’s career as profit & gains.
The influx of searches per day after the Super Bowl, helped stir debates around Janet’s sexually explicit content, where we see how even the White House launched an investigation on whether the CBS was in on it. With noone believing Janet’s verbal statement! FCC fined CBS, allowing the CEO of CBS to hate on Janet for eternity, fixating on getting her blacklisted on major music stations; MTV & CBS radio stations where music was majorly promoted! Janet was cut off & shadow banned, triggering scrutiny, pain and vulnerability! Paula has done an incredible job on touching on the depths of this forgotten but never truly forgotten infliction.
In this play we are left critically thinking & reflecting on the ‘why’, why was Justin not mentioned once, acknowledged nor considered in the articles/headline news, with the frame solely on Janets indecency, deliberate tendencies, turning Justin Timberlake into the victim, the innocent bystander whilst Janet remained the perpetuator, blocked for 8years, undermined on live TV shows & criticised for the entire world to continue watching legally even till this day.
Overall, NINE SIXTEENTHS highlighted how our attention is our main currency so be careful how we choose to use it. The importance of acknowledging the why & what threatens Black woman’s safety net expressed universal vulnerability. However, unlike Janet, can we trust the personal spectrum is being heard, respected and considered this time around, moving forward.
Playing until 16th November 3pm & 7.30pm. November 14th performance will be BSL signed by Jacqui Beckford.
The National Changgeuk Company of Korea, The National Dance Company of Korea, and The National Orchestra of Korea recreates a modern fusion of LEAR, expanding on poetical expression of creativity though music, dance & drama, entailing traditional sounds of theatrically rich & immersive storytelling, strongly anchored in Korean culture.
The creative team includes Director and Choreographer Jung Young-doo, Playwright, after Shakespeare Pai Sam-shik; with Lee Tae-sup’s as set designer creating an extraordinary level of awe reenacting an underworld of a vibrant watery abyss on the stage channeling ripple effects of energetic portals, projecting a universal power of humanity in the face of mother earth’s nature. Incorporating water that filled the stage was effective due to water shifts & intense bodily movement, which increased in great depth throughout.
The themes explored in Lear is life, family, relationships, power & trust. King Lear played by Kim Jun-su speaks volumes of how life is not linear, we deeply experience pain, distance, bondage, mental breakdowns, reconciliation & regret. Both Lear’s character and relationships especially with his daughter Cordelia, played by Min Eun-kyung resonates deeply with us, where you inevitably reflect on the vulnerability & moments of pride that individuals allow to either make or break their dignity.
One of the effective elements within this production is the feature of Pansori (traditional Korean folk opera) with musical scores composed by Han Seung-seok, with additional music written by K-Pop producer Jung Jae-il (Parasite, Squid Game).Led by Pansori idol Kim Jun-su as Lear,additionally featuring a live orchestra, who were doing their magic in the wings; perfectly enriching moments of tension, harmony, serenity and electrical charges from start to finish.
This international premiere of Lear is enmeshed with exceptional vocal mastery, offering an unforgettable experience of a version of Shakespeare that is both refreshing and expansive with Korean aesthetics.
UK premiere ofHouse, written and directed by award-winning Israeli-French filmmaker Amos Gitaï. One of France’s most prestigious national organisations, LaColline – théâtre national, produces this large-scale multi-disciplinary stage adaptation of Gitaï‘s ground-breaking documentary trilogy.
House was written by Amos Gitaï, a 1980 documentary about a stone house in West Jerusalem that changed hands with changes in government.
Beautifully shot in both colour & black & white, the film focuses on Palestinian stonecutters chopping building blocks at a stone quarry, focusing & working on the building.
House examines the complex relationships between the residents of the former stone quarry – Eastern European immigrants, survivors of the camps and Arabs who have also been expelled from their homes due to the wars in Israel. Amos Gitaï magnifies the valley by turning them into a symbol of a possible coexistence.
The introspective & biographical elements within family origins depicts the interlink to generations, the architectural studies, the making of the House and its effects; and the experience of the Yom Kippur War, which had reflected communities & the unique stories untold.
The production ‘HOUSE’ presents an evocation of an ongoing intimate and common experiences served with sensitive base of individuals sharing Israeli-Palestinian background history.
Overall, the house (which functions as both a character and a metaphor) holds different meanings for both the people who worked on it and those who lived there, including: the Palestinian Dajani family who owned it until 1948; the Algerian Jewish couple who acquired it in 1956; the Ashkenazi professor who is the current owner; the Iraqi Jewish contractor; and the stonecutter from near Beit Jalah. This play soulfully responds to thoughtful connections with undemanding honesty.
Lights, camera, action! The Black Saint and The Sinner Lady, created and produced by Clod Ensemble (Sky Arts Award 2024 Dance Category nominee) in association with Nu Civilisation Orchestra.Featured The Black Saint and The Sinner Lady by Charles Mingus and new compositions by Romarna Campbell, Peter Edwards and Paul Clark.
Each symphony and melody channeled the magnetic energy of jazz, poetically showcasing a live orchestra and a dance floor for anyone from the audience to move & groove simultaneously! whilst having the sensational experience of being fully immersed into the tight choreography and immersive world of fluid dance, creativity of self expression and freestyle whilst learning at your own leisure when stepping out of your comfort zone to embrace & connect with strangers & professional dancers at both fast & slow paces, uniquely bringing your own style & rhythm into the several dance routines performed.
The Black Saint and The Sinner Lady, strongly depicts the power of the collective through dance and jazz music. Metaphorically displaying the true essence of jazz music’s existence, what it stood for & the legacy of how it still moves, impacts & enhances people’s moods in today’s era. The ambience of the entire theatre is electric and heartfelt as you absorbed the essence of how a full jazz band gets you lost in every moment & keeps you in high spirits.
An enchanting performance filled with sensational musicans, dance movements & non-stop smiles and positivity. Good energy was the core foundation of this unique production to ensure everyone had a god time whether seated at a table with a drink or up fully immersed into the performance , back into the swing of the 60s doing the soul train! either way you were left feeling content, impressed or sweaty from giving it your all by letting your hair down!
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
