Theatre is very much a powerful tool to highlight topics of the time, to create political commentary and express the injustices and emotions of people. With the last 3 years adding to the feeling of the world getting seemingly worse, there’s something to be said of a production that makes these comments but encourages us to see the humility of it all.

Adam Scott-Rowley’s, YOU ARE GOING TO DIE, does just this. Featuring Scott-Rowley completely in the nude, he vulnerably cycles through different ages, different people, thoughts and attitudes to give a holistic view of our world, of growing older and of experiencing oneself in a climate slowly getting worse. He creates highs and lows of comedy vs reflection, of matter of fact hilarity vs deep emotion which is poignant and effective; a emotional and thought provoking rollercoaster.

The action is already started as we take our seats; Scott-Rowley sat on a lit up toilet, with music and lights that make you feel as if you are entering a Berlin rave club, there’s this feeling of voyeurism on him while the audience chatter and wait for the start. There is something amazingly powerful of watching as the audience slowly come to the realisation that a production has started without this being clear.

Scott-Rowley is able to contort his body and facial structure to create different characters and scenarios – you rarely find that you truly know who he is or what his natural form is as he so amazingly transforms. He creates characters we know or see in modern world, or frighteningly creates people we know we have been or will become. There’s a tongue and cheek to it at times, but it is subtly and easily transformed into serious commentary. Abstract, with little dialogue and heavily leaning of physical theatre, some makes you laugh and intends comedic effect, some is beautiful and a work of art in itself and some is grotesque and full of truth. There’s a fluidity and seemingly subtle transition to the different “scenes” (if you could call it that) and a return to different characters, adding to a sense of monotonous repetition of life but also hitting home humorous but entirely serious points of who we are in a world going up in smoke.

YOU ARE GOING TO DIE is a physical theatre masterpiece. It is entirely absorbing, entertaining, humorous but hitting really poignant spots in every audience member.

I love when you go to a production and come away having seen perfection.

The Messiah Complex, by Bag of Beard, is the Utopian, almost post-apocalyptic-world story of Sethian, interned in a mental asylum for his faith and the actions that lead him towards this situation. We see flashbacks of what happened along with what led to these, analysed within the controlling and manipulative asylum, equally flawed and equally cult-like. The story makes it hard to side with anyone within the story, both deeply poisoned in their thinking, but also very similar in their approach to life. A world where it is illegal to have faith, believed to lead to crimes, war, disease but those who control this belief, themselves, have arguable opinions and actions themselves. Two cults against one another.

The Messiah Complex in its aesthetic and narrative very much made me think of The Royal Court Theatre and their productions – greeted with Sethian already in a trance, he is surrounded by a square of light with projection images running behind him – very abstract and visually appealing, creating an atmosphere instead of waiting for it. The narrative being easily believable yet also wide enough a concept to be almost futuristic.

I could not distinguish a “better” performer in the production. All very different characters, all were entirely formed, believable to the point of feeling intrusive; we could have cut the fourth wall away and be looking directly into the house, the cell, their world. Sethian is kind, he is clearly in love and at the same time, clearly influenced and mentally affected by this. His wife Sophia is likeable, but clearly powerful and influential, convincing Sethian with her looks, her love, her mind to believe in the religion, the cult and he will do anything to satisfy that. The nurse, also entirely influenced, if not also brainwashed by the government and information of the time, has a level of authority and vacancy of emotion, but at the same time is frustrated and wants to help – she is human despite her initial appearance.

All three interact with one another impeccably, their relationships clearly formalised well and this gives levels to the production, feeling the real emotion and connections. The Utopian but entirely possible story line is visualised easily before our eyes and gives you a trembling feeling on inevitability; the emotions shown especially by Sethian adding to this realism.

The Messiah Complex, while only at their first run of the show, is already perfection. It has the right levels of fiction to potential fact, easily supported by the clearly skilled and full embodiment of the actors of their characters and the story. It is heartbreaking but also quite frightening in its realism. This is a play not to miss and meant for a larger stage for sure!

I think most people have heard of the famous Emperor of Caligula; a fierce ruler, with many a famous story about him, like any infamous Roman Emperor. Roman tales are rarely of happy exploits and kindness. And this has not stopped here.

Caligula and the Sea is a growing of age tale of Caligula, from boyhood to ruling an empire. With this, growing through adolescence and adulthood, through turbulent relationships with the God of the sea and his closest companion and how easily power can destroy those innocent relationships.

The production itself has taken an interesting approach; dressed in 1920 – 1940’s garb, there are still elements of ancient Rome, with miniature columns in the garden to Roman armour, it brings a modernity to the story, yet harking back to its roots. However, it did seem a little out of place and there wasn’t much to tie this together with the overall production or story.

The scene they created, with the overbearing blue sheet representing the sea, using this for movement and puppetry was well done and it added to the imposition that Neptune has in the narrative. It was a centre piece to the production, always looming and always above Caligula. It was in itself a visual metaphor to his downfall after thinking he was more than of the immortal power.

Neptune was represented as the waves, as a warrior, as a woman, as puppetry creatures, and this was interesting and mesmerising in the work that went into the different physicality and puppetry skills. It added to the concept of Gods being able to shape shift upon the Earth, yet they were also never frightening. The was something trustworthy, echoing Caligula’s relationship with the God.

The main performers of Caligula and Chaerea had a natural magnetism to one another; bouncing off each other as friends, as brothers, as lovers. In the blink of an eye we see their entire relationship as it evolves and the moments that it goes all too wrong. The heartbreak and turmoil – it becomes evident in Chaerea’s performance and you want only to reach out and support him.

Caligula and the Sea is a unique telling of the story of Caligula’s life and has many theatrical elements to enhance this summary of his rise and fall. It only felt a slight disconnect in the over all aesthetic and felt it would either benefit from completely immersing in one era or the other.

Based in the USA, Someone of Significance features the story of two people who fall in love against the obstacles of life, careers, of each other. The two couldn’t be more different and were it not for a chance encounter, Rosie, a black, left, working class woman and Brad, a white, CEO of a property corporation, would never have met. They have similarities, they have differences, but over a lifetime, their love continues.

For a two person play, the production values are minimal, and this is all that is needed. Props and staging that is changed upon the stage and in front of our eyes, while under the guise of a dimmed light, help to set the scene. Often based in rooms alone, this adds to the secrecy of their union and career, with its limited furniture and lack of distractions.

Each performer has their own corner with a range of clothing and accessories which they change into intermittently for each scene. Unless it is a drastic change, this often seemed unnecessary to the scene and often overlooked. When they changed something to showcase the passage of time, this is obvious and helps to bring the idea of time to the story line. Sometimes, it only felt like a reason for a break during the production, which could have been utilised differently.

The performers themselves were very good. With clear skill and a good approach to naturalism, they were convincing enough as their two characters. They interacted well and bounced off one another but I found it hard to feel this budding love that they were meant to share. Perhaps it was their limitation of stage and direction; often they stood in the same place, facing the audience but there was little movement around the stage to give levels and something with more action. Yes, there was the occasional sitting or a moment when Brad is involved in yoga, but it often felt as if there were invisible X marks the spot for each scene, and it was always the same spot.

Someone of Significance has a great narrative and intention, with good performers who understood their assignment. But it missed something special to believe in the true connection of these characters and left the performers at the will of direction, creating a limitation on the movement on stage.

In what might prove to be a testing trip to London, amid strikes and cold streaks, any fears or doubts floated away on opening night, an hour in the company of Bill for this 44th birthday.

This work of Dorothy James and Andy Manjuck is what could only be described as the the creation of an apparition, or more specially Bill. He is brought to life with such conviction, a mere pot-bellied torso, arms and eyeless head. The fun and bravado of Bill prepping for his big night, is gradually met with disappointment and the awful feeling of loneliness, something we can easily relate to, the past few years considered. 

Thanks to the easy appeal of the show and witty, British like humour this will go down very easy. Dorothy and Andy have a kinetic energy, each sharing one of Bill’s arms, the former also accommodating his torso, the latter his head. There is Mr Bean and Wallace and Gromit in some of the flamboyant mannerisms and weird dance moves, Andy’s legs are also Bill’s legs. It held up as rather touching as well, Bill later watches a VHS seeing his life go by from cradle to current day, a smaller wooden puppet used to astounding effect. Surreal, drunken episodes feature party crashing balloons and a giant version of Cary the carrot, a crudités that no one ate.    

This is a piece which has seen some delays in getting out there, this being Bill’s first London adventure and we simply cannot believe his luck. Also, shoutout to Jon Riddleberger who dealt with a lot of the prop side of things and was an extra injection of humour, amid the sad revelations. Music by Eamon Fogarty was also noteworthy for each vibe and tone change. We are all essentially Bill, finding our way in this post-pandemic world, seeking friends to define and make us, to aid in the blandest of life and also reflect upon the pang of memories filled with regrets and of course, happiness.

In short, London loves Bill!     

Bill’s 44th continues at The Pit, Barbican Centre till 4 Feb 2023.   

Photo Credit: Richard Termine

Coming into this production, I thought I knew what I would experience but I was in for a surprise.

Based in the time of the second world war, Kites is a tale of female friendships that grow with time, with age and within different and ever changing time periods. Kitty and Angel begin a friendship from small children and we experience with them how they become friends, take on the world through boys and travel and challenges of the time periods from the 40’s, 50’s, 60’s and onwards. There is a nostalgic feel yet a tale we can relate to to some degree, no matter who we are.

Instantly, it is clear that these two performers not only have a good relationship as acting partners but that this obvious connection potentially draws from personal relationships. Female friendship is something unique, and this production adds to this by touching upon a time when women weren’t as free and liberal as they can be now days; it showcases the pressures on woman back then and how detrimental it can be to mental health and relationships.

There is a youthfulness to this production; as we travel through time with these two, we see them play and create ideas together; they dream of the moon and the world and the adventures that they can experience and we relate to this from our own dreams. We remember those days of make believe and ease of being a child. We know the feeling when life gets in the way or we have to grow up. The transition for each character is gradual and relatable.

The only issue I had was that it felt as if it lost momentum. Time is taken to establish the characters, their lives, their friendships but it becomes rushed – as if the change that they want to convey needed to be squeezed into the time frame. When it was meant to get meatier, I wanted it meaty. I wanted to feel the raw emotion and the turmoil, to see the difference and to feel the reconciliation between these old friends. But it just felt like a rushed end when it would have been nice to give more time to these emotions.

Kites is a lovely play that any friendship, no matter gender, can relate to. Setting it in a past time period echoes the challenges women faced and how, despite this, friendship begins and grows, just as it does now. I just wanted there to be a little bit of breathing space to feel more of the emotions.