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Theatre

Dracula’s Guest (Brother Wolf) – a review by Barbara Hughes-Moore

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A chilling start to spooky season at Newport’s Riverfront Theatre

Inspired by Bram Stoker’s genre-defining vampire novel of 1897, Dracula’s Guest shines a light on a relatively minor character in the Dracula canon; one who is often overshadowed by flashier, more bombastic figures like Van Helsing and the Count. That character is R.M. Renfield: Dracula’s bug-eating mortal servant/familiar who, in exchange for the promise of eternal life, assists his diabolical plans to set up a new vampiric feeding ground in England. While the book never reveals Renfield’s backstory, Dracula’s Guest seeks to answer this tantalising ‘what if?’ – with a few terrifying twists and turns along the way.

The play is directed, adapted and produced by James Hyland, who also stars as Dracula opposite Ashton Spear as Renfield. ​Premiering in 2021, Dracula’s Guest won the Dracula Society’s Hamilton Deane Award and an Offcomm Commendation at the Off West End Awards, both in 2022. This taut two-hander begins with Renfield alone, trembling at a table set for two. On the menu tonight: a glass of brandy and a rotting pig’s head. The second chair is empty – but it won’t be for long. In sweeps the Count, and the Gothic feast begins.

Over the course of a tense and often gruesome hour, we watch the pair engage in a psychological game of cat and mouse. Hyland’s passion for the source text is clear, and he does well to weave in many key motifs from Stoker’s work while striking a few bold, original notes of his own.

One of these is to hone in on Dracula as a figure of compulsion. His Count is a sadistic manipulator, a toxic narcissist, and a staunch believer in his own myth. He embodies some of the new ‘vampires’ of our own age: manipulative and coercive men in positions of power, who use tools like negging and gaslighting to dominate and control. In the novel, he is an old warlord trapped in a new age, waxing lyrical about his gory glory days. This is a sense that Hyland does well to capture in his performance, giving the impression that Dracula was thirsty for blood long before he acquired the dark gift.

His Count is still very much at war, but it is also a stage that he craves: part shogun, part showman. Hyland’s performance leans into the theatrical bombast of Hammer Horror and even further back in film history, to the Expressionistic silent movies which still influence our cultural image of the vampire today. There’s even something of the feral balletics of Gary Oldman’s Kabuki-inspired performance in Hyland’s unsettling physicality and bursts of animalistic rage. Hyland, who I had the pleasure of interviewing earlier this week, clearly has a feel for the Gothic and would surely have brought that to past productions of Jekyll and Hyde and A Christmas Carol that he has created and starred in under his production company, Brother Wolf.

Spear, in contrast, grounds us in a truly empathetic humanity. In a novel so preoccupied with the often-fine line between sanity and madness, Renfield sits at the intersection between truth and delusion. His and Hyland’s interactions play like a dance (at times literally), with moments of dark comedy intercut with sequences of bug-eating grossness that aren’t for the faint of heart. And the psychosexual undertones within Stoker’s novel are present here, too, with Dracula seeking to persuade his captive to ‘join’ with him in perhaps more ways than one.

The play is all the more unsettling because Renfield is not Dracula’s only Guest: the audience, too, has been invited into his hallowed halls, and may likewise be looking for the exit, especially during some of the grislier bits! A testament, I’m sure, to the skilful sense of tension and unease that has been crafted, both by the two actors onstage along with Chris Warner’s spine-chilling score. It’s a taut and unsettling two-hander that will have you sleeping with the light on long after the lights go down.

Vampires are creatures of the past who also represent our present. Through them we might reflect on our own heritage and histories, what haunts us in our waking lives, and what we refuse to let die. While the script could be tighter in parts, the play builds to a genuinely shocking climax that will have you asking yourself what happens next. Dracula’s Guest may well have the answer, but the question remains: would you invite them in?

Theatre

INTERVIEW James Hyland, Dracula’s Guest (Newport Riverfront)

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Dracula’s Guest, which performs at Newport’s Riverfront Theatre this Friday (2nd October), promises to be a bold new take on Bram Stoker blood-curdling Count. In the original novel, we meet the character of Renfield in an asylum, eating insects and raving about his ‘Master’ (Dracula), who has promised him eternal life. But in Dracula’s Guest, we get the chance to meet him as the man he once was – indeed, at his fateful first meeting with Dracula himself. Get the Chance’s Barbara Hughes-Moore sat down with James Hyland, who directed, produced, adapted, and stars in the play, to talk about re-envisionioning this most (in)famous of vampires.

Dracula is one of the most adapted characters in literature. What is your favourite version of the character, and why? What impact did it have on your depiction of the Count?

I think one’s first introduction to the Count often has the most impact. For me, it was Christopher Lee’s portrayal in Jimmy Sangster’s film adaptation for Hammer, directed by the legendary Terence Fisher. Christopher Lee, of course, was an incredibly versatile actor; he could play anything, really, and his extraordinary performance as Dracula has certainly stood the test of time. I adore his command of the screen without saying a single word; beautifully economical and sharply focused. There are many other impactful examples, including that of fellow South Londoner Gary Oldman, whose exquisite portrayal in James V. Hart’s adaptation for the screen, directed by the great Francis Ford Coppola, was one of the very first to grapple with Dracula’s lost humanity. Oldman brought incredible gravitas to the role as well as a delicious rawness.



The short story ‘Dracula’s Guest’ is often regarded as a deleted scene from the novel. What aspects of the original did you want to retain for this play?

I used only the title of the short story, as it perfectly encapsulates the themes of my adaptation. While based primarily on Bram Stoker’s novel, my interpretation also draws from his other works.

What other works of Gothic or horror fiction were you influenced by in crafting the play?

I adore anything related to Dracula or vampires, so my love for the Horror genre with regards to those characters has always been an artistic influence–ever since childhood really. To be honest, it wasn’t my plan to create an adaptation as I was hard at work researching a war story at the time, and I felt that Bram Stoker’s novel had already been successfully explored to “the nth degree”. I believed I had nothing new to add to the long list of stage and film adaptations–until a singular question popped into my head during the pandemic which absolutely thrilled me: “What if…?” That question gave rise to a flurry of notes that continued for the better part of a year. The research was an absolute joy because I was taking another deep dive into one of my favourite genres, having previously adapted Strange Case of Dr Jekyll and Mr Hyde for the stage which, incidentally, is also still on tour in the UK.

What is especially compelling about the central relationship between Dracula and Renfield?

I remain particularly interested in what brought Renfield to his degraded status as portrayed in the novel, specifically regarding his prior interactions with Dracula. As this had not been previously explored on stage, giving both characters a voice here presented a unique opportunity to write about unfamiliar aspects of their personalities and experiences.

What role does the audience play: are we innocent spectators, or are we complicit in Dracula’s mind games?

That would be telling. No spoilers here.

The Gothic is a genre which is deeply connected to the senses: to memory, psychology, and feeling. When the curtain falls, what do you want the audience to feel?

I rarely talk about what I want the audience to “feel” prior to seeing the play because theatre often operates in a realm beyond words and as a process of discovery. That’s a conversation I’m more likely to have after an audience has watched the performance as I’m always interested in the uniqueness of each person’s response. There are, of course, a multitude of moments that have been carefully constructed to elicit specific responses from the audience in order to accentuate the various themes of the play and its overall objective as a piece of drama. Above all, though, I wanted to create something that was very human, albeit with dark, fantastical leanings.

Nina Auerbach once wrote that ‘every age embraces the vampire it needs’. Why, in 2026, do we still need Dracula – and how does your version reflect the age we inhabit now?

As with all of my plays, I have sought to create a drama that mirrors the human experience and reflects many aspects of our nature, both good and evil. Thus, I have attempted to make the piece as relevant as possible to our most recent collective experiences, but through the prism of the twisted and the grotesque–as Horror is often the perfect genre for the exploration of the unspoken. What those experiences are, I shall let you discover.

Dracula’s Guest is performed at The Riverfront, Newport, on Friday 2nd October. More information on the show and how to book tickets here.

Sport, Theatre, Uncategorized

Review, Don Toberman: Ping Pong Champ, Moonlight Theater, Soho Theatre, By Hannah Goslin

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out of 5 stars (4 / 5)

I’ve been desperately missing Ed Fringe the last few weeks. I miss the volume of audience interaction, silliness, and side splitting that comes with highly insane productions that last all of 1 hour. I was therefore over the moon to spend 1 hour in the company of Moonlight Theater, and especially the Ping Pong Champ that is Don Toberman who left me gasping for air through laughter.

I’m not going to lie to you – I was sold on this production when it hit my inbox and I saw the title and a huge image of a very serious ping pong champ at the top of the email body. I somehow knew this would be completely bonkers and boy was I right.

Don Toberman: Ping Pong Champ, I’d love to tell you is what it says on the tin. But it is and so, so much more. Don Toberman is the world’s leading Ping Pong Champ and, tonight, he takes on his biggest challenge – a final against a whole audience. During this, there is improvisation, both from performers and the audience, curve balls (sometimes quite literally), at times too much flesh of Toberman on show, and silly but well thought out side-scenes for the half time show. It is not only well thought out but leaves bags of room to really pull on the comedy stylings of this whole team.

While the title would suggest this is a one man show, we have a whole group contributing to the narrative – firstly is the audience, where their own improvisation and random retorts could throw anyone off-piste but only seems to fuel the comedy; Toberman’s bodyguard who pops out from the curtain and unknown moments to check the scene and wave a little finger at us, eliciting actual belly laughs; the referee who later doubles as the half time update on the diving championships, swirling and climbing over another performer ungracefully to represent this winning “dive”; a black morph-suited person who acts as clean up and the replay of the ping pong strike; and finally Toberman who also comes on as a half time stripper who we are all given dollars to throw at. These well thought out characters add to the narrative so well, particularly when you think how can one ping pong game between Toberman and the audience last an hour and not get tedious. If we’re honest, even if this was the case, the movements, ideas and narrative is ever changing and, likely, we would never find ourselves in that position if that was all this production was because each one is more funnier than the last.

This production is almost satirical in its delivery. Moments of a small break where Toberman suddenly tries to promote a strange beer-like drink or the aforementioned diver championship are all hammed up to a point that is not only recognisable but so silly and laughable in being recognisable but in its delivery.

It is also a risky production – almost the entire production relies on heavy audience interaction. So if you don’t want to be picked on and you’re not ready to laugh until you sweat and cry, then this isn’t for you. But something really has to be said with how eager to be involved this audience was which I imagine made the performers happy and gave them material to riff from. It also really made us feel like the joint ping pong contenders we were meant to be together.

Don Toberman: Ping Pong Champ is absolutely hysterical. Well created and delivered, it is completely joyous, unhinged and stupid in the best way.

Theatre, Uncategorized

Review, Bigfoot Ripped My Dog In Half I Saw It, Xhloe and Natasha, Soho Theatre, By Hannah Goslin

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out of 5 stars (4 / 5)

Sometimes it’s hard to authentically say that you have seen something that is unlike anything else. But with Bigfoot Ripped My Dog In Half I Saw It, this was an easy thing to say, if the long title often trips you up first!

Set in a small Appalachian town, two teenagers set light to the rumour mill and feed it further to cover up their own mistakes, allowing the town to believe they are being terrorised by the mysterious Bigfoot. However, when a local’s dog turns up ripped in half, they are forced to question how far their cover has gone and what is the real truth to this tale?

This production is covered by only two performers, who effectively change into a multitude of different characters, with changes to their voices, accents and physicality. We soon begin to recognise our “regulars” by their trademarked stance, movement or vocalisation and this in itself is a feat to behold. They move across the stage to create these “scenes” and sometimes at fast pace and you soon forget there’s only two of them as a full town unfolds before you.

With the use of remixed well known songs, lights, strobe and other technical techniques, they use their clown and acrobatic skills to further create these breaks in the story – to create the image of “Bigfoot” with these almost grotesque broken pieces of fur, climbing upon one another to give a hint of a silhouette to the fictional beast and it gives this uplift in theatricality and a cross between the “truth” and fiction. Often this blurs the lines between what the townsfolk believe to be happening and the reality of these two teenagers enhancing their lie to make it believable and the cross between the two is cleverly created with these techniques.

It also has a healthy dose of comedy meeting seriousness and a crescendo to the story. We are lulled into this banter between the two; the almost 2 dimension characters they create until the story becomes more serious, and develops genuine gasps from the audience, leaving us really questioning what is the real story and what is created for a different agenda.

Bigfoot Ripped My Dog In Half I Saw It is, as I said at the beginning, unlike anything else. A really unique piece of theatre, it is smart, one of a kind and extremely clever in not only its narrative but its creation and delivery.

Theatre

Review Cooper The Musical by Charlotte Hall

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out of 5 stars (3.5 / 5)

Cooper the Musical is a funny and emotional show about the magician and comedian Tommy Cooper as he reflects on his whole life in the final moments of his death. Stefan Pejic, writer, stars as Tommy Cooper himself, and he is joined by a cast of Welsh actors including Rhian Morwood (who plays Dove), Olivia Snowdon (Mary), and Mark Cainen (Miff, his manager, and Cainen is also the producer), among other actors who multi-role.

In the foyer before the show starts, you can buy fez hats as well as programmes, and when you walk into the theatre, it plays playful, funfair, seaside type of music, which is similar in the interval but slightly fuller. That, combined with the set, which has playing cards, both Aces for the first act which change to Queens for the second act (the significance of that I don’t know, but the attention to detail is a nice touch), stacked chairs downstage, a basket containing props, and magician’s wands either side of red curtains with black tassels, reminiscent of the iconic hat he wore, immediately got you immersed in the mind and style of the comedian’s life we were about to witness.

Going into this I didn’t know what to expect, as not having grown up in the 60s and 70s when he was around and not being alive when he died, I didn’t fully realise his impact and how popular he was until doing research earlier that day. From the clips and information I found, I learnt about his jokes as well as his relationship with his wife, his assistant, and alcohol. But I didn’t know about his private struggles, who he was when he wasn’t the act he portrayed to the world, to the audience. No one knew. Not even my dad, who watched the show with me and did grow up in the 70s. But I wasn’t disappointed.

The show opens with a voiceover announcing Tommy Cooper on stage along with quiz show music, and four women come on dancing. They leave the stage but he doesn’t appear. The voiceover announces him again and the women repeat the dance before leaving, and so it is a clever opening at setting the comedic tone.

There are a lot of Cooper’s iconic jokes, and Pejic does an outstanding job of embodying Cooper with his mannerisms, his distinct voice, and the style of the entire show encapsulates not only what the audience see of Cooper and his caricature, but more intimate things like his anger, drinking, the ups and downs with his wife Dove and later Mary, his assistant.

This was a very original concept and it was a very fitting decision that the musical was put on in such an iconic and intimate Welsh theatre with Cooper being born in Caerphilly himself. I also feel like it can be taken and adapted to a slightly larger theatre space, not necessarily the size of the Grand but bigger than the Arts Wing, go on tour, and possibly even taken to London, off West End. With how well Tommy Cooper is known, especially with a slightly older generation than mine, I think a lot more UK audiences could have the opportunity to enjoy this show too.

There were a lot of great moments, and overall the production was very funny as well as emotional and really gave you an insight into the man the audience knew as well as the man behind the fez. There were highs and there were lows. However, I felt at times that it was clunky. I appreciate it was a preview and the first night, so not all things will have been worked out, but the physical transitions between scenes were awkward and took longer than necessary, and the writing between scenes felt out of place. It felt like a lot of the scenes individually were good, but they were awkwardly fit together to try and tell a narrative. The second act felt a lot smoother than the first, but it still felt like the writing could have been polished and every scene thought out more carefully. I think they still have some work to do before performing this show again, if they wish to do so.

The songs also weren’t memorable. Parts of them were okay, but I like to come out of the theatre having them stuck in my head, and I couldn’t remember a single one. I also struggled understanding everything that was sung, although the dialogue was a lot clearer.

But I think it was overall a good production. Not excellent, not perfect, but it was a true portrayal of a man’s life behind closed doors and all the actors were fantastic. If you know about Tommy Cooper even a small amount, I think you’ll enjoy it. Just like that.

Film & TV, Musical, Theatre

Review Burlesque the Musical, Wales Millennium Centre by Bethan England

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out of 5 stars (3.5 / 5)

Burlesque certainly is what the Millennium Centre tagline promises, ‘a big new musical’! It’s full of bright lights, flashy costumes, high octane dance numbers and massive vocals across the board. Based on the film of the same name starring Cher and Christina Aguilera, it’s sure to have a cult following and a passionate fan base.

Following the events of the film closely, Ali heads off to New York City to find her estranged mother; a mother who just so happens to run a Burlesque club, full of huge characters, lots of drama, and plenty of backstage shenanigans. Along the way she goes from waitress to centre stage, finds love, foils a dastardly plot to put the club under and, ultimately, reunites with her mother, Tess.

The strengths of the show definitely lie in its incredible performers. The vocals are insanely good, with the performers easily belting out the huge numbers. Gracie O’Brien shines as Ali, effortlessly hitting the audience with big note after big note. She has some of the biggest, most difficult numbers in the show and she doesn’t falter once. More brilliant vocals come from Faye Brookes as the highly flawed, but highly likeable Tess. Her duets with O’Brien’s Ali are particularly lovely. Ryan Carter delivers style and sass as Sean and delivers some of the biggest numbers of the show with ease.

The dancing is slick, fast paced, undeniably full of the sex appeal that makes Burlesque so popular as an art form. The whole cast and ensemble bring huge energy and passion to every number; the talent on stage here is palpable. The large numbers are definitely a highlight and even the smaller numbers feature some exceptional movement and dancing.

A slight weakness for me were antithesis to this high octane energy, some of the scenes feel slower and more plodding by comparison. There are some really funny and heartfelt moments throughout but some of the important plot points seem a little lost in the longer scenes.

All in all though, it’s a night to remember whether you have seen the film or if you’re brand new to the story. It’s big, it’s flashy, it’s the perfect night out and definitely worth grabbing a ticket for! This big new show is the perfect antidote to a long day at work and will make you want to leave your seat and dance along with them.

Festivals, Theatre, Uncategorized

Review, Remember, Remember!, WIT? Theatre Company, Edinburgh Theatre, By Hannah Goslin

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out of 5 stars (5 / 5)

History is one of those parts of being a Culture Vulture I love. I wouldn’t say I’m a nerd but I do love me a bit of history. And as a Brit, we all know about holding hot dogs around a bonfire in a field and looking up at fireworks at the sky while we freeze our butts of every November.

But this is a production to tell us about what we didn’t know about the Gunpowder Plot. Remember, Remember! is a hilarious, untrue and re-imagined retelling of Guy Fawkes and the plot to blow up Parliament. It is everything we know and much more we don’t with the change of the story from conception to what really happened; to the change of the main man we know responsible today from someone we’ve never heard of; a camp love affair with the King and endless comedy in the farcical approach to the tale.

This is a slightly hard review to write because it definitely is a show you need to just experience. This isn’t a cop out but that I genuinely don’t think I could do it justice. It is so unbelievably funny, smart, fast paced, that you don’t have a single minute to breathe through laughter. The performers all play a multitudes of characters and they are all hammed up, and/or a stereotype of a figure; for example, Guy is a bit of a too-cool-for-school guy that everyone fancies and is just effortless. The way they do this for the characters is so well done and the element of over exaggeration fits well with the overall approach to the production.

Because they aren’t sticking to the “truth”, the embellishments aim to create comedy and shock you. They take a piece from the history and run with it; King James’s well known love of men is exaggerated, with him as a very camp, almost slimy character, with the tiniest of crowns and pink bloomers. Every element, from performance to costume, set and narrative is so well thought out and just absolutely stuffed to the brim with comical moments.

The performers are just fantastic – while the characters are well formed, there’s these moments of them as a group giving a break for narrative support and in this, they themselves have their own story-line – two have a love hate relationship, flipping each other off, and taking the mick and the lines blur between the historic and the modern. It only makes it more funny and we love each of these performers individually and in how brilliantly they work together.

Remember, Remember! is absolute hilarity from start to finish. Don’t expect to come out having learnt anything historically factual but do expect to come out with your cheeks and sides hurting from laughter and in awe of the absolute absurdity that has ensued.

Festivals, Musical, Theatre, Uncategorized

Review, Acid’s Reign, Relish Theatre, Edinburgh Fringe, By Hannah Goslin

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It’s very rare that you get to see a show that you saw the very early version of and get to review a second time. Long ago, the days of Vault Festival allowed me to see the first iteration of Acid’s Reign and it’s fantastic to see how it has come along.

Acid’s Reign sees Drag Queen’s take on the climate crisis. In a chance meeting, Alex Acid and Ria Listic become firm friends, joining their artistry to fight against the climate through cabaret. In the need to get the message across, social media and commercialism comes knocking and the chance of fame over saving the world becomes a difficult choice. What also comes into question is friendship and comradery in the queer community.

I’ll try not to compare the first version of this show to the current. But it would also be remiss of me not to make some short comments. Firstly, the story has completely changed. The infant version of this show focused on Drag Queens as different elements and the impact on them, speaking from those points of view. As this was also their first attempt, the production value was smaller due to this and possibly funding and now the production looks almost west end ready. One wouldn’t be critical of this because both versions in their own merit have something. It’s therefore unfair to compare them but only to say, it’s wonderful to see in some what the trajectory of a show from its early days and the grind and development of it. Two of our performers are from the beginning – Scarlett Harlett and Jamie Fuxx return in this production and it’s wonderful to see them again.

As mentioned, the production value has increased. The stage is well set and its use of it, props and use of these for scene changes, such as rolling stools, helps with the easy and seamless change. Accompanying the aesthetic and wonderful and quintessential Drag outfits – camp, fun and unusual. One that sticks out is one outfit, worn by Victoria Scone, of plastic tape. It’s all in keeping with what we know of Drag and is as fabulous as we expect.

Like any musical, the original songs and the slightly campy acting in between work so well and have that essence of musical theatre. Victoria Scone has such an expressive face that she elicits laughter and slight hammed up acting which fits perfectly for the puns, the character and the production. The songs are catchy, fun and hummable. They are easily ones that could become cult classics and likely to be seen lip synced in plenty of queer bars and shows.

All the performers are well skilled and very professional in this musical theatre piece. They embody their characters with real ease and we get the feeling of true friendship, of jeopardy and when the friendship breaks down, it feels very real. Like any good musical, we are invested but are brought out slightly and rightly due to the unnatural use of a song during the scene to make this theatrical.

Acid’s Reign (2.0) is a fantastic new musical that could easily become a cult classic amongst the theatrical community. With a political message, brilliant performers and a real celebration of queer culture, Acid’s Reign could become a new musical obsession.

Relish Theatre – Pleasance Theatre

Festivals, Theatre, Uncategorized

Review, TO BE FRANK, Michael Hockey / Charlotte Pleasants, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

If you were at Fringe this year, you would have been hard pressed to miss the gigantic green monster around the city. Frank has come alive, once again, but this time, in the most unusual way.

This is a clowning show like no other. Slightly in mime, with a Mr Bean-esque approach of only sound and supported with spine-crawling bass, we are introduced to Frankenstein (Frank) from him coming alive to living … well, life.

He interacts with us, making comfortable eye contact, moving with stocky movements of his new limbs and being somewhat imposing. For such a tall man, and one as a “monster” he would be perfect to keep in keeping with the horror genre of this well known monster. But this is where it changes – Frank becomes adorable and friendly, despite shouting or groaning instead of words, and his story trajectory turns into his friendship of a green balloon – something that needs to be handled gently and with care.

By not using words, somehow, he still manages to easily communicate with us. We join in the fun with the balloon and understand the nuances of what he is trying to portray to us. Some audiences are reluctant and this could be misinterpreted as misunderstanding but it isn’t – it’s just a lack of wanting to be involved, because, Frank’s intentions are so clear.

What is wonderful is that this approach to Frank is completely different to the stories we know. This is a more emotional Frank, more adorable, friendly and approachable. This all comes in, somehow, how he interacts with the balloon, with kindness and intrigue and we fall in love with him. The kind of big-teddy bear man instead of something scary and dangerous.

His physicality is so extremley funny. He manages to make us laugh, taking his time and ensuring to take up space with his physical comedy. There’s no urgency, and if you have done any work in physical theatre, you know actually how much control and skill is put in to do these slow and precise movements. Accompanied by some shouting and groaning, it’s absolute absurdity and a fantastic piece of clowning.

TO BE FRANK is an absurd, unhinged and utterly heartwarming piece of clowning and physical theatre. You will go into the unexpected and come away falling in love with this giant teddy bear.

Festivals, Film & TV, Theatre, Uncategorized

Review, KEVIN!!!!!, Recent Cutbacks, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

Every 80’s and 90’s kids will remember the nostalgia of watching Home Alone at Christmas. A cult classic, whether you’re a fan or not, you will know some of the well known clips and scenes, even from popular culture. Recent Cutbacks take our nostalgia and turn it on its head to present satirical remakes of these well known films, eliciting plenty of fun and comedy for all ages.

I will firstly admit and, will probably lose some of you in the process to say, Home Alone isn’t really a favourite of mine. I have of course seen it many times, especially as a 90’s kid, but it never really hooked me like it has others. And maybe that’s where it lost me to some degree. But it was no less comedic and fun to watch.

As the company’s name suggest, there’s a slight essence of the amateur about the production – and this is purposeful. The reenactments are sort of done with what they found in the kitchen cupboard and out of the attic and this in itself brings so much comedy in how they have tried to replicate with random dolls or hand made items. They have made little dollhouse style scenes in shoe boxes which are projected on the screen for us to see. The transitions between the scenes are seamless and when they bring in a green screen for some of the actors and larger puppets is so very clever.

The audience do get interacted with; puppets come into the audience and they use the stairs and sometimes us to try and recreate some of the trick-scenes against the villains. The ability to open up the space this way is very effective and let’s us become more immersed.

The performers themselves only start to be full physical acting roles with us further into the story, starting out as voices as we watch the miniatures being filmed. They are melodramatic and satirical of the show, adding the odd ad lib to say what we’re all thinking of the story-line – how did she forget him? Why was the neighbour in the line-up count able to be mistaken for one of the children, eliciting laughter over the obvious and mick taking.

KEVIN!!!!! is good fun. A unique take on theatre, really well thought out and evident of a bunch of 80’s and 90’s kids with a nostalgic obsession, it gives you a good giggle, whether a fan of the film or not.