I was already excited to see this show as I had heard great things, however I have to admit that it was even better than I expected! Having seen the film Kinky Boots starring Chiwetel Ejiofor about ten years ago, I was clutching to the vague memories I had of that and racking my brains to remember the plot. With so little memory of the film this show exceeded my expectations beyond my wildest dreams. Full of sassy sparkles and sexy stilettos, Kinky Boots is a musical that should not be missed, and I can guarantee that it will be a treat to watch for anyone who sees it. As soon as the music began and the fabulous dancers came onstage, I was beaming all night long and clapping to all the songs without even realising it! The dialogue is witty without being cheesy, and there were so many hilarious moments where I physically couldn’t stop myself from laughing out loud.

The show is of course brilliant, but it wouldn’t be anything with the soundtrack which is pure genius, and the incredibly talented orchestra who are an absolute delight to listen to: it was their playing that made the show truly magical. Paula Lane as Lauren is so full of energy and zeal that we as the audience can’t help but love her and root for her despite the fact that it might all end in tears… She reminds us of our humanity, and that we have all been in love once – infatuated with someone but not sure if they feel the same way. Kayi Ushe as Lola is truly sensational, and he gives a show-stopping performance moving us all to look at our own lives and whether we are accepting enough of others for who they are.

Kayi Ushe and Joel Harper-Jackson’s heart-felt vocals made the show not just a fun-filled musical to clap along to, but a touching examination of manhood and the debate around what it means to be a man. It is an analysis of toxic masculinity and discrimination, and how both Lola and Charlie are desperately trying to make their fathers proud while bearing the scars of such pressure. As the plot develops and the two friends feel they are not living up to their fathers’ expectations, we see their lives falling apart as they are unable to cope. This show follows two men burdened with not just their fathers’ hopes, but society’s definition of what ‘a man’ should be, and we see them bond and buckle under the pressure. It’s a journey of self-acceptance, friendship, and letting go. And as Lola aptly puts it: ‘be yourself, everyone else is taken!’

 

I had never seen an opera before, so those like me who have been put off by opera due to its reputation for being old-fashioned or ‘not for me’ should read this review and be reassured. The Welsh National Opera’s production of Verdi’s Un ballo in maschera was a genuine surprise; being an ‘opera virgin’, I was extremely nervous and apprehensive about whether I would enjoy it, and whether I would feel comfortable amongst all the opera buffs in the room. However, I have to say that I had such a good time and it was way less snobby and intimidating that I expected! First of all, everyone was dressed in normal outfits like they would at any other theatre event so if that is something putting you off then don’t worry. Secondly, I found that the opera was just like a musical with a different style of singing and it just happens to be in Italian (there are subtitles, so you can actually understand what’s going on which is a lifesaver!)

The dramatic plot, although predictable, had me at the edge of my seat as murder, adultery and conspiracy were all afoot in this tragic piece. The costumes and set were brilliant, and despite some of the ensemble movement being a little unrehearsed at times, the company did an unbelievable job of telling the story and changing the tone on stage very quickly. I must also mention the fantastic musicians who played so heavenly: the musical score for this piece was wonderful and the musicians took my breath away.

My fear with opera was that I would not empathise with the characters onstage because I expected it to be over-dramatic, but in fact this was not at all the case. I felt myself rooting for certain characters and hating others, and the incredible voices in the show really did move me beyond words. Mary Elizabeth Williams was absolutely sensational. Her performance gave me goosebumps at a number of times during the show, as not only her vocal ability but her passion and delivery of the songs was so intensely affecting, I couldn’t help but gasp.

What’s more, it was incredibly heart-warming to see a woman of colour on the opera stage – something that I admittedly did not expect. Rather than being stuck in the past as I assumed, opera is in fact very much current and relevant to modern life as we know it. Seeing ourselves represented onstage is the best way to encourage people to go to the opera, and after this experience I will definitely be attending another one soon!

 

As I was watching this performance I was reminded of an early memory of a salesman attempting (unsuccessfully) to sell my dad timeshare in Spain, and then I thought to myself, ‘do salesmen even exist anymore?’ This witty examination of male camaraderie and rivalry is a remarkable piece of theatre. Although the role of the salesman in today’s world may seem redundant and old-fashioned, this piece forces us to look closer at the lengths that some will go to to achieve success, money, power or just approval. This all-male cast of performers present us with a number of selfish and superficial salesmen who appear like children in a playground showing off who has the best lunch or the most gel pens. The male bravado and the massive egos on stage highlight the extent of materialism, capitalism and greed in our society – something that has unfortunately not died out along with the traditional salesman.

The pressure some of the characters are under pushes them to the brink of insanity, betraying, lying and stealing in order to survive the cut-throat world of sales. Although it is easy to see these actions as the actions of silly men who want it all and will stop at nothing to get it, we must nevertheless remember that at the time when this play is set (and arguably still today) men were under tremendous pressure to be the providers, as their families relied on their incomes. Such strain makes some of the characters go to extreme lengths to close or keep a sale, even relying on some sort of salesmen’s code where they all have an understanding and will help one another if possible.

This sense of brotherhood is one of the more touching moments of the show, where we see a genuine solidarity between the men when they need it most. It is moments like these that remind the us that these men can be kind to one another, and they can look after each other, despite the ‘dog-eat-dog’ mentality they like to suggest they have. The worrying part is that the salesmen appear to base their self-worth entirely on what they sell; how much they sell; how much money they make; and of course, how that compares to the other salesmen. With such an unhealthy way of maintaining one’s self esteem it is no wonder we see these characters parting with their sanity at various moments in the show. The American dream that these men represented is not necessarily all that it’s cracked up to be, as the ephemeral green light continues to shine, remaining unattainable in the distance.

I first saw the Jasmin Vardimon Company as a teenager for their production of Freedom which opened my eyes to the power and majesty of dance theatre. Many years later their latest show is even more breath-taking and affecting than when I saw them last. Medusa is a production exploring gender relations, dissecting the way in which we behave and interact with one another, and the potentially damaging effects it can have on us as human beings and the repercussions for our society as a whole. Silke Muys is incredible, from barbie doll to a free spirit, she really is a wonder to watch.

With an opening sequence analysing the objectification and dehumanisation of women and their bodies, we see larger than life ‘dolls’ being compared for their size, shape and other physical assets. The cleverly designed set sees the stage filled with huge chimneys pumping out toxic masculinity into the atmosphere, as the women on stage try their best to escape it. This spectacular piece of dance is performance at its very best, with an exhilarating soundtrack that speaks volumes about the messages we are giving our children, and more broadly, the human condition.

Themes of female empowerment, agency and resistance run strongly through this piece, analysing what it means to love, to lose and to abuse, and this spectacular piece of art is genuinely something everyone should see as it not only raises questions about true female emancipation and male egos, but it forces us to come face-to-face with these issues and to see them for what they really are. The exploration of (mother) nature in contrast to man is beautifully embodied in a heart-breaking scene where a woman is literally ripped out of the earth. This piece is a truly sensational production, pushing boundaries and breaking down barriers – if you are not normally someone who goes to see dance performances, give this one a go, I guarantee you won’t be disappointed!

When I first saw that Blue/Orange was coming to the Birmingham REP, I was excited to see how it would compare to the student production I saw a few years ago while I was at university studying theatre. Although it was the same script, it felt like a whole new play, as Bailey manages to bring to the forefront the significance of semantics and the way that our own cultural background and personal agenda can have a huge impact on our interpretation of someone else’s words.

Coming from a family of mental health professionals, I attended the show with my father, a former Mental Health Team Manager and Service Director in Social Care. As someone with extensive experience in environments almost identical to the one we see in Blue/Orange, he found it disturbingly realistic, bringing back difficult memories not just of the patients but of the unhelpful and abusive behaviour of some of the doctors and carers. Despite being written almost two decades ago, this play is painfully current, and inescapably traumatising, as Christopher, a twenty-four-year-old black Londoner finds himself walking the tightrope between being released from a mental health facility and being kept in for a further six months of his life. Aside from some of the language and the retro mobile phone that makes an appearance during the show, it is almost as if this play could easily have been written today, as we can see from the still high numbers of black men getting caught up in the mental health system.

The egos of the two white doctors, and their greed for professional recognition and social acceptance, become more and more inflated as the show unfolds, poignantly drawing attention to the objectification and dehumanisation of black and brown bodies in the mental health system in this country. Christopher subsequently becomes a pawn in their sick game to get one up on each other, and Richard Lintern and Thomas Coombes both do an incredible job of embodying the institutionalised racism engrained in British society.

The profile of mental health has been raised over the years thanks to media campaigns and celebrities coming out with their own experiences, and this play contributes to the debate on mental health and lifting the stigma attached to mental ill health. We need more plays like this which force us to look at our society’s problems head on; in order to confront them we must first acknowledge them. Newcomer, Ivan Oyik, plays Christopher with such skill and subtlety that although at the beginning of his acting career, we will definitely be seeing more of him for many years to come.

Having never seen Matthew Bourne’s Swan Lake before, I was curious to find out why this show was so popular and what had made it so different from other ballets. After having seen it twice, my mother had been telling me to see it the next time it came to Birmingham, and so when I found out it was due to return I was excited to figure out why it had audiences and critics raving about it. One of the first things I noticed about the piece was that it addresses questions around gender roles, sexuality and identity, as the archetypal image of the elegant and slender female swan is challenged continuously throughout the performance. For a little boy watching it, I can only imagine how incredibly influential a piece like this could be: questioning society’s expectations of ‘dance being for girls’, and elegance being a predominantly female trait. What’s more, a production such as this has undoubtedly encouraged countless young boys across the country and further afield to pursue a career in dance without being afraid of the stigma they might encounter.

Moreover, the breath-taking ensemble of swans is one of the most powerful images of the entire piece, as they move together with such precision and elegance. Something I greatly admired was the use of silence and breath. Seemingly simple, silence can be one of the most striking moments of a piece, and these points in the performance where we hear the swans breathing in unison or using breath to express an emotional state was utter genius. Furthermore, the show’s reputation has meant that it now reaches far further than just those well-seasoned ballet-goers, it has made its way into the mainstream where some who may never have been to the ballet will go to see Matthew Bourne’s Swan Lake. Any show that encourages more people to attend theatre and the Arts is a credit to our society, and this does just that.

When I first heard about this night, I was excited to see how musicians would be able improvise to film without knowing anything about the films beforehand. And I am glad to say that it did not disappoint. Led by the legendary Jay Phelps, a Canadian-born London-based Jazz trumpeter, this weekly event provides you with the perfect balance between a sophisticated soirée and an exhilarating movie night.

Before the event had even begun I was admiring the stylish décor of the bar, located on London’s iconic Brick Lane, this hidden gem really does teach you not to judge a book by its cover. The atmospheric lighting and the spacious seating made it a great venue for a night such as this, and Phelps’ charismatic chat and smooth talking sets the ideal tone for the evening as he began by respectfully introducing the musicians.

As the band got going, they warmed up with a set of jazz standards to set the mood and get the audience bopping their heads to the beat. This also gave the musicians an opportunity to showcase some of their repertoire, playing songs from the likes of James Brown, Miles Davis and Clifford Brown. This was a lovely way to start the evening, especially on a Wednesday, where many of us are often feeling the week drag on. Mikele Montolli’s solos were breath-taking, as he played the double bass with such mastery and charm, I found myself utterly hypnotised. Moreover, Jay Phelps’ contribution really was the cherry on top as he performed in such a way that the audience couldn’t help but feel the emotional intention in his playing.

As we headed into the second set, I was eager to see how the musicians would cope with the short films. Playing to an eclectic range of work, the films ranged from Sci-Fi thrillers, to Romcom mime, to an episode of Tom & Jerry! It was truly astonishing to watch these four talents create an entire soundtrack off the top of their heads to such an immensely diverse selection of films. Drummer Mike Horne stole the show on multiple occasions, with his quick-witted solos and perfectly timed cymbal crashes; he managed to build and release the tension in all the right places. Meanwhile, Phelps’ ingenious use of the trumpet mute was a delight to watch, as he managed to generate heaps of laughter with his trumpet-made crying and laughing sound effects. Courtney Brown’s trombone playing created the perfect slapstick soundtrack to the more comedic films, and between the four of them they succeeded in making me laugh out loud to an episode of Planet Earth II and Mickey Mouse alike!

 

Step in to 1970s Britain, where bold colours and big shapes were all the rage, and smoking was only just becoming bad for you. Mike Leigh’s tale of a sophisticated gathering gone wrong comes to The Alexandra Theatre equipped with the humour to make you chuckle and a splash of nostalgia to make you feel like you’ve stepped back in time… or at least that’s what the set wants us to think. Esdaile directs her cast beautifully in this witty and hilarious comedy classic. Although written over forty years ago, Leigh’s play remains astonishingly relevant to 2019 audiences. Although at first it may appear to be simply a naturalistic sitcom-like comedy about everyday suburban middle-class life, this production in fact offers so much more than meets the eye.

As the protagonist, Beverly, hosts an evening of drinks with pineapple and cheese on cocktail sticks for her neighbours, the play slowly but surely unfolds the cracks in the lives of each character and the desperate tedium that comes with suburban life – especially at a time when many women did not necessarily have their own careers. This production about middle class home-owners is, in reality, a deep analysis of the progression of female emancipation and independence, and the side-effects that came with it. As women begin reclaiming agency over their lives, toxic masculinity once again rears its ugly head, while the men in the play struggle to cope with the emerging rebellion of the women. As the play progresses, we see the impact of societal expectations on the characters, and how patriarchal structures are not just damaging the women, but also the men they are married to.

As well as a social comment on gender relations, this play cleverly explores the rise in materialism and consumerism leading up to and during Thatcher’s time as Prime Minister. As Leigh’s writing explores female sexuality and desire, the smell of cigarettes and Beverly’s perfume lures us into the hedonistic and absurd evening of drinking, dancing and fighting. The cast do a brilliant job of keeping the audience’s attention despite the entire piece taking place in one single room, and Prenger really does do her character justice. This show is a great night out with so many laugh-out-loud moments, so grab a G&T and join the party!

The Birmingham Hippodrome’s spectacular production of Peter Pan is definitely not one to be missed! I went with my Canadian partner who was new to Pantomime, and he was blown away by how much he laughed and enjoyed the show. As soon as we walked out of the theatre he asked when we could go to another Pantomime – he’s now addicted to them!

Firstly, congratulations to Matt Slack who does an incredible job of bringing the whole room into fits of laughter with his witty comments and slapstick jokes. Slack’s performance is pure genius and it is physically impossible not to be laughing out loud at his naughty slights and cheeky chat. In addition, Jaymi Hensley’s vocals are wonderful, and the whole cast fill the room with hearty harmonies that infectiously spread excitement and cheer during the entire show. Not to mention the fantastic live orchestra which was outstanding, with its perfectly timed sound effects and well-arranged compositions which really make the show a special experience for all the family.

Also, when it comes to set and staging the Hippodrome never disappoints, as the audience is verifiably swept off their feet into the magical world of Neverland, complete with all the magic fairy dust and sudden surprises one could hope for. And the costumes are just as dazzling, from Tinkerbell’s tutu to the pirate’s rags. However, the animal print and tribal warrior costumes for the only Black performers on stage were bitterly disappointing, especially for a person of colour. Firstly, not one black performer had a single line in the performance – surprising for a pantomime made for a city which is famous for its cultural diversity and high numbers of BAME (Black, Asian and Minority Ethnic) communities. (This is the second time I have seen this in a week from two stage shows in Birmingham) What’s more, having all the Black performers wearing either animal print outfits or tribal skirts with hunting spears reinforces ethnocentric ideas about Black people and their value or lack thereof in our society. The traditional Native American style costumes for the finale sequence was an unhelpful and insensitive piece of cultural appropriation: one could even go as far as to say that it suggested that Native American culture is child-like, naïve and unintelligent, as the only characters to wear it were inhabitants of Neverland – children who never grow up. Should this be acceptable in 2019 Birmingham?

Despite this problematic aspect, the Timbuktu Tumblers were phenomenal with their show-stopping acrobatics and synchronised sequences. Sascha Williams also wows the crowd with his incredible nail-biting balancing act which had the audience on the edge of their seats, commanding some of the largest applause of the night. Although Slack was the star of the show, a further mention should definitely go to Darren Day for stepping in at the last minute with a brilliant performance having only had two days of rehearsals. This hilarious show will have audiences roaring with laughter all night long, adults and children alike!

Thanks for joining me!

Good company in a journey makes the way seem shorter. — Izaak Walton