Brimming with pop nostalgia and feel-good holiday vibes, I Should Be So Lucky is a wonderful whirlwind of theatrical escapism; a joyous musical crafted and performed with love. With light-hearted themes of family, love and laughter and a super talented, refreshingly diverse cast – this is heart-lifting entertainment for everyone.
With a super talented, refreshingly diverse cast – this is heart-lifting entertainment for everyone.
Starring the soundtrack of a generation, the whole show is built around the music of Stock Aitken Waterman – the music meisters behind the pop hits of the 80s and 90s by artists like Kylie Minogue, Jason Donovan, Rick Astley and Bananarama. It does help if you’re a fan of the Hit Factory repertoire – you’ll be able to sing and sway along to their biggest hits as well as rediscover some forgotten gems.
Image credit: Marc Brenner.
Brimming with pop nostalgia and feel-good holiday vibes.
Giant hearts frame the stage, as the show launches into the wonderfully ridiculous though amusing tale of Ella and Nathan as they prepare to wed. But with wedding jitters getting the best of Nathan, he ends up jilting Ella at the altar. With the honeymoon to Turkey already booked and paid for by Nathan, Ella’s family rally around her and end up jetting off together to make the most of the sun-kissed adventure.
Image credit: Marc Brenner.
Cue an outlandish and incredibly camp storyline of couplings, breakups and dalliances. Written and directed by Debbie Isitt with choreography by Strictly Come Dancing’s Jason Gilkison, the show features a superb ensemble of singers and dancers. There’s even a cameo from Kylie, who appears as a kind of Fairy Godmother figure in Ella’s mirror, reminding her to be “strong”, “beautiful” and “fabulous”.
Packed with laugh-out-loud one-liners and the perfect pop megamix.
Packed with laugh-out-loud one-liners and the perfect pop megamix, it’s all very cheesy; this isn’t high-art, and doesn’t profess to be. If you suspend your disbelief, I Should Be So Lucky offers an uplifting, fun and frenetic night at the theatre.
– Kristy Stott
I Should Be So Lucky runs at Manchester Opera House until Saturday 25 November before a UK tour in 2024. For full UK tour details, please click here.
Set in modern Manchester, in an area beyond Cheetham Hill, is where we lay our scene. The Royal Exchange’s current production of Romeo & Juliet, directed by Nicholai La Barrie, takes a refreshingly defiant and contemporary approach to the much-performed Shakespearean tragedy.
The text breathes with a Mancunian twang and it’s implied that the Capulets and the Montagues are inner-city rival gangs. The text has been tweaked ever so slightly in parts, and Kate Hampson brings a bold, though frayed, matriarch in Lady Capulet, in the absence of Lord Capulet. It’s beautiful and a triumph to hear Shakespeare’s language spoken in a lyrical Mancunian accent and this is further bolstered by choice references to Manchester: the music of Elbow plays in the background of poignant scenes, Romeo’s poison is obtained via a city centre drug deal and the Capulet ball becomes a lively club night, with Juliet leading as MC.
Image credit: Johan Persson
With a true Manc swagger, David Judge is a brilliant menace as Mercutio alongside Adam Fenton’s wonderfully fresh Benvolio. Both hit the mark on character, wit, voice and meaning.
Driving the story of “star-crossed lovers” forward, Conor Glean demonstrates brutish arrogance but naivety in love as Romeo, and Shalisha James-Davis is completely likeable as Juliet, a quick-witted, confident young woman (and 17 – not 14 – at Lammastide in this production) with full autonomy of her body and sexuality. However, La Barrie’s production often evokes laughter from the audience at key moments in the lovers’ text – an example would be during the balcony scene, when Romeo reels back at Juliet’s proposal of marriage, suggesting he is only really interested in a casual fling. Straddling comedy and tragedy, new playful facets in the text are revealed – but only to the detriment of some of the character’s more meaningful moments – as such, it was hard for me to feel any emotional connection with the characters.
Good Teeth’s molten and crackled set design is minimalist but highly effective. An industrial curved metal frame is lowered down to serve as a scaffold for the balcony scene, before it is pulled back up to cast a web-like silhouette on the stage, foreshadowing the lovers’ deaths. Equally as foreboding, a raised platform serves as both the nuptial bed and also as Juliet’s catafalque.
Image credit: Johan Persson
A supernumerary company, made up of members from the Royal Exchange’s Elders and the Young Company, gives this production a strong community feel. Audience members are encouraged to join in with the dancing and whooping during the Capulet party and characters engage directly with the audience during soliloquies.
Although La Barrie’s production of Romeo & Juliet is modern, entertaining and pleasingly accessible, the show does feel somewhat imbalanced – in bringing wit and new meaning to the classic text, the aperture for any emotional connection with the characters is narrowed.
-Kristy Stott
Romeo & Juliet runs at the Royal Exchange Theatre until Saturday 18 November 2023.
Kathy and Stella, two best friends who have been chewed up and spit out by the rest of the world, find solace in the shared passion of their true crime podcast. It seems to be leading them nowhere, until their favourite author is murdered just hours after meeting them. This seeming coincidence catapults them into a world of fame, intrigue, and danger. I couldn’t possibly say anymore without giving it away.
A non-stop onslaught of witty lyrics, catchy tunes, and more silly-yet-compelling twists.
True crime podcasts are firmly in the cultural zeitgeist right now – Disney’s ‘Only Murders in the Building’ has just finished a third season and is already commissioned for a fourth. This show takes that cultural fascination with the macabre and spins it into ridiculous theatrical magic. This new musical from Jon Brittain and Matthew Floyd Jones is everything you could hope for and more. A non-stop onslaught of witty lyrics, catchy tunes, and more silly-yet-compelling twists and turns than an episode of Scooby Doo. It is utterly charming.
The ensemble is perhaps the strongest I’ve ever seen.
Frankly, it’s hard to think of an element of this show that I don’t love. One aspect that stands out above all others though, is the absolute perfection of the cast. The central duo of Kathy (Bronte Barbe) and Stella (Rebekah Hinds) bring the mismatched yet loveable central pairing to life in glorious technicolour, but they never oversell it. Take your best mate and watch the scene-setting number about their friendship with shedding a happy little tear, I dare you.
The ensemble is perhaps the strongest I’ve ever seen. They all deserve a namecheck, but as Felicia (and others), Jodie Jacobs’ vocal strength and impeccable characterisation were a pleasure to watch. Scenes are stolen so often – by so many talented culprits – that it almost becomes a secondary whodunnit.
It is utterly charming.
In a theatrical landscape made up of endless tours of ‘classic’ musicals and ‘edgy’ Shakespeare productions, quality new musicals can feel increasingly difficult to come by. Pay a visit to Kathy and Stella, they’ll soon make you realise that there is plenty of top-tier new work out there.
Unamerican by Peter Kerry and James Quinn. Image credit: Pull Focus Productions.
Upstaged Rating: ⭐⭐⭐⭐
Reviewer: Megan Hyland
After twenty-two sell-out sessions, the much beloved and anticipated JB Shorts has returned to 53Two with yet another outstanding selection of short plays. For those that haven’t had the honour of attending previous performances, JB Shorts began in 2009, created by writers Trevor Suthers and John Chambers, as a festival of short plays written by established TV writers. In 2009, it found success at Joshua Brooks, and since then, continues to find success each year beneath the arches at 53Two.
The perfect selection of emotional and hilarious performances packed with unexpected and striking twists.
This year, JB Shorts opens with Chippy Tea by writer Ella Greenhill, starring Marie Critchley and David Carpenter as two strangers, Cam and Jimmy, that meet outside the chippy. Over a series of evenings, Cam finds that twelve-year-old Jimmy reminds her of something – or rather someone – that she forgot about long ago.
Chippy Tea by Ella Greenhill. Image credit: Pull Focus Productions.
Critchley and Carpenter have a wonderful, charming chemistry that allows the heart and sincerity of Greenhill’s writing to shine, and both give earnest and authentic performances. However, that is not to say that there aren’t laughs to be found here, too, with the two bouncing off each other effortlessly, executing Greenhill’s quips with perfect precision. The piece does momentarily lose this momentum in its transitions, in which we see the chaos and confusion that Jimmy is experiencing, perfectly depicted by Carpenter but feels somewhat misplaced. However, this does nothing to take away from the rawness of the piece and perhaps comes down to personal preference.
Following Chippy Tea is Diane Whitley’s Death by Misadventure, starring Susan McArdle and Haydn Holden as siblings Pamela and Eddie. McArdle and Holden give the performances of the night in this intense, poignant, and impactful piece about two estranged siblings reeling in the aftermath of their mother’s death.
Death by Misadventure is a poignant, and impactful piece about two estranged siblings reeling in the aftermath of their mother’s death.
McArdle is outstanding in her portrayal of Pamela, a vulnerable adult struggling to come to terms with her mother’s death and the weight of a terrible secret. Her performance is so emotionally raw that at times it feels too uncomfortable and intimate to watch as she depicts the ebbs and flows of Pamela’s emotions. As Eddie, Holden perfectly contrasts and compliments McArdle’s performance, portraying an altogether different kind of grief. The way in which Holden breaks down the character of Eddie incrementally throughout is masterful, and overall, this is a piece that will not quickly be forgotten.
Before the break, it’s Peter Bowker’s hilarious The Before & The After, a welcome yet unpredictable revival of our spirits in the form of a man, his police escort, and his nurse just trying to make it through a cancer surgery check-up without any incident. Bowker’s writing is clever, witty, and fresh, with his own unique blend of comedy and sincerity that immediately captures you.
Bowker’s writing is clever, witty, and fresh…
Rosina Carbone stars as nurse Julie, alongside William Fox as patient Paul, and Liam Grunshaw as police escort Andy. The three have an excellent and effortless rapport that allows them to make this absurd situation both seem believable and somewhat familiar, bringing Bowker’s characters to life and providing them with the personality and heart that Bowker intended. It is a shame that at times, Bowker’s writing was almost too clever, with us as the audience needing time to catch up with his quick quips. This unfortunately led to later jokes being lost in the noise of the delayed laughter as people caught on to Bowker’s jokes.
After the break, we were transported from the Heaton Norris of The Before & The After to 1950s Hollywood in James Quinn and Peter Kerry’s Unamerican. Starring James Quinn and Charlotte Linighan as Jim and Nancy, two writers trying to discuss their next pitch, and Will Huntington as Alex the waiter who will do just about anything to interrupt, Unamerican feels reminiscent of a smooth noir classic.
While at times the plot feels difficult to follow with the fast-paced rapport of the cast and Quinn and Linighan’s easy American accents, this does nothing to take away from the fact that it is an overall enjoyable watch that goes down as smoothly as the drinks Jim is downing. The velvety, cool atmosphere that Quinn, Linighan, and Huntington have created is equally serene and suspenseful, gradually building the tension until the final moment where the twist is revealed.
What’s Your Poison could easily be developed into a full-length production…
We are then transported even further back in time to the 1900s with Lindsay Williams’ What’s Your Poison, based on the true story of thousands of people in England being poisoned with arsenic-tainted beer. Disgruntled pub owner, Maudie, is desperate to tempt her customers into giving her ale another go in the aftermath of the epidemic, but grieving widow Clara has other ideas. However, when stock inspector Nathaniel arrives, she turns her frustration elsewhere.
Featuring some fantastic musical performances from the cast, accompanied by Kieran Cunningham on the guitar, What’s Your Poison is eerie, atmospheric, and bitterly funny. Perfectly suited for the exposed bricks of the 53Two arches, you would be amiss to think you weren’t really side-by-side with Maudie in her beer cellar. With a wonderfully dark twist that leaves you wanting more, What’s Your Poison could easily be developed into a full-length production – something that audiences would quickly welcome.
Closing this round of JB Shorts is Jayshree Patel’s Conscious Uncoupling, rightly positioned in the line-up as it leaves you with much to think about and much to say. Focusing on happy, amorous couple Ben and Frankie – played by Dan Sheader and Gabriella Tavini – and their decidedly unhappy counterparts Mollie and Ash – played by Keeley Fitzgerald and David Tag – Conscious Uncoupling is not one to be missed.
Conscious Uncoupling…for me, the standout piece of writing from the night…
Patel’s writing is fantastically clever in its humour, yet strikingly subtle and simplistic in the way in which it reveals such heart-wrenching realisations and twists. The juxtaposition of the two couples is both hilarious and heartbreaking, and the way in which Patel intertwines their lives is genius. This for me, was the standout piece of writing from the night, due to the way that Patel balanced comedy and drama so delicately.
As always, JB Shorts is always a hugely entertaining night out. With the perfect selection of emotional and hilarious performances, packed with unexpected and striking twists, it leaves a lasting impression that only leaves you wanting more. Until the next round!
Craig Revel Horwood as Miss Hannigan. Image credit: Paul Coltas.
Upstaged Rating: ⭐⭐⭐⭐
Any show that boasts top-notch tap dancing and a super-star pooch already has me ‘wrapped around its cute little finger’. With some of the best choreography I’ve seen, a phenomenal cast – masterfully directed by Nikolai Foster – and all the musical numbers you’d expect, this production of Annie is a real treat for everyone, whether you’re a fan of the 1982 film or looking for a fresh and feisty take on the heartwarming classic.
Sitting inside the traditional and ornate setting of the Opera House, you could’ve been whisked back to the 1930s. Set in New York during the Great Depression, the musical tells the story of brave red-haired Annie who has lived at Miss Hannigan’s miserable orphanage for as long as she can remember. With the search for her real parents never very far from her mind, Annie’s luck takes an upturn when she is rescued by the famous billionaire Daddy Warbucks.
Image credit: Paul Coltas
With rich, powerful vocals, expressive movement and paced comedic timing, Craig Revel Horwood captures the slurring, spirituous essence of Miss Hannigan. Alex Bourne commands as billionaire Daddy Warbucks while Amelia Adams shines with sweet vocals and smiles as his personal assistant Grace. Smarmy Rooster, played by Lukin Simmonds, and squeaky Lily, played by Billie-Kay, burst with character, alongside Horwood’s Miss Hannigan, during a suitably sleazy ‘Easy Street’.
However, it’s the young performers that really run this show. With heartfelt vocals and full of cheeky charm, Sharangi Gnanavarathan gives a gutsy performance as Annie – it’s hard to believe this is her first professional stage debut. Truly packing a punch, the ensemble of orphans light up the Opera House stage throughout the show. While, Amber the labradoodle gives a seasoned performance as Sandy, the street dog.
Image credit: Paul Coltas
With a live orchestra belting out the iconic musical score, Colin Richmond’s dreamy Golden Age of Hollywood design and Nick Winston’s stunning choreography, this musical ticks all the boxes. Feelgood, energising and expertly performed, Annie is sure to have you hot-stepping and humming your way out of the theatre. Bet your bottom dollar.
Annie runs in Manchester for two weeks this September – don’t miss out.
-Kristy Stott
Annie runs at Manchester Opera House until Saturday 30 September 2023.
For full disclosure, I think Jesus Christ Superstar is one of the finest musicals ever written (and I was also in a school production of it, which is less important). I know that Lloyd Webber’s contributions to musical theatre in the intervening five decades are controversial (as are his politics) but whatever you think about the man, the powerful score brings the emotion of the days leading up to the crucifixion to a secular audience in a masterful way.
The challenge of staging Jesus Christ Superstar is that it treads an extremely fine line between rock concept album and musical theatre classic. I’m yet to see a rendering that entirely does it justice, but I suspect that tonight’s show will be the most disappointing version I ever see.
Shem Omari James as Judas. Image credit: Paul Coltas
The costume, set (both Tom Scutt) and direction (Timothy Sheader) is non-specific to the point of blandness. The evening is characterised by actors repeatedly missing cues on their own or others’ microphones. The cast is filled with skilled vocalists, but with voices so far outside of their comfort zone that you begin to wonder whether the casting director had ever heard the music before embarking upon auditions. Taken together, this all lends the evening a clumsy, unrehearsed air which is difficult to forgive.
There are occasional highlights – Hannah Richardson as Mary Magdalene is exemplary. Her soulful, characterful vocals suggest that someone in the production knew what they were aiming for, but she is a rose in a crown of thorns and doesn’t have nearly enough stage time to begin redeeming the evening.
As Jesus, Ian Macintosh has some strong vocal moments, but not once did I feel anything approaching a messianic presence from him.
Jesus Christ Superstar relies heavily on Judas as a framing device in the plot, and as a hugely demanding vocal role. In this role, Shem Omari James’ limited experience shows and does him a huge disservice. He is obviously a talented vocalist, but unconfident and unsuited to the vocal style of this role.
Julia Clary as Herod. Image credit: Paul Coltas.
Much is made in the marketing of Julian Clary taking the role of Herod, but here it represents the absolute worst in star casting being used to get bums on seats. I have no doubts about Clairy’s abilities and feel sure that he was capable of more than a breathy whisper devoid of any conviction or personality – hardly suitable for a man damning Christ to crucifixion, even if it is in the form of a campy show tune.
Perhaps the worst aspect though is the choreography (Drew McOnie), which is absolutely abysmal. Again, the dancers are technically proficient, but the moves are so deeply unsuited to the show that it becomes an almost physically jarring experience having to watch them throughout the night. I had cringed multiple times before we made it through the first number.
I tend not to take any notice of marketing copy, but to describe this show as “a reinvention for this millennium” is frankly insulting. There isn’t a single second that shows any conceptual awareness of the 21st century, nor does this strive to be a faithful, technically impressive production. Whether you’re a long-term fan of the show, or looking to be introduced to it for the first time, this version is best avoided at all costs.
-Daniel Shipman
Jesus Christ Superstar runs at The Palace Theatre, Manchester until Saturday 23 September 2023.
Following its sold-out debut in Manchester, perky comedy Baggy Bra has now come to Stockport for the Greater Manchester Fringe. Written by Izzy Searle and taking place in Wales’ most beloved (and most lively) bra shop, it focuses on mother and daughter duo, Barb and Eloise. While their business and relationship seems to be thriving, it appears that Barb and Eloise both have something to get off their chests, and all will be revealed whether they like it or not.
Siân Perry Williams stars as boisterous bra shop owner Barb and dazzles in her role from the moment that she bursts into the bar to welcome the audience into the theatre.
Siân Perry Williams stars as boisterous bra shop owner Barb and dazzles in her role from the moment that she bursts into the bar to welcome the audience into the theatre. In Barb, Izzy Searle has created a character that feels instantly familiar and comforting. Something that Williams has perfectly carried into her performance with her quick wit and expert comedic timing. You can equally imagine Barb with her own sitcom and living down the street from you, which is a testament to both Searle’s fantastic ability to build a character and Williams’ effortless performance.
Image credit: Izzy Searle
Alongside Williams, Devan Woodward stars in the role of her daughter, Eloise, and brings a great deal of heart to the piece. Woodward has a fantastic ability to convey significant emotional depth with little more than an expression, and perfectly balances this with the comedy of the piece to create something truly exceptional. Her chemistry with Williams is apparent and the relationship they have created between Barb and Eloise is one that will strike a chord with many mothers and daughters up and down the country.
In two supporting roles, we have Harriet Eaton as both Eloise’s best friend Tegan and condescending customer, Carrie. It is an exciting opportunity to play with character and personality that Eaton does not pass up, seamlessly switching between the two characters, both are a pleasure to watch. She plays with accents, mannerisms, and expressions expertly, the way in which she builds her relationships with Barb and Eloise in each character is distinct.
And last (but not least), Ray William Butler brings warmth and sensitivity to the piece as Toolshop Ted, the bra shop’s hapless neighbour that just wants to help. Being the only male in Searle’s playful, feminine-focused world, Butler surprises with a fresh perspective on the macho stereotype of a handyman – Ted is anything but. But what he does bring is a gentleness and sympathetic element to his character that fits right into this heartwarming comedy.
Writer Izzy Searle has managed to create a world that feels familiar and comforting to us. Her writing is warm, witty, and playful.
Writer Izzy Searle has managed to create a world that feels familiar and comforting to us. Her writing is warm, witty, and playful, perfectly portraying the tentative and delicate nature of a mother-daughter relationship in which neither wants to hurt the other. Barb’s battle between doing what’s best for Eloise and what’s best for Barb is both heartwarming and bittersweet, and continues to captivate the audience.
Having partnered with Against Breast Cancer and sending some extremely important messages… Baggy Bra only further enamours audiences even after the final scene, making it just as important as it is hilarious.
Unfortunately, at times some of the jokes were missed in the excitement and fast-moving nature of the piece, which was a shame as it meant that some of Searle’s wit was lost and we were taken out of the fantastic world that she has created. This was further influenced by the lack of consistency in the bras that were being described in the piece not matching the bras that were being held onstage. Whether this was intentional or not, it did impact the immersion of the piece when a customer said she wanted a red lace bra and was given a white cotton one that she was over the moon with. However, these are only minor imperfections that do not detract from the warm and fuzzy feeling that Baggy Bra will leave you with. Having partnered with Against Breast Cancer and sending some extremely important messages about checking yourself, Baggy Bra only further enamours audiences even after the final scene, making it just as important as it is hilarious.
-Megan Hyland
Baggy Bra is running at the Squad House until Saturday 29 July, as part of Greater Manchester Fringe 2023.
Written and performed by Jack Holden, Cruise is a romp through Soho of the eighties which is equal parts hilarious and heartbreaking. The audience are pulled into the world of the play by Holden’s self-insert character – a contemporary volunteer at the LGBT+ Switchboard charity – who takes a call from Michael – a now-middle-aged gay man looking to relive his journey from naïve young man through the dancing, drugs, and dodgy bars of gay culture in 1980s London.
Cruise is a romp through Soho of the eighties which is equal parts hilarious and heartbreaking.
Over the course of the show, Michael regales us with tales of Soho which are so fleshed out that you feel you could walk up on stage and go on a night out with him. Of course, this being a gay show set in the eighties, it is inevitable that the spectre of HIV/AIDS should tragically end up increasingly forming the centre of the plot as we watch the decade progress. But despite this, the message in Cruise remains one of positivity and optimism in the face of self-destruction and disaster.
Image credit: Pamela Raith
In terms of the production itself, there is a lot to love here. Bronagh Lagan’s punchy, pacy direction ensures that the 100 minutes straight-through running time flies by whilst you barely even notice. Holden’s only companion on stage is the musical accompaniment of John Patrick Elliott, whose scene-setting textures range from the cabaret piano of dingy drag bars to ecstasy fuelled Chicago House club nights.
Image credit: Pamela Raith
Nick Corrall’s stage design is sparse but impressively utilised, consisting mainly of a rotating platform with a skeletal metal structure on. From these humble elements, Holden sets out to immerse us in Michael’s world. Ultimately though, the success or failure of Cruise hinges on Holden’s performance and he does not disappoint. Proving to be a master of multi-roling, he seamlessly flits through a wide and varied cast of camp characters with little more than a slight physical affectation and the lilt of an accent.
…theatre fans of all ages will find a lot to love here. This is gold standard theatre.
Between the evocative accuracy of the staging and the award-worthy skill of Holden’s performance, theatre fans of all ages will find a lot to love here. This is gold standard theatre.
– Daniel Shipman
Cruise runs at HOME Manchester until 12 August 2023.
One Night in Trans Vegas is the culmination of MIF’s mini-Trans Vegas takeover, foregrounding the vital and boundary-pushing work of trans artists across Manchester and further afield.
The evening is hosted beautifully by Kate O’Donnell, who I’d have happily watched doing a two-hour show of her own, such is her wit and magnetic stage persona.
This was followed by an opening stand-up act from Travis Alabanza, which set the tone for the risqué humour of the evening.
Justin Vivian Bond then takes to the stage and proceeds to split their stage time pretty evenly between aimless but deeply entertaining anecdotes, and gorgeous, sultry renditions of a wide variety of songs.
For most artists, the pre-song banter is a painful necessity – few manage more than a couple of mumbled thank yous. That is far from the case here though. Vivian Bond has perfected the audience chatter to the point of becoming its own art form. Their anecdotes are funny, emotional, and most of all hugely evocative of a life lived in (and for) show business.
From righteous rants about how Morrissey was better when he was all about feelings and wasn’t a fascist, to tales of their upbringing and myriad inspirations – Vivian Bond covers it all here.
Don’t let this distract from the crown jewel of the evening though – which is the voice. Spanning covers of PJ Harvey, Joni Mitchell, Sinead O’Connor, and Kate Bush. Their voice is showing the scars of age but they are worn with pride, only adding to the endearing character which has become Vivian Bond’s trademark.
Decades into their career, Justin Vivian Bond shows no signs of slowing down, and tonight only serves to reaffirm their commitment to, and talent for, the stage. Long may she reign.
Winner of the inaugural Bruntwood International Prize in 2019, Kimber Lee’s untitled f*ck m*ss s**gon play is a fast-paced, fiercely funny and stinging satirical response to the cliched representation of Asian women in colonialist dramas.
Laugh-out-loud funny and ferociously confrontational
With a running time of just under two hours, the show races through the tropes and stereotypes that have played out on stage and in films and television throughout the ages. Directed by Roy Alexander Weise, the play opens in 1906 Japan, the setting for Madama Butterfly, and the work that influenced Miss Saigon, the musical blasted in its title.
At the centre of the play is young, exotic peasant Kim. She is told to get over the local lad that sells fish and ordered to get together with an American so that she may live a more prosperous life. Cue a GI called Clark (who hilariously talks using Japanese-sounding words like origami and Haribo), who arrives on a ship and unknowingly marries Kim, in a ceremony performed by her overbearing mother, Rosie. Kim and Clark spend the night together before he abandons her, only to return four years later with his wife, Evelyn, to claim his child. Left alone, Kim stabs herself.
Looping through this same story again and again, at different points in time but always with the same ending, we are treated to pastiches of South Pacific and M*A*S*H before a more confrontational Kim emerges in the present day.
This play is superb in the way it never tries to tell people how to think or act.
Kimber Lee cleverly sets the second part of the play up as a dinner party where the impact of these cultural narratives and racial stereotypes are considered, not just in art but also in real life. Balanced and powerfully performed, perspectives include denial and assimilation alongside blazing resistance – and this play is superb in the way it never tries to tell people how to think or act.
Laugh-out-loud funny and ferociously confrontational, an excellent ensemble – led by the brilliant Mei Mac as Kim – bring a truly important and entertaining play to life. Highly recommended.
