Reviews Written by J

Stereophonic is an unbelievably well-constructed production, synthesising live music with impassioned acting. Set in the 1970s, it follows the recording studio sessions of a fictional band. Stereophonic has already garnered great acclaim on Broadway (breaking the record for most Tony nominations for a play) and it has now transfered to the West End's Duke of York Theatre.  The undoubted star of the show is no individual cast member, but rather Will Butler's music, which really transports us into the 70s era. Having listened to the recordings at home beforehand, Stereophonic's music is easily appreciated out of context. Getting to hear it played live by the cast is when it truly comes alive. For me one of the main draws of the show was Zachary Hart, having seen him in Thomas Ostermeier's The Seagull earlier in the year. He does not disappoint here, initially making a fantastic coke-head drunkard, who then turns into a Gwyneth Paltrow Goop-style clean eating spiritualist....

The Godless War is a monumental one-person play, citing Homer and Shakespeare as inspirations. Written by and starring Arif Silverman, and directed by Kazeem Akinsaya and Neha Hemachandra, The Godless War is at the Bread and Roses a small but mighty (and thankfully airconditioned, given the 30 degree heat) pub theatre.  The Godless War as a production is no small feat. A solo show, entirely verse spoken, it is clear Silverman is both a highly ambitious writer and performer. Silverman's lyrical writing comes to life when recited aloud, with its frenzied use of fricatives, sibilance, and plosives. As a performer, he often makes eye contact with us, and in one instance interacts directly with audience member; it feels like it crosses the line into university lecture, or the impassioned speech of a politician at times. The Godless war is not just engaging, but you feel almost a sense of responsibility to pay attention to every word uttered, particularly in combination with the intimacy...

Hamlet Hail to the Thief is an ingenious amalgamation of ideas. Co-creators and directors Christine Jones and Steven Hoggett have managed to take one of Shakespeare's longest plays, condense it into a slick 1 hour 45 minutes, and inject a new intensity by utilising the music of Radiohead.  The Hail to the Thief album has been effectively rearranged and decontectualised by Thom Yorke himself, with various elements of songs are intricately woven throughout the play, rather than slapping unaltered pieces alongside the play. The vocal harmonies of  2 + 2 = 5 , or the glockenspiel(?) melodies of S it Down, Stand Up , for example, taking on a renewed, incredibly eerie role. There is an authenticity to Hamlet Hail to the Thief, and it in no way feels like vanity project. Even not having Radiohead themselves perform allows for the music to take more of a backseat when it needs to, and fulfill more of a soundtrack role.  Underneath all of the trickery, Samu...