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Welcome to Rachel Reviewed!

Hey, I am Rachel, a 20-something-year-old Ghanaian-Londoner! I’ve finally decided to create a blog, showcasing all things to do with theatre, music, books, and travel! It is quite a lot, but these are the hobbies I have loved over the years!

Theatre

My first experience of theatre was in secondary school studying Performing Arts. I was the student who wanted to emulate the lifestyle I had seen in the High School Musical movies – randomly bursting into song and dance. At 15, we went on a school trip to see ‘Wicked’ which further made me fall in love with the theatre. Post-pandemic, I have been fortunate enough to go and watch some brilliant shows on and off West End. I love a showstopping musical with dazzling choreography, just as much as a dramatic play with minor props and an intense script! I have written reviews, created Instagram Reels/TikTok’s and even partied at a Musical Theatre Rave. If you want to read and learn more about theatre – keep an eye on this blog!

Music

Can you remember your first concert/festival? I saw an artist named Daley at KOKO in Camden. It was my favourite memory, and I was in awe of how great they sounded live! I shortly discovered festivals, only ever attending non-camping ones in London. Leaving a Calvin Harris set covered in dust, headbanging in the rain to Chase & Status, hugging strangers during Major Lazer – a dream (for some!). The pandemic had put a stop to many big festivals I loved and attended regularly – SW4, Lovebox – I will never forget you! But I vow to get back into it. Music has always been a huge part of my life. On my previous blog, I shared songs that I had On Repeat This Week – this included throwback tracks, songs from adverts, and recommended songs! So, I will be bringing that feature back on Rachel Reviewed.

Books

I often wonder how I was able to finish books in one day. With the rise of social media and our phones grabbing most of our attention, I have not had the best of luck getting back into reading. However, I am determined to! I remember being so excited about visiting libraries and taking part in the Summer Reading challenges. Jacqueline Wilson became a strong favourite, as did Judy Blume – I loved these coming-of-age novels. I’m keen to read more books from Black authors. After reading, Homegoing by Yaa Gyasi, which shared a tragic yet beautiful story of Ghanaian ancestry, I was amazed at how wonderful Gyasi had written this. My Goodreads list is ever-growing, and I hope to share more of my thoughts here!

Travel

My all-time favourite hobby is travelling, and I cannot wait to do more of it! I want to share my favourite destinations, travel tips and reviews of all the places I have flown to (or taken a train, staycations are the new thing, right?!).

I also want to share advice on travelling as a lone female. I was grateful for all the blogs I came across that listed handy tips for solo travellers and would love to do the same! I have already uploaded a few highlights from my trips to Curacao and Lisbon – check them out here!

You can find me on:

Instagram @rachelreviewed

TikTok @rachelreviewed

Twitter @rachelreviewed

Or contact via email at rachelreviewed @ gmail.com

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NEWS: CLUB NVRLND THE IMMERSIVE NIGHTCLUB MUSICAL TO TRANSFER TO THE VAULTS, WATERLOO.

Following last year’s sold-out Edinburgh Festival run, producers David Adkin, RJG Productions, and Midnight Theatricals in association with NewYorkRep are delighted to announce that Club NVRLND, the immersive nightclub phenomenon, will transfer to The Vaults, Waterloo from Saturday 14 November 2026 until Saturday 31 January 2027. 

 

Conceived and directed by Steven Kunis (Hir, Straight White Men), with a book by Olivier Award-winning Jack Holden (Cruise, KENREX), Club NVRLND is a high-energy immersive musical, transforming The Vaults into Peter Pan’s underground nightclub, where audiences become part of the party revelling in nostalgia, exhilaration and youthful abandon. Set to the biggest 2000s anthems by legends including Britney Spears, Rihanna, P!nk, Outkast, Coldplay and many more, audiences are invited to leave their worries at the door and lose themselves on the dancefloor!

 

Casting to be announced. 

 

Welcome to NVRLND, where the party goes straight on till morning.

 

​When runaway bride Wendy Darling stumbles back into Peter’s world, she’s forced to question everything she thought she wanted. Offered the chance to rewrite her story, Wendy’s thrown back into a world of intoxicating fun and reckless adventure.

 

Club NVRLND premiered at the 2025 Edinburgh Fringe Festival, where it sold out every performance. This nightclub musical event is an irreverent, high-energy, immersive party where fairy dust is in the air, the drinks flow, and the night is always young.

 

The production has choreography by Ashley Nottingham, executive music production and arrangements by Hugo Dunn-Vereker, set and costume design by Suzu Sakai, lighting design by Oliver Award-nominee Robbie Butler, sound design by Sound Quiet Time, casting direction by Lucy Casson, music production & arrangements by Liam James, Kieran Smith & Gregor Philp post-production & mastering by Robin Sutherland and vocal arrangements by Simon Nathan, music supervision by Colm O’Regan with Aida Rocci as creative producer.

 

Club NVRLND is produced by David Adkin, RJG Productions, andMidnight Theatricals in association with NewYorkRep and is presented by arrangement with Great Ormond Street Hospital Children’s Charity and Concord Theatricals Ltd.

 

Website: ClubNVRLND.com

Instagram/TikTok/YouTube: @ClubNVRLND

Facebook: @CLUB-NVRLND

 

LISTINGS INFORMATION

 

Club NVRLND

14 November 2026 – 31 January 2027

 

The Vaults

Leake Street

SE1 7NN

 

Box Office: 0207 401 9603

www.clubnvrlnd.com
Tickets: from £30

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HEADLONG ANNOUNCE PRINCIPAL CAST & CREATIVES FOR THE UPCOMING UK TOUR OF AUGUST WILSON’S ‘FENCES’

A BRAND-NEW PRODUCTION OF AUGUST WILSON’S FENCES DIRECTED BY DANIEL BAILEY WILL TOUR THE UK FROM SEPTEMBER CO-PRODUCED WITH LEEDS PLAYHOUSE, LYRIC HAMMERSMITH THEATRE & HOME MANCHESTER.

Pioneering theatre company Headlong have announced today the first details of cast for their brand new production of August Wilson’s Fences, touring the UK this autumn. The principal cast will include Ray Fearon (Othello- RSC, Fleabag – BBC, Coronation Street – ITV) as Troy, Madeline Appiah (In the Long Run – Sky, The Winter’s Tale – RSC, Tina Turner The Musical – West End) as Rose, Michael Ahomka-Lindsay (Choir Boy – Theatre Royal Stratford East & Bristol Old Vic, Cabaret – Kit Kat Club, Playhouse Theatre) as Lyons and Josh Tedeku (Boarders – BBC, Supacell – Netflix) as Cory.

Fences will be directed by award-winning director Daniel Bailey (Red Pitch), with Aundrea Fudge (Voice and Dialect) and Amber Ruby (Associate Director) also in the creative team. It is a co-production with Leeds Playhouse, Lyric Hammersmith Theatre and HOME Manchester, marking the first major revival in over a decade of this American blockbuster.

Fences will open at Leeds Playhouse from Friday 11 – Saturday 26 September, before touring to Headlong Associate Partner Oxford Playhouse (Wed 30 Sep – Sat 3 Oct), Lyric Hammersmith Theatre (Tue 6 – Sat 31 Oct), HOME Manchester (Tue 3 – Sat 7 Nov), and Nottingham Playhouse (Tue 10 – Sat 14 Nov).

Ray Fearon said: “I’m so excited to be part of Fences. August Wilson is one of the greatest playwrights of the 20th century, I’ve always been drawn to his writing. Troy is such a rich, complex character, and it’s a real joy to get the chance to play him. Fences is one of those plays which stays with you, it captures a powerful honesty about pride, dreams and missed opportunities which resonates deeply. I’m really looking forward to getting into the room with Daniel Bailey and this company and sharing it with audiences across the UK, especially alongside the brilliant Madeline Appiah.

Madeline Appiah added: “Anyone who knows me will know what this moment means to me. I first discovered Fences in drama school and fell in love with it and with the role of Rose. The chance to now play her is truly a dream. I’m so excited to get working on Daniel Bailey’s exciting vision for this powerful piece. Daniel is one of the most important directors of our time and I am thrilled to be working with him. I can’t wait to get into rehearsals with this incredible company and unlock and explore the many themes and layers of this play.”

The creative team for Fences includes Set & Costume Designer Lily Arnold, Composer and Sound Designer Khalil Madovi, Lighting Designer Jai Morjaria, Movement Director Shelley Maxwell, Fight Director Kev McCurdy, Design Associate Emily King, Casting Director Heather Basten CDG, Voice and Dialect Aundrea Fudge and Associate Director Amber Ruby.

Director Daniel Bailey said: “It’s a proper privilege to welcome Ray, Madeline, Michael and Josh to the Fences Family. I can’t wait to realise this shows hidden gems with artists right at the top of their game. I’ve watched them enchant audiences and now we have the opportunity to do that together.”

From August Wilson, one of one of America’s most influential 20th century writers, this landmark play is a story of ambition for our time, exploring ever-present themes including masculinity, motherhood, music and the abiding hope for a different future. Troy Maxson has cheated death once, but the past keeps closing in. On Pittsburgh’s streets, he cracks jokes and spins stories, yet at home, the pressure is building. His wife, Rose holds the family together. She sees a changing world and hopes their son Cory might step into it with more freedom than Troy ever had. But when dreams collide, and tempers flare, the Maxson’s edge towards a reckoning that could reshape everything they know.

Lisa Maguire of Headlong said: “It means so much to be putting August Wilson’s work front and centre for audiences across the country. This extraordinary play encompasses so much of what drives us at Headlong – breathing new life into work that deserves its place in the canon, whilst asking our audiences to think and feel deeply about the world we share. 

Despite being written over 40 years ago, the central themes are still all too resonant today. From the streets of Pittsburgh to our own backyard here in the UK – how much can we say has really changed? We’re thrilled to be working with Daniel on his take on this classic.”

Headlong and Leeds Playhouse have forged a highly successful Associate Partnership during Holly Race Roughan’s tenure, collaborating on a string of critically acclaimed productions including Henry V, The House Party, A Raisin in the Sun, A Midsummer Night’s Dream and August Wilson’s Jitney. This production also sees Headlong and Leeds Playhouse reuniting with long-term collaborators the Lyric Hammersmith Theatre after their joint success in 2024 of A Raisin in the Sun, and with HOME in Manchester after their hit The House Party. Headlong will also be returning to their Associate Partner Oxford Playhouse, with their third major touring show at Oxford Playhouse since Headlong relocated to the city.

For more information and tickets, visit headlong.co.uk.

This production is generously supported by Charles Holloway OBE.

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LESLIE ODOM, JR. to perform solo concert at London Palladium

TONY & GRAMMY-WINNING ARTIST 

LESLIE ODOM, JR.

TO PERFORM SOLO CONCERT AT 

LONDON PALLADIUM

ON SATURDAY 31 OCTOBER 2026, 7.30PM

TICKETS ON SALE 12 JUNE

Producers Darren Bell and Cuffe & Taylor are thrilled to announce that Tony and Grammy Award-winning artist and one of today’s most celebrated performers, LESLIE ODOM, JR. will perform live in concert at the London Palladium on Saturday 31 October 2026 at 7.30pm. Tickets on sale 12 June 2026. 

LESLIE ODOM, JR. brings his extraordinary voice, magnetic stage presence, and genre-spanning artistry to the stage for an evening of music that is soulful, sophisticated, and deeply moving. This captivating concert features selections from the American Songbook, reimagined pop favourites, and beloved musical theatre classics — including special performances of songs from Hamilton, the Broadway phenomenon that earned Odom a Tony Award for his iconic portrayal of Aaron Burr.

With his signature charm, stunning vocals, and heartfelt storytelling, Leslie Odom, Jr. creates a live experience that is intimate, inspiring, and unforgettable.

LESLIE ODOM, JR. is a Tony and Grammy Award-winning, three-time Emmy Award nominee, two-time Academy Award nominee, acclaimed songwriter, actor, producer, and New York Times bestselling author whose work continues to span Broadway, film, television, music, and publishing.

Best known for his groundbreaking portrayal of Aaron Burr in the Pulitzer Prize-winning Broadway phenomenon Hamilton, Odom made a highly anticipated return to the role in September 2025, nine years after his original departure from the production. His limited engagement became a major cultural and commercial event, helping Hamilton achieve the highest-grossing performances in the show’s ten-year Broadway history.

Odom’s celebrated return to Broadway first began in 2023 with the critically acclaimed revival of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch by legendary playwright Ossie Davis, which he produced alongside Nicolette Robinson and producer Jeffrey Richards. The production opened to widespread acclaim, earning six Tony Award nominations and one win, while Odom himself received a Tony nomination for his performance. The production was later recorded and broadcast nationally as part of Great Performances on PBS.

Across film and television, Odom has continued to deliver standout performances, most notably as legendary soul singer Sam Cooke in One Night in Miami…, directed by Regina King. His acclaimed performance, alongside the original song “Speak Now,” earned widespread recognition and multiple award nominations.

His extensive screen credits also include Glass Onion: A Knives Out Mystery for Netflix, directed by Rian Johnson; The Many Saints of Newark, the feature prequel to HBO’s The Sopranos; Central Park; Hamiltonon Disney+; The Tony Awards Present: Broadway’s Back! on CBS; Abbott Elementary; The Proud Family: Louder and Prouder; and Harriet, among many others.

Beyond the stage and screen, Odom is also a bestselling author. His first book, Failing Up: How to Take Risks, Aim Higher and Never Stop Learning, was released in 2018 and later published in paperback in 2025. In 2023, Odom and Nicolette Robinson co-authored the children’s book I Love You More Than You’ll Ever Know, which debuted at No. 7 on the New York Times bestseller list. 

Odom has released six full-length albums. His sixth and first-ever live album, An Offering: Live at Speakeasy Studios, was released on October 17, 2025.

LISTINGS INFORMATION 

LESLIE ODOM, JR. in Concert 

Saturday 31 October 2026, 7.30pm 

London Palladium

8 Argyll St

London 

W1F 7TF

To book: https://lwtheatres.co.uk/whats-on


Instagram: @leslieodomjr/ @darrenbellproductions/ @cuffeandtaylor

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REVIEW: The P Word – Bush Theatre

🎭 The P Word
📍Bush Theatre
🎟️ Gifted
⭐⭐⭐⭐⭐

Waleed Akhtar’s Olivier Award-winning play returns to the Bush Theatre after four years – and it’s just as powerful as I remember.

The P Word follows two gay Pakistani men as their worlds collide. We meet Zafar (Esh Alladi), a gay man who flees homophobic persecution in Pakistan after his boyfriend is tragically murdered. Ahktar performs as Bilal (though he prefers Billy!), a Pakistani-Londoner who spends his time at the gym and constantly swiping on apps for hook-ups, mostly with white men.

Directed by Anthony Simpson-Pike, the production draws upon Bilal and Zafar’s parallel lives. As the characters narrate their journeys directly to the audience, Max John’s set design wonderfully portrays their separate lives, with a split circular stage. Zafar shares the harrowing experiences he faced back home, his estranged family, and the reality of the UK’s hostile asylum system. Bilal, meanwhile, boasts about the men he gets with, though we learn he’s never had a long-term relationship and hints at an internalised shame.

Photo by Craig Fuller

We’re at a nightclub during Pride, where Zafar is attempting to integrate into the LGBTQ+ community, while Bilal is partying and getting drunk with colleagues. The pair have an awkward encounter that leads to an unexpected yet endearing end to their night. From this point on, we watch their friendship blossom. Bilal takes Zafar sightseeing around London, exhibitions, and cinemas, while Zafar crafts handmade items for Bilal and reintroduces him to his love of Bollywood dramas. At just 90 minutes, the play explores themes like homophobia, racism, love and identity. The pair seem more similar than they think; both open up about family, religion, being queer and Pakistani.

Akhtar’s writing is incredibly witty, with dialogue that feels so authentic, paired with the engaging performances from Ahktar and Alladi. I loved the banter between them, especially during the scenes where Bilal teaches Zafar modern slang. Akhtar performs Bilal with humour, charisma and a ‘tough-guy’ bravado. He uses self-deprecating humour about his own culture, often using derogatory terms, alluding to a sense of insecurity.

Photo by Craig Fuller

Alladi is a wonderful storyteller, delivering a performance packed with real emotion. He carries the weight of trauma and grief, and yet remains warm, hopeful, and completely selfless. It is genuinely both moving and heartbreaking to watch. Together, Alladi and Akhtar are outstanding, with magnetic chemistry and a natural stage presence. The production draws you in, and I found myself emotionally invested in their beautiful relationship. There are plenty of hilarious moments, with the duo showcasing their brilliant comedic timing. I also appreciated the balance of the quieter, more vulnerable moments. Elliot Grigg’s lighting design makes subtle transitions to evoke the tonal shifts. Throughout the play, we are reminded of the difficult experiences queer asylum seekers face. The story remains pertinent, and I noticed the script has had small updates, with scene and dialogue changes, reflecting recent events and the overall state of our society.

Photo by Craig Fuller

While I appreciated the pace of Bilal and Zafar’s friendship developing into something more, I found myself hoping there had been more time to explore their romantic relationship. Nonetheless, it was still beautiful to watch their connection grow! The play acknowledges that there isn’t always a happy, rom-com-style ending, highlighting that not all LGBTQ+ asylum seekers have the same opportunities as Zafar.

Overall, The P Word is captivating! It remains a powerful, thought-provoking, heartfelt and real play. I am so happy it’s back on stage. I left with goosebumps, grateful to have watched this brilliant cast & creative team share an important story about the realities LGBTQ+ asylum seekers face. You will laugh, you may even cry, but you will leave feeling moved.

The P Word is playing at Bush Theare until 27 June

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I’m Every Woman – The Chaka Khan Musical to Transfer to Troubadour Wembley Park Theatre!

Producer Adrian Grant is delighted to announce that I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL will transfer to Troubadour Wembley Park Theatre from 22 July – 27 September for a limited season starring multi-platinum recording artist and award-winning actress Alexandra Burke* (The X Factor, Sister Act, The Bodyguard, Curfew) as Chaka Khan. Press night will be on 4 August 2026.


Tickets on sale now here.

The musical made its premiere earlier this year with performances at Hackney Empire, Belgrade Theatre, Coventry and the Congress Theatre, Eastbourne.

Further casting for the production will be announced in due course. 

Chaka Khan said “This musical is more than my story. It’s every woman’s story. It’s about finding your voice, owning your truth, and rising through everything life throws at you. I’m honored to see my journey brought to the stage with such heart, strength, and authenticity.”

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL is the powerful and inspiring life story of the award-winning, multi-platinum selling, global superstar herself. 

The new musical reveals the woman behind the icon and charts her rise to stardom. It has a book by Nia T. Hill, direction by Racky Plews, music supervision by Mark Crossland, choreography by Ebony Clarke, casting by Debbie O’Brien, production management by Toby P Darvill, and general management by Emily Obasohan.

The fame, the fire, the fight – this is her story. I’m Every Woman brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power – a celebration of the woman behind the legend.      

I’M EVERY WOMAN features Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through the Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends. 

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL is produced by Adrian Grant Productions in association with Chaka Khan. Co-Producers include Tammy Michelle for Chaka Khan Enterprises, Nia T. Hill and Michael Derek Thomas for ODX Studios; Willette Murphy Klausner for WMK Productions. For Adrian Grant Productions: Emily Obasohan, Mahben Quddus and Dave Lumby.

Website: www.imeverywomanthemusical.com

Instagram: @imeverywomanthemusical

TikTok: @imeverywomanthemusical

Facebook: @imeverywomanthemusical

*Alexandra will not perform on 22, 23, 25 (matinee), 30 (evening) July, 1, 6 (evening), 8 (matinee), 13 (evening), 15 (matinee), 20 (evening), 22 (matinee), 27 (evening), 29 (matinee) August, 3 (evening), 5 (matinee), 10 (evening), 12 (matinee), 17 (evening), 19 (matinee), 24 (evening) and 26 (matinee) September

2026 LISTINGS INFORMATION

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL

Running time: 2 hours 20 minutes plus an interval 

22 July – 27 September (preview performances 22 – 23 July) 

Troubadour Wembley Park Theatre

3 Fulton Rd

Wembley Park

London HA9 0SP

Tickets on sale now
Website: https://ticketing.kxtickets.com/shop/tickets/series/IEWOMAN

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REVIEW: Choir Boy – Stratford East

🎭Choir Boy
📍Stratford East
⭐⭐⭐⭐⭐

The story

Set in the prestigious Charles R. Drew Prep School for Boys, Tarrell Alvin McCraney’s coming-of-age drama follows five young Black men as they navigate masculinity, sexuality, identity, and the pressures of belonging within a rigid, traditional institution.

The show focuses on the school’s choir lead, Pharus (Terique Jarrett), a gifted singer and young queer man who carries himself with pride. However, following an incident in which a fellow student hurls homophobic slurs at Pharus, we see his confidence falter, and the dynamics among the students shift. The characters have intense conversations, debates, and even confrontations, questioning things like their legacy, beliefs and their belonging at the school.

With gospel hymns, creative direction and thought-provoking dialogue, Choir Boy is a beautiful, candid exploration of Black queer masculinity.

My thoughts

 I must begin by applauding the flawless acapella performances by the incredible cast. With musical direction & arrangement by Femi Temowo, the cast performs gospel and spiritual hymns throughout the play. The blend of harmonies was remarkable, capturing our attention right away. Music has always been used as a way to express ourselves. In Choir Boy, I enjoyed how each character was given the space to convey their unspoken emotions, be it frustration, hurt, joy, or guilt, through movement and music.

There is a tense debate among the students about the meaning of spirituals, the songs by enslaved African Americans. The characters hold differing views on whether the music helped their ancestors find routes to freedom or if it was used as a way to survive. McCraney examines the historical and cultural significance of the spirituals and what it means to the character’s own identity and faith.

Directed by Nancy Medina, the production has a simple, wooden set design (Max Johns), with smooth transitions between the various locations within the school. This simplicity allows us to focus fully on the characters and their stories.

Terique Jarrett is superb in the role of Pharus. Jarrett showcases great comic delivery while also blessing the stage with his powerful voice. He expertly captures the duality of a young man who refuses to let bullies shrink his personality, while also portraying a vulnerable character who carries hurt, and is often in defence mode (his clapbacks were super quick!). In a scene with Headmaster Marrow (Daon Broni), Pharus’s face visibly lights up as he speaks about what the choir means to him. We see just how much singing serves as escapism for Pharus within an environment that tries to confine him. This was an interesting connection to the earlier discussion about spirituals and their meaning.


Michael Ahomka-Lindsay is a standout as David, whose vocals stunned the entire audience. His solo genuinely left me with goosebumps! Ahomka-Lindsay portrays David with soft and quiet determination. An aspiring pastor, we witness the pressure David faces as the first in his family to attend such a prestigious school. Rabi Kondé delivers a compelling performance as Bobby, the headmaster’s nephew, whose bigotry is mixed with grief for his mother. Khalid Daley brings an abundance of charisma to JR, who is struggling academically yet still carries this optimistic energy. Freddie MacBruce plays AJ, Pharus’s roommate, who often supports Pharus. AJ is played with a calm presence and a hint of cheekiness. I adored their conversations as both characters portrayed a genuine, fun friendship.

The parallel phone calls scene subtly highlights the contrasts between the characters’ lives at home – the different expectations and relationships with their family. There’s intimate movement direction (Ingrid Mackinnon) with the characters leaning on or holding one another up. One poignant scene sees the students physically support a grieving Bobby, and it was honestly a powerful display of brotherhood.

Choir Boy brilliantly explores the intersection of Black masculinity, sexuality, faith and how this manifests in the young men. The play acknowledges the courage it takes to be open and have self-acceptance. McCraney crafts nuanced characters, and the script feels incredibly authentic. Paired with Medina’s expressive direction, the chemistry between the actors is outstanding. The playful banter and sharp comebacks add so much humour, but also make their relationships feel real. 

With exceptional performances, beautiful music and wonderful writing, Choir Boy is a fantastic piece of theatre that I won’t forget! 

Choir Boy is playing at Stratford East until 25 April!

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REVIEW: Bitch Boxer – Arcola Theatre

🎭 Bitch Boxer
📍Arcola Theatre
🎟️Gifted
⭐⭐⭐⭐⭐

Charlie Josephine’s smash hit play returns to London following a critically-acclaimed run at Watford Palace Theatre last year.

The story

The play takes place in 2012 London, ahead of the London Olympics in Stratford, where we meet aspiring boxer, Chloe Jackson (wonderfully played by Jodie Campbell). 2012 is a pivotal year in sports – women were finally allowed to compete in the Olympic boxing ring! It’s a triumphant moment for Chloe as it’s an opportunity she’s been training for her whole life. 

Chloe speaks fondly about her father, his constant support, and the bond they share over boxing. When he suddenly passes away, Chloe puts her entire focus into boxing, rather than allowing herself to mourn. She’s convinced that showing vulnerability may cost her the dream she and her father shared.

The play explores grief, ambitions, love and societal expectations. Chloe goes through a rigorous training schedule, a new relationship and the loss of her father. All while balancing the pressure of this Olympic dream.

Photo by Ross Kernahan

My thoughts

From the moment she steps on stage, Jodie Campbell captivates the entire room. The opening monologue carries a fun, charismatic energy that immediately commands our attention. Paired with Campbell’s brilliant comic delivery and conversational storytelling, it genuinely felt like we were listening to a friend. She showcases an impressive versatility, seamlessly shifting between characters, from her girlfriend, to her coach. Chloe feels like a character we all know – playful, confident, swears a lot, and seems like a great person to go clubbing with!

It’s interesting to learn that Chloe didn’t cry at her father’s funeral, and while we all grieve differently, in Chloe’s case, it’s feels as though she must prove that she is tough. Behind the bravado, there is a softer side to Chloe, which we see when she’s with her girlfriend, Jamie, who even says, “I like when you’re ill, because you let your guard down”.

Photo by Ross Kernahan

Directed by Prime Isaac, the production maintains high momentum and tension throughout. Campbell utilises the entire stage (designed by Hazel Low), circling the boxing ring, and ducking in and out of the ropes. Isaac’s direction also maximises the lighting and sound design, which elevates the storytelling.

Mwen’s sound design transports us between training gyms, nightclubs (shoutout to the nostalgic playlist!) and boxing matches, while Jessie Addinall’s lighting transitions are so precise! Whether it was capturing the intense fight scenes or Chloe’s moments of reflection, the lighting was perfectly in sync with the story.

Mateus Daniel’s movement direction was incredible, particularly for showcasing authentic boxing techniques. Campbell’s jabs, hooks and uppercuts are sharply choreographed, her physicality poised and convincing. We became spectators, cheering her on.

Photo by Ross Kernahan

Charlie Josephine balances humour with an exploration of the pressures Chloe, a young Black queer woman, faces. The show sparks an interesting discussion – how should we mourn? Who is allowed to be seen as fragile? Chloe’s reluctance to show vulnerability feels rooted in the expectations placed on her identity. Society tends to expect strength or resilience from Black women in particular, often denying them the space to be vulnerable, or, in this story, publicly mourn.

Overall, Bitch Boxer is funny, intense and unique exploration into loss, ambition and the pressure to remain strong. This production boasts a fantastic creative team and a standout performance by Jodie Campbell – it’s not one to miss!

Bitch Boxer is playing Arcola Theatre until 14 March!

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REVIEW: Talking People – Underbelly Boulevard Soho

🎭 Talking People
📍Underbelly Boulevard Soho
🎟️ Gifted
⭐⭐⭐⭐⭐

I was invited to Talking People, an improvisational show directed by Richard Vincent and produced by Elina Saleh. The scenarios focus on relationship dynamics, created through audience participation. Each show offers a unique experience, as no performance is the same!

The story

We are introduced to 5 characters: Tony, Ria, Carly, and Zoe (played by Will Merrick, Aaliyah Odoffin, Elisha Applebaum, and Amelia Clarkson), who have been friends since university. Now, in their late twenties, their friendship dynamic is disrupted by Tony’s new relationship with John (Alexander Theo). Tony’s friends clearly dislike John and have strong opinions about the relationship, including intimate details. Meanwhile, John believes the group are using Tony for his money. It’s a funny and surprising evening exploring the dynamics of friendships and how people are perceived.

My thoughts

In the first act, Richard remains on stage, asking the characters probing questions. Richard (and the audience) control who hears what, meaning some characters are unaware of the conversations happening.

Richard has a bag of prompts and playing cards that audience members can draw at random. The cards contain key details that determine the circumstances of the relationships, such as ‘who loves their partner more?’. This was a fantastic storytelling tool that allowed the actors to showcase their impressive improvisation skills. They were quick to craft believable backstories and develop their characters. With improv, it’s not just the quick thinking, but also the ability to bounce off one another, using all the small details to create the drama, which we saw during the second act.

I attended a Talking People show back in the summer and was amazed by the concept. The show incorporates audience participation in a way we don’t always see, and it works brilliantly! The floor is open for the audience to ask the characters questions directly, testing the actors’ improvisational skills. These ranged from playful (who is the weak link in the friendship?) to deeper questions (how much do you love your partner?). The overall responses were great; we were cheering, laughing, and snapping our fingers.

The second act is entirely improvised. The scene is Zoe’s birthday, as she hosts pre-drinks before the group heads out for a fancy sushi dinner. Odoffin, Applebaum and Clarkson are natural performers, portraying a typical friendship group. As there’s no structure in the second act, it can be easy for one or two characters to dominate the story. In this show, John became the central character. Theo’s portrayal of John was a standout. He had such confidence and wonderful comic timing that it genuinely felt as if it were scripted at times. Lines like, “I’m seen by the right people”, and the proud declaration about buying his own Arsenal season ticket had us all full-on cheering.

Talking People provides the collective joy and connection that comes from watching a totally unique show. The focus on relationships is an interesting concept; it felt like we were all agony aunts, analysing every character’s decision, confession, even their movements! Conversations continued during the interval and even after the show ended (Justice for John was my tagline of the evening).

What makes Talking People special is that it’s shaped by everyone in the room! It is exactly the kind of connection we need right now, which is what producer, Elina, emphasised at the end of the show, thanking the audience for their support.

I am manifesting even more Talking People shows – perhaps a monthly residency! 😉

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NEWS: Tosh Wanogho-Maud to alternate the role of Lola with Johannes Radebe in Kinky Boots at the London Coliseum.

Tosh Wanogho-Maud, who is currently starring as Lola in the European leg of the touring production of Kinky Boots, joins the cast as Alternate Lola*.

Producers ROYO, Runaway Entertainment and Curve are delighted to announce that multi-platinum-selling recording artist and award-winning West End actor Matt Cardle will play Charlie Price alongside Johannes Radebe as Lola, in the brand-new production of the Olivier, Tony® and Grammy® Award-winning KINKY BOOTS The Musical. The show will strut into the spectacular London Coliseum for 17 weeks from 17 March 2026 to 11 July 2026, with a week of previews at Curve, Leicester from 3 March 2026. Tickets are on sale now.

KINKY BOOTS The Musical features a book by Harvey Fierstein and a score by Cyndi Lauper. It will be directed by Curve’s Artistic Director Nikolai Foster (My Fair Lady, A Chorus Line, Billy Elliot).

Matt Cardle rose to fame performing with Rihanna in front of a televised audience of over 20 million as the winner of The X Factor’s highest ever rated series in 2010. Since then Matt has soared up the charts and achieved similar success on his own terms releasing four studio albums; Letters (2011), The Fire (2012), Porcelain (2013) and Time To Be Alive (2018). New album, The Great Escape, is released on 10 April 2026.

Matt most recently starred as Shakespeare in the UK and Ireland tour of & Juliet. He played Huey Calhoun in Memphis (Shaftesbury Theatre, West End) alongside Beverley Knight, for which he received the WhatsOnStage Award for ‘Best West End Debut.’ He also appeared as Wally Strand in Strictly Ballroom (Piccadilly Theatre) and Pilate in Jesus Christ Superstar (Barbican Theatre).

Matt said “I am absolutely over the moon to be joining the cast of Kinky Boots on London’s biggest stage. Theatre has been a huge part of my career so far, and leading a cast alongside Johannes Radebe at the London Coliseum is a huge honour. Kinky Boots is a show I’ve loved for years so to get the opportunity to step into the role of Charlie Price is a dream come true. Bringing this iconic role to life in the West End is an incredible privilege, and I cannot wait to share this production with audiences.”

Tosh Wanogho-Maud started his career as a child in the iconic shows Whistle Down the Wind and The Lion King. Previous credits include ICEBERG in Titanique(Criterion Theatre) Palladium Pantomime, Oklahoma! in Concert (Theatre Royal Drury Lane), Batboy in Concert (The London Palladium), Ain’t Too Proud (Prince Edward Theatre), Joseph and the Technicolor Dreamcoat (Toronto), The Drifters Girl (Garrick Theatre), Dreamgirls (Savoy Theatre) and The Book of Mormon (Prince of Wales Theatre). His film and television credits include Jingle Jangle (Apple TV+), Bridgerton (Netflix) and Roadkill (BBC).

KINKY BOOTS The Musical is a Broadway and West End phenomenon based on a true story and movie of the same name released in 2005.

When Charlie Price inherits his family’s failing shoe factory, saving the company – and his love life – feels like an impossibly tall order. Until, that is, he meets Lola, the sparkling, larger-than-life drag queen with the unlikeliest of answers. Can they work together to reboot the business and save the day? Perhaps they just need to help each other – and everyone around them – to stand a little taller…

A glorious celebration of friendship and individuality, let Kinky Boots raise you up higher than ever at the

legendary London Coliseum for 17 weeks only.

KINKY BOOTS is directed by Nikolai Foster with choreography by Leah Hill, set design by Robert Jones, costume design by Robert Jones & Tom Rogers, musical supervision by George Dyer, lighting design by Ben Cracknell, sound design by Adam Fisher, casting by Harry Blumenau CDG CDA, wigs, hair and make-up design by Campbell Young Associates, associate direction by Michaela Powell with production management by Setting Line.

KINKY BOOTS is produced by ROYO, Runaway Entertainment and Curve.

Website: KinkyBootsLondon.com

Socials: @kinkyboots_uk

KINKY BOOTS  

Book by Harvey Fierstein

Music and Lyrics by Cyndi Lauper  

Original Broadway Production Directed and Choreographed by Jerry Mitchell  

Based on the Miramax motion picture Kinky Boots Written by Geoff Deane and Tim Firth 

Presented by arrangement with Music Theatre International

LISTINGS INFORMATION

17 March – 11 July 2026

London Coliseum

St Martin’s Lane

London

WC2N 4ES

Curve preview performances: Tuesday – Saturday 7:30pm

Preview performances: Tuesday – Saturday 7:30pm, Thursday and Saturday 2:30pm

Performances: Monday – Saturday 7:30pm, Thursday and Saturday 2:30pm

Tickets from: £20

Box Office: 020 7845 9300


*Tosh Wanogho-Maud will play the role of Lola on all Monday performances from 6April 2026. Patrons are advised to check the website for further information.

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NEWS: Jonathan Bailey & Ariana Grande to star in a new production of ‘Sunday in the Park with George;.

Jonathan Bailey & Ariana Grande will star in a new stage production of Stephen Sondheim’s legendary musical, Sunday in the Park with George.

Performances will begin at the Barbican Centre, London in Summer 2027.

Sunday in the Park with George has music and lyrics by Stephen Sondheim and a book by James Lapine. The production will be directed by Marianne Elliot, with design by Tom Scutt.

Tickets for the season at the Barbican will go on sale in May 2026 and will only be sold via the official Barbican website and box office. To be the first to hear details and all further information about the production, sign-up at www.sundayintheparkmusical.com.

Sunday in the Park with George is produced by Empire Street Productions and presented in association with the Barbican.

All further information about the production will be announced at a later date.