Not Compulsory BLOG

Character Profile in 150 Words - Catherine Earnshaw

2026-02-23T16:49:00.006+00:00

Character: Catherine Earnshaw from the novel Wuthering Heights (1847)

by Emily Bronte

Illustration by artist, Debra Hall (2026)

The young Catherine (Cathy) and Heathcliff soon become inseparable. A sympathetic child, Cathy hates the way her brother, Hindley, resents Heathcliff. Later, after their father dies, she is judged for giving Heathcliff time.

Cathy loves roaming the moors: she runs, climbs and then hides with Heathcliff in the rocky landscape. She regards Heathcliff as an equal and them as one.

Once Cathy spied on the Linton's through the window of Thrushcross Grange her desire to make the social climb into a new life that did not include Heathcliff becomes too strong.

Cathy, a dark-haired, pale skinned northern lass full of energy and passion, is also a vain, self-absorbed Victorian lady. She swaps the carefree life for palour room formality.

Once Heathcliff returns after a long absence, changed, a man of means now; any loyalty Cathy has to husband, Edgar, slowly disappears. Jealousy rules her and a possessiveness of Heathcliff continues even after her tragic death.

REFERENCES

Cohen, J.M and M.J. The New Penguin Dictionary of Quotations 2002

Google.com

https://www.woodstockhistorycenter.org/articles/2023/8/16/the-victorian-parlor

Room Portrait Club Week 218

2026-02-16T10:15:00.005+00:00

Illustration by artist, Debra Hall

Inspired to draw this fabulous room introduced via Instagram #roomportraitclub

Photographer Mark Anthony Fox and his commissioned feature for House and Garden Magazine's March 2026 issue was the prompt for Week 218 of the weekly art project Room Project Club where participants recreate their versions of photographed rooms. This is a bedroom from the home of designer Emma Grant and her beautiful home in Gloucestershire, UK.

Architectural Abstract Design

2026-02-09T13:05:00.000+00:00

Architectural Themed Abstract Design by Debra Hall 2026

Winter Solstice Illustration 2025

2025-12-21T22:01:00.001+00:00

winter solstice card design
illustration by debra hall 2025

Food Writing by Debra Hall

2025-12-15T20:55:00.001+00:00

Tablewine

Illustration by Debra Hall 2025

creativewriting by debrahall

'...Mary, in the midst of it all, was making hot chocolate drinks, her cheeks, bright red, moistened by steam rising from the warm milk as she poured it into large mugs. Thick slices of homemade bread- piled high on plates on the worktop and fresh soup in metal tureens (with lids) set on the stove top. On the table: a honey roasted ham, mini burgers; onion rings and roast potatoes; a selection of cheeses - with pickles; pate; a large Cumberland sausage and a bowl of baked beans. Along with the pastries: apple cakes, iced buns and flapjack slices and a large glass pitcher with cloudy lemonade. A barrel of home brewed beer was set upon a stool. A fresh fruit salad and individual jellies ready to receive thick cream from a piping bag...'

View this post on Instagram

A post shared by Debra Hall (@debrahallcreative)

DRYAD A Short Story

2025-12-06T18:34:00.031+00:00

Dryad by debra hall 2025

Dryad

A short story

WORDS 1600

Author Debra Hall

Genre : Fantasy

Profanity: 1

There we were sat on the bench the old lady, Mrs Clarke and I, both loosely pencil sketching the twisting branches of the ancient Beech tree in front of us. Conversations we had shared over time were more than just small talk, her stories and outlook seemed other worldly sometimes, her wisdom... supreme.

She knew she was going away, I felt it and had been expecting it.

I happened to be a long time acquaintance of her ex-husband, ‘her Stan’, who had been a neighbour of mine before he passed away. I saw him as a kind, salt-of-the-earth sort and obviously was an attractive man with a larger than life personality in his youth for sure. The Clarkes divorced for reasons that were unclear beforehand; neither had remarried.

Ironically, Mrs Clarke and I met much later at the same bench on which we were sat that day. One day we had put two-and-two together and she found it an incredible coincidence to learn that her Stan and I had been neighbours.

Good friends she and I became through a shared love of nature and art, but we were so much more than artist and student meeting regularly. For me, I went to see her there seeking a special kind of solace that only she provided. She helped me focus on the important things in life, and, in return, I dared to hope that I brought a similar light and love into her life. She trusted me, I know that much, which was reassuring.

She had not needed to explain why she and Stan went their separate ways. She had never opened up about any of that, but that day was the day to talk about it. She wanted me to better understand her I know that now and in turn I needed to put into place and make sense of my own unhappy situation back home.

“Well, my dear, Stan never understood me, let’s face it, the man made unnatural things out of natural things. He turned things of beauty into products, if we had shared an affinity of all things wholesome all well and good, trouble was, we were, fundamentally, poles apart.” With a slight wobble of her head she slowly and carefully placed her sketchpad and pencil in the gap between us on the bench, downing tools for the last time.

“You see, trees are demonstrative and impeccable with it!” She said, looking skywards, watery eyes squinting in the grey light. “They challenge you in ways that people could never do” she said breathlessly. “Do you have any idea what I mean by that?” She threw me a knowing look. I dropped my head down; I felt a little flushed “I think I am beginning to,” I replied.

She continued with her story because she knew that the time was right to tell it:

“Once Stan and I were down by the river by a beautiful tree, my tree, the one I would sit under gazing up at its form in awe as the seasons changed. I loved the way its lower branches curled around itself and I would look out for the first sign of leaf growth. Its flowers would drop into my lap in early summer. I would watch the vapour rise from its leaves after a heavy shower. I would gather up the fruits that contained its precious seed in autumn and in winter, marvelled at the spider webs embellished with glistening white, weaving in and out of its roots" she drew a short breath and continued...

"On that fateful day while we were both stood at the foot of tree I told Stan that I wanted a divorce!” she exclaimed. “I felt so liberated!” she said, smiling at the memory, “I remember being transfixed by the tree and its strong limbs, black, they were, against a darkening sky. The branches began to sway in a sudden rush of wind and the stirring leaves seemed to whisper support and encouragement of my new found confidence”.

She held my hand and squeezed it tight then continued all matter of factly, “Oh, I wasn’t in any way surprised by Stan’s sudden outburst! He knew he was out of his depth. In frustration, he did grab me, and roughly too. He threw me to the ground, at foot of the trunk, so I, instinctively, wrapped my arms around its bulk for protection”.

“He said, it’s that ruddy tree, the bastard!” I found it amusing that she told he had said that and that the profanity came from a mouth of such refined frailty.

Nevertheless, I checked myself when she went on to admit she had visited the tree secretly, like she was having a secret love affair. She admitted that she was spellbound in a way. “He called me a freak” she said “ he wondered what on earth had come over me... but, you see... it was my calling.”

She said that he had pulled her to her feet with a tight grip, but her repulsion for him was apparent; he knew it but he pretended not to notice. He urged her to put the lunacy behind her “and yes, I did fear that I had said too much as I watched Stan walk away, silent and dejected” she said, thoughtfully.

I must admit I felt a little sad for Stan momentarily, because he had obviously been oblivious to the truth of the matter. I imagined him as the younger version of the well meaning man that he was, clutching at straws trying to lean his head on her heaving shoulder like some lolloping puppy dog, offering her a new house and everything he thought she wanted.

Mrs Clarke suddenly broke from her story; her breathing had quickened and I noticed that her light mood had changed dramatically and her smiles had disappeared.

'Unfortunately, later, Stan returned to the tree with an axe in his hand. I was still down there in my spot by the river. Oh! The panic in me!” She cried. “I tried desperately to stop him from striking the first blow. I shrieked! He opened the first gash - wide - into the cherished skin and flesh of my love” Her body muscles tightened with the memory.

“He was like someone possessed, he swung that axe again and again, and I was absolutely powerless. It was a jealous rage, not a pretty sight. Twelve blows and I felt the wracking pain of everyone of them” she said.

I gently lifted her hand to look more closely at her long fingers that had a twig-like appearance, suddenly green sprigs were springing from her fingernails. I realised she was transforming, passing over, before my very eyes. For a brief moment I felt ill at ease being caught up in such an intimate moment; I looked this way and that checking that we were alone in the copse, strangely, we still were.

Through her touch however, I felt warmth emulating from her body, her life blood flowing into my own. I suddenly felt free of my own inner turmoil and a great sense of belonging, peacefulness and well being engulfed me. Images of my own loveless situation back home came to my mind, but I felt strangely detached, emotionally, I knew what I must do.

This was her goodbye and it was natural and beautiful and as our hands let go, she just floated away from me but not too far at first. Her body was stripped of the confines of old age and any synthetic adornments just fell away. She was youthfully lean and flexing like a young sapling in the wind, yes, like a young tree, that was it! The floating figure was glowing white and green, her lovely face replaced by a white light. Then, before my eyes just simply melded into the trunk of the old Beech and disappeared, and I knew then, that Mrs Clarke had arrived.

Mrs Clarke’s return to nature was comforting in its confirmation that she was not alien to this earth (as I had once suspected) but that she was totally, wholly, at one with it.

I had always known that I have been in the presence of something totally pure when in her company, she was devoid of any failings pertaining to humankind in a way. As I watched her slip into the very fabric of nature I realised then that the little wood nymph had finally found her way home and despite being lost for a time, the ugly side of life had been unable to invade and infect her.

Later that month, I read her obituary in the local press,

Josephine Morgan Clarke (local artist) who was particularly renowned for her incredibly detailed botanical illustrations, also equally impressive was her knowledge of plant life – her most interesting talks based on the biggest plant of all – The tree.

Ten seasons have passed by under 'my tree' (my gift to Mrs Clarke) and one winsome, beautiful afternoon in May this year, I arrived to find a man seated on the bench. His voice was quiet and I remember I was immediately at ease as I sat beside him. I noticed that his fingers were long, and his hands were soft. When his intense brown eyes looked up at our tree and he said earnestly “I’ve always had a soft spot for beeches.”

It was love at first sight of course. I’ve been given a second chance of love and for that I am eternally thankful.

North Stars

2025-11-26T19:06:00.001+00:00

North Stars
illustration by
artist Debra Hall (2025)

Stage Review CONSUMED The Belgrade Theatre

2025-09-05T13:33:00.017+00:00

Actor Julia Dearden
Consumed
The Belgrade Theatre, Coventry
Photograph Pamela Raith

Consumed

⭐⭐⭐

Written by Karis Kelly

Directed by Katie Posner

'not such a happy birthday in a Northern Irish home that harbours secrets'

Overview

An Irish cast playing four generations of women from one family who reunite to celebrate the birthday of the newly turned nonagenarian member, played by actor, Julia Dearden. This old lady, a domineering matriarchal sort, who, along with the two from the middle generations, are constantly bossing and point scoring between themselves. While the sensitive, great granddaughter, believes that she carries the burden and pain of all three of her elders' emotional hurt, resentment(s) and dysfunction, genetically, within her own body.

The Cast of Consumed
at The Belgrade Theatre
photograph by Pamela Raith

Comment

This play has echoes of Edward Albee's Three Tall Women because the complexities of the subject(s) explored in Consumed are within a script that is quite brutal, cold and unkind. Consisting of a similar miserable theme to the afore mentioned: as this play too is set within four walls and reveals bleak, unhealthy turmoil of supressed and overly expressed emotions happening between an intergenerational group when they come together.

Playing the blame game in families is nothing new, but intergenerational trauma is a term more widely used and is the main theme here. This is why Consumed is a modern play because we see the point of view of the youngest in this group (played by Muireann Ní Fhaogáin).

Millennials and those from subsequent generations are more inclined to seek therapy to resolve issues from outside agents and are more willing to share their issues publically than previous generations were. And, the development of an eating disorder(s) anxiety or depression are patterns recognised as physical responses that are mirrored in families; these are the points made, highlighted and hammered home in this play.

The set is splendidly crafted and an elaborate design build of a full kitchen, half hallway and stairway in the home of the birthday girl's daughter and her husband, and within this setting there is full on action as it chugs along to a point when crashes in spectacular fashion.

For the reviewer it was just all a bit weird and chaotic and so a good call that it is only one Act with no interval as one can only take so much loud nagging and cursing. It is a wild ride, with intention, but as there's no subtlety Consumed somehow misses a beat.

Pictured actor Andrea Irvine
Consumed
at Belgrade Theatre, Coventry
Photograph Pamela Raith

Review by theatre critic, Debra Hall who attended the press night performance of Consumed at The Belgrade Theatre on Thursday 04 September, 2025 7.45pm

REFERENCES

Pollard, M. Press release - Cast and creative team announced for the world premiere of Consumed at Belgrade Theatre, Coventry [...] ANRPR 18 July 25

Pollard, M. Press Night Invitation - Consumed - Belgrade Theatre, Thursday 4 September ANRPR 06 Aug

Pollard, M. Press Night Information - Consumed - Belgrade Theatre, Thursday 4 September ANRPR 03 Sept 2025

New Kids on the Block

2025-09-01T16:54:00.001+00:00

New Kids on the Block
print design
by artist Debra Hall 2025

Author Profile and Illustrator #7 - Allan and Janet Ahlberg

2025-08-29T10:19:00.010+00:00

Author Allan Ahlberg and Illustrator Janet Ahlberg
pictured with their daughter, Jessica in 1989
source - The Guardian Newspaper 2013

Author Allan Ahlberg (1939-2025)

Following the recent loss of the award winning children's author, Allan Ahlberg and reflecting on his verse and prose, one acknowledges that his work was classic children’s storytelling in the truest sense. Born in 1938 it is obvious that Ahlberg called on decades of his early life and simpler times to compile his stories; which took a nostalgic look at the ordinary characters and characteristics of British life. Arguably, one of the last authors telling stories traditonally and somewhat old fashionedly about twentieth century childhoods.

A children's poem from Heard it in the Playground by Allan Ahlberg (Puffin Books 1991) Illustrated by Fritz Wegner

Illustration from The Bear Nobody Wanted (Puffin Books 1993)
Janet and Allan Ahlberg

Illustrator #7 Janet Ahlberg (1944 to 1994)

Janet Ahlberg, in parntership with husband, Allan, created line illustrations that were an ideal match for his whimsical children's stories. Her figurative work, largely little pen and ink drawings, were cute and full of character and she too was observant of a certain working class childhood and a small, safe world inhabited. Ahlberg's black and white illustrations appear as little miniatures across chapter headings and within the text of young, middle years fiction books including The Bear Nobody Wanted. Of course, Janet Ahlberg also created full colour illustrations for many picture book titles including The Jolly Postman interactive book and its sequels.

References

Puffin Books (1991) Heard it in the Playground Allan Ahlberg

Paperback

Puffin Books (1993) The Bear Nobody Wanted Janet and Allan Ahlberg Paperback

online

Stella books Janet Ahlberg

https://stellabooks.com/illustrator/janet-ahlberg

Hall, D. Illustrator #6 https://notcompulsory.blogspot.com/2021/12/illustrator-6-harry-brockway.html

The Guardian (2013) Illustrator Children's Books Jessica Ahlberg

https://www.theguardian.com/lifeandstyle/2013/may/11/illustrator-childrens-books-jessica-ahlberg

The article Allan Ahlberg: making books child’s playhttps://www.thearticle.com/allan-ahlberg-making-books-childs-play

Wegner, F. https://en.wikipedia.org/wiki/Fritz_Wegner

Stage Review The Winter's Tale RSC 2025/26

2025-08-13T12:57:00.015+00:00

Actors Bertie Carvel (Leonetes) and John Light (Polixenes)
The Winter's Tale
by William Shakespeare
The Royal Shakespeare Theatre
Photograph Marc Brenner

The Winter's Tale

by William Shakespeare

Directed by Yael Farber

⭐⭐⭐⭐

'less observed traditionally, but wonderfully variegated' Debra Hall theatre critic

Overview

In Sicilia, and, Leontes and Polixenes (friends since childhood), wrestle with one another. Later, when Leonetes holds court, he deems his Queen, Hermoine to be overly warm and friendly toward Polixenes. Leontes is ill at ease with her open affection.

Convinced that his suspicions of an affair, between his wife and old friend are true, Leonetes works to persuade Camillo to poison Polixenes. He then seeks out his son, Mamillius in an effort to disturb the equilibrium of the boy's loyalties between himself and Hermoine, the boy's mother.

Actors Bertie Carvel (Leonetes) and Raphael Sowole (Camillo)
The Winter's Tale
by William Shakespeare
The Royal Shakespeare Theatre
Photograph Marc Brenner

Leonetes publically accuses Hermoine of wronging him and has her imprisoned. Camillo however, in his belief that Hermoine is innocent, had forewarned Polixenes of the situation. Camillo switches his allegience and the two leave immediately for Polixenes' kingdom of Bohemia.

A daughter is born to Hermoine and when she stands trial an Oracle exonerates her, but Leonetes is having none of it. He refutes that the baby is his and his jealousy continues to create havoc with dire consequences.

A sixteen year gap picks up the threads of the story...

Production Photography by Marc Brenner

The Royal Shakespeare Company (RSC)

The Winter's Tale July/August 2025

Set & Costume: Soutra Gilmour, Lighting: Tim Lutkin

Comment

It may be the middle of an English summer heatwave outside, but the fiery elements pertaining to the theatrical work on display inside, helps deliver this popular Shakespearian play less atmospherically but more explosively than many may choose to set it.

Snow may fall but this winter's tale has fire and brimstone! A terrific Act IV and V once the story has moved on sixteen years; and actor, Trevor Fox as Time Thief takes the stage as a chorus figure and the melodrama of earlier scenes lifts.

The sense of injustice and the angry passion attached to this ageless story comes in surprising ways, it is sensed more predominantly through the music and dance performances and the visuals rather than the delivery of the prose itself which fails to hit home in the emotive ways than one might wish.

The string playing musicians intermingle in scenes on stage, the light plays with the silhouettes of Tonny Shim and Ailsa Mair Fox and Rhianna Compton leads the cast singing soft harmonies, altogether, along with Lindsay Miller on keyboard creates incredible spacial music that just whisks one away from moments of heavy dialogue. The bass guitar of Nick Lee together with Kev Waterman drumming really ups the tempo at dramatic interludes.

The Winter's Tale has that marvellous mix of Shakespearian characters of nobility, those who serve them, and the common people. Some wonderful performances from across the playing field including: Bertie Carvel, Raphael Sowole as picture captioned and Trevor Fox as mentioned; also a stand out is Amelda Brown making her RSC debut as Shepherdess.

**ENDS**

Review by theatre critic, Debra Hall who attended the performance of The Winter Tale at The Royal Shakespeare Theatre, Stratford Upon Avon on Tuesday 12 August at 7.15pm

References

RSC The Winter's Tale by William Shakespeare Printed Programme 2025/26

Asker, D Production Photography The RSC (13 August 2025)

Happy Birthday Bunny

2025-07-27T19:56:00.000+00:00

Happy Birthday Bunny
print design
by artist Debra Hall 2025

Stevie Wonder Video Compilation Hyde Park Concert London 2025

2025-07-14T10:51:00.004+00:00

at a Stevie Wonder concert 2025
who would have thought?

here's a video compilation featuring Sir Duke, Masterblaster and Sunshine of my Life...

Credit the author Debra Hall

Stage Review Just Between Ourselves

2025-05-14T09:31:00.024+00:00

Helen Phillips (Pam) and Tom Richardson (Dennis)
Just Between Ourselves
Derby Theatre
Photograph Will Green

Connie Walker (Marjorie) and Holly Smith (Vera)
Just Between Ourselves
Derby Theatre
Photograph Will Green

Joseph Clowser as Neil
Just Between Ourselves
Derby Theatre
Photograph Will Green

REVIEW ⭐⭐⭐

JUST BETWEEN OURSELVES

WRITTEN BY ALAN AYCKBOURN

DIRECTED BY MICHAEL CABOT

Practical Dennis is not and he is pretty clueless about cars. Wife, Vera has become accident prone and her nerves are bad, Dennis is trying to sell on her car as she doesn't drive anymore. Neil arrives and is interested in buying the car for his wife, Pam, but she resists as it is not her money that would be paying for it.

After discovering that they all share a loose connection their futures as friends are rooted going forward, and, though the car remains unsold, they keep in touch. Each visit from there on in includes getting together on birthday occasions.

It turns out, through candid conversation or through public outbursts these people are, what would be termed today, oversharers.

Dennis undermines Vera and is unable to deal with her mental fragility, instead he is forever ringing the praises of his mother, Marjorie (who lives with them). In his eyes Mum is what a woman should be and he can lean on her. Marjorie is a traditionalist and during afternoon tea makes it a thing about Vera serving cucumber sandwiches instead of birthday cake; she thinks Vera should be making more effort to make a birthday special.

Neil and Pam are pretty miserable too, Neil has a nervous stomach and is a spiritless individual while Pam is independent and resents him as she sees opportunities are passing her by.

Comment

This is a domestic setting and the navigation of the mundane everyday of life are seen as obstacles to overcome from its woeful inhabitants. This has Alan Ayckbourn's signature all over it as his writing for stage is similar in context to what British screenwriters were writing for TV comedies in the 1970s.

Such period pieces highlight the kind of class and gender stereotyping that existed in British life and which writers, like Ayckbourn, captured in essence. Younger male characters often stumble through life, not quite living up to a Father's legacy or deemed as mummy's boys. Younger women were either deskilled and uptight individuals or the complete opposite, sex mad and unfulfilled. Older women were made bossy, no nonsense people, covering up a softer side. While older men were often upholding and supporters of the establishment.

Whereas, no older men actually feature in this play, we see a woman (in the case Vera) being left out in the cold by her husband and his mother, tipping her over the edge to 'mental breakdown' for laughs, how times have changed!

Acknowledging the company is all about the classics but for all of its production merits this playscript is rather tired.

Set design by designer, Elizabeth Wright and Michael Cabot in collaboration
Just Between Ourselves
Derby Theatre

The set features a real, vintage mini placed smack in the centre of the untidy garage/home workshop. Again, as was London Classic Theatre's past production Absent Friends (2015) the set and the costume design is a triumph - great vision from the director in collaboration with Elizabeth Wright from model to full set and fully realised by the work of the creative team.

**ENDS**

Review by theatre critic, Debra Hall who attended the evening performance of Just Between Ourselves at Derby Theatre on Tuesday 13 2025

REFERENCES

Hall, D. Stage Review Absent Friends 2018 from personal files

McIntosh, K.
Just Between Ourselves Prod Photography Derby Theatre 12 May 2024

London Classic Theatre (LCT) Just Between Ourselves

printed programme

London Classic Theatre (LCT)http://londonclassictheatre.co.uk/2015/11/01/absent-friends/

Steven Wilson The Overview Tour 2025 - music review

2025-05-10T21:03:00.014+00:00

Pictured Artist Steven Wilson

photographer Hajo Mueller

Short Review

Steven Wilson The Overview Tour 2025

The concert is classic Wilson; music compositions complex and the band drilled down to playing perfection.

Wilson's music is themed and as part of his songwriting process there's intent to feed a designed intellect into his genius of a music brain. This latest work has a cosmic vibe.

This show is deliberately more 'prog' in comparison to the songs that were attached To The Bone European Tour (2018). Therefore, if this fits with your wishlist for this latest tour 2025 and you're a die hard Steven Wilson fan you will be happy!

The first two songs performed are long (and most songs played are long) and they ideally serve as an introduction in terms of showcasing the The Overview album and for setting the tone for the evening.

Techinical problems with analogue equipment meant a change to the set list but the audience at Birmingham's Symphony Hall appeared unfazed, if indeed they noticed at all.

The joy and anticipation felt at the beginning waned for the reviewer as the show went on, frankly, the mind was rather frazzled, however the sound was loud (in a good way) and the stage rocked at times.

**ENDS**

NOTE: on this occasion the reviewer, stage critic Debra Hall did not attend this event in any official capacity

REFERENCES

B. Music What's On
https://bmusic.co.uk/whats-on

Steven Wilson Set List
https://www.setlist.fm/setlist/steven-wilson/2025/symphony-hall-birmingham-england-b5705c2.html

Wilson, S. Press Kit
https://stevenwilsonhq.com/press/

Wilson, S.
https://stevenwilsonhq.com/steven-wilson-announces-major-2018-tour/

Steven Wilson
https://www.facebook.com/StevenWilsonHQ

Stage Review Much Ado About Nothing The RSC 2025

2025-05-09T12:22:00.009+00:00

Cast of Much Ado About Nothing

The RSC

The Royal Shakespeare Theatre 2025

Photograph Marc Brenner

Review ⭐⭐⭐⭐⭐

Much Ado About Nothing

by William Shakespeare

Directed by Michael Longhurst

This review has much to unwrap!

Longhurst has concocted a modern day version of Much Ado [...] and as the audience files in and are locating their seats they are exposed to a media style presentation of a full on championship style football tournament.

Claudio scores a hat-trick and the commentary and screens celebrate the goals in true tech fashion; through incredible sound and vision the scene is set and the play has not even started yet!

Thankfully the footballing element serves its purpose and does not marshal the characters anymore than is necessary. When the noise around the press interviews, the changing room antics and the after party with the WAGs fades, the structure and character of this dramatic comedy replaces much that has been utilised for metaphorical reasons, allowing this 'old plot' and its delightful prose to cut through.

Background

Claudio is smitten with Hero and is happy that his love is recipricated. An equal main plot story is the romance that we see grow in the subconsciousness of both Benedick and Hero's cousin, Beatrice; some of the funniest moments are attached to this pair.

Pretty quickly the road is leading to a wedding and possibly a double one at that, but we know that the plan is about to fall off a cliff.

Don Pedro's malicious brother, Don John (alongside Borachio and Conrade) create a disparaging falsehood about Hero in order to sabotage her wedding. Claudio falls hook line and sinker for the lie. An intimate, bedroom scene is staged, captured and social media shared as part of a deceit that involves Margaret posing as Hero. Leonato, like Claudio, believes the lie and joins in the public shaming of his daughter.

Sometimes you have to fight fire with fire and so when the truth comes to light to those attached to Leonatos' house, Sexton steps up and uses her authority to devise a plan to expose the perpetrators and restore harmony and most important of all Hero's tarnished reputation.

Comment

Though the first ten minutes or so of the first act is a full on sensory experience it becomes less and less so as the play goes on. Scenes are glossy and bright in forms of costume and props but the lighting becomes more opaque. The music breaks are fun; enjoyable and enhancing. Varying dynamics can mean that it's dancing and low squatting or singing karaoke loudly one minute, then quieter for the dialogue deliveries. Megan Keaveny (Hero) sings a sweet, polished number as her party piece and Nick Cavaliere (Leonato) jokingly clears the room with a rendition of My Way.

Freema Agyeman (Beatrice) and Nick Blood (Benedick)

and Cast of Much Ado About Nothing

The RSC

at The Royal Shakespeare Theatre 2025

Photograph Marc Brenner

Performing the primary characters are Freema Agyeman (Beatrice), who, for a second time is fantastic as a key Shakespearean female character delivering wicked insults to condescending males. And, if one could capture the heart of Benedick and wear it on ones' sleeve (like Nick Blood does with this comedy character) you'd be laughing with him on the way to another top role with the company for sure.

Daniel Adeosun (Claudio), Tanya Franks (Antonia) and Olivier Huband (Don Pedro) breathe life similarly into their characters, as all players do in fact and a must to mention Antonio Magro as Dogberry who just seems to have funny bones.

Pictured Jay Taylor (Borachio), Nick Cavaliere (Leonato), Azan Ahmed (Conrade)

and Antonio Magro (Dogberry)

Much Ado About Nothing

The RSC

at The Royal Shakespeare Theatre 2025

Photograph Marc Brenner

For this performance Assistant Director, Joshua Parr read the role of Seacole because of the indisposition of two main cast members which resulted in a switch around of role play.

None of the smaller parts however are little parts really because the characters all have a big impact in this play.
Such wonderful, self contained performances by: Arthur Wilson (Verges/The Friar/Kitman/ensemble); Flaminia Cinque (Sexton/ensemble); Lydia Fraser (Ursula, ensemble); Posi Morakinyo (Balthasar/Oatcake/ensemble).
All four making their RSC debuts as were all cast members with exception of Cavaliere, Magro, actor Jay Taylor, and, as already mentioned, the hugely talented Agyeman.

This is a fabulous production, five stars all the way!

**ENDS**

Review by Theatre Critic Debra Hall who attended the filmed performance of Much Ado About Nothing at The Royal Shakespeare Theatre on 08 May 2025 1.15pm

REFERENCES

RSC Much Ado About Nothing by William Shakespeare Printed Programme

Scull, O. Production Photography The RSC (09 May 2025)

Shakespeare Birthplace Trust Much Ado About Nothing Summary

https://www.shakespeare.org.uk/explore-shakespeare/shakespedia/shakespeares-plays/much-ado-about-nothing/

RSC Royal Shakespeare Company Much Ado About Nothing

https://www.rsc.org.uk/much-ado-about-nothing/

BBC Bitesize Characters - AQA

https://www.bbc.co.uk/bitesize/guides/zsms82p/revision/6

Hall, D. Stage Review Twelfth Night RSC 2024/2025

https://notcompulsory.blogspot.com/2024/12/stage-review-twelfth-night-rsc-20242025.html

Stage Review of the UK Premier Production of TWO PINTS

2025-05-08T07:25:00.011+00:00

Actors Sean Kearns and Anthony Brophy
Two Pints at The Belgrade Theatre, Coventry
Nicola Young photography

Review ⭐⭐⭐⭐⭐

Two Pints

Writer Roddy Doyle

Director Sara Joyce

This is a review of the UK Premier production of Roddy Doyle's Two Pints at Coventry's Belgrade Theatre.

Actors Sean Kearns and Anthony Brophy play two Irish friends who regularly meet for a pint (or three) of the black stuff in their local pub. A third cast member is actor Steve Gunn who plays the barman.

Actor Steve Gunn
Two Pints at The Belgrade Theatre, Coventry
Nicola Young photography

Taking their seats at the bar these down-to-earth, sweary individuals philosophise about the meaning of life and ponder over daft things. The two are opinionated about some folk and blunt about celebrity culture, they are both respectful and appreciative of each other and of each others' kinships.

There's never a cross word or any drunkenness just a loosening of the tongues and a wonderful sharing of anecdotes which we delight in overhearing. It becomes apparent that they are comfortable in the company of one another and that these drinking sessions are a kind of therapy for the two.

Pictured Sean Kearns and Anthony Brophy
Two Pints at The Belgrade Theatre, Coventry
Nicola Young photography

There are many funny lines as the two men take amusing slants on topics and go all wax lyrical about people they admire; there's some pearls of wisdom in the ramblings and a degree of sadness and melancholy too.

Kearns and Brophy are so incredibly naturalistic with the constant dialogue and jointly deliver this largely, two-hander play so successfully.

Splashes of writing genius throughout this playscript and this is acknowledged in the director's note:

"Roddy Doyle is to Ireland what seeing a good friend is after an awful day. It’s a privilege to direct his play that is so utterly human in its honesty, banality, sadness and hilarity" Sara Joyce, Director (2025)

The B2 staging is a welcoming pub setting complete with a long bar, coolers, spirit optics, drinkwares, bar accessories - the lot!

'Bottoms Up!' and it would be right and proper that many bottoms fill many seats at The Belgrade Theatre throughout Two Pints run until May 24th. It's a "clár gáire" (a series of laughs).

**ENDS**

Review by Theatre Critic, Debra Hall who attended the press night event of Two Pints at The Belgrade Theatre, Coventry on Wednesday 7 May 2025 at 7pm

REFERENCES

Pollard, M. Press Night Information - Two Pints, Belgrade Theatre - Wednesday 7 May 06 May 2025

Pollard, M. Production Images 07 May 2025

Stage Review A Thousand Splendid Suns at Birmingham Repertory Theatre 2025

2025-04-17T11:28:00.028+00:00

Rina Fatania (Mariam) and Kerena Jagpal (Laila)
A Thousand Splendid Suns 2025
at Birmingham Repertory Theatre
Photograph Ellie Kurttz

Review ⭐⭐⭐⭐

Based on the book A Thousand Splendid Suns Author Khaled Hosseini

Adapted for stage by Ursula Rani Sarma

Directed by Roxana Silbert

Background

Ursula Rani Sarma's stage adaptation based on Khaled Hosseini's heartwrenching and compelling fictional story of the plight of two Afghan women, Mariam and Laila, has returned to The Rep, Birmingham in a new production.

Humera Syed (Young Mariam)
A Thousand Splendid Suns 2025
at Birmingham Repertory Theatre
Photograph Ellie Kurttz

The whole of the lives of these two women is told, not in a chronological order, but through their living memories. Nonetheless, the present is set in Kabul in the 1990s and the main plot unfolds from this perspective.

Rina Fatania (Mariam) Jonas Kahn (Rasheed) Kerena Jagpal (Laila)
A Thousand Splendid Suns 2025
at Birmingham Repertory Theatre
Photograph Ellie Kurttz

The pair, whose freedoms are diminishing under Taliban rule are the two wives of, Rasheed, a weak and prejudiced, self serving man, who mirrors the cruelty and threat to women from outside forces in his own home where the three reside together.

At first, there is bubbling tension in the household between the two women, but once Laila’s baby girl, Aziza arrives a special love and respect for one another begins to grow as they become fearful for all of their female futures. As they are forced to conform they look for means of escape.

Comment

This is pretty much a match for match for Silbert's 2019 production of A Thousand Splendid Suns. The direction is masterful as is the script and go hand-in-hand to convey well the awful and harrowing aspects of the story's content.

Review

An ensemble cast attached to this, with three main characters: Laila, Mariam and Rasheed. The high pitched delivery with even level intonation that Kerena Jagpal adopts in her performances is well suited for the Laila character as this style of voice evokes the desired emotional intensity. Rina Fatania adds her own mark and mannerisms for the good as Mariam (RSC, Rifco Arts, The Rep). Jonas Khan is spirited enough and deftly presents action and movement in his performance of the challenging character to play, Rasheed.

Humera Syed (Aziza) and Rina Fatania (Mariam)

A Thousand Splendid Suns 2025

at Birmingham Repertory Theatre

Photograph Ellie Kurttz

Humera Syed as part of the ensemble performs as both Mariam as a child and Aziza (at school age), Syed in both roles is perfect as she provokes empathic feelings one would have for a sweet innocent, full of dreams, but with sadness attached.

Lastly, but no means least, there are some wonderful technical elements which greatly enhance the visuals, the lighting design particularly. The sound goes from subtle composition pieces to explosive (literally).

As previously, the reviewer can conclude for 2025 that this play once again is:

'a compelling and all-encompassing watch whether one is familiar with the story or not'

**ENDS**

Review by Theatre Critic, Debra Hall who attended the press night performance of A Thousand Splendid Suns at The Birmingham Repertory Theatre on 16 April 2025

REFERENCES

Birmingham Repertory Theatre (The Rep) A Thousand Splendid Suns printed programme

Birmingham Repertory Theatre Production Images for A Thousand Splendid Suns (16 April 2025)

online

Hall, D. Theatre Review A Thousand Splendid Suns (May 2019)
https://notcompulsory.blogspot.com/2024/12/stage-review-twelfth-night-rsc-20242025.html

Hall, D.

Review of Community A Drama / Comedy

https://notcompulsory.blogspot.com/2025/02/stage-review-of-community-stage-comedy.html

Stage Review - Do I Love You?

2025-03-27T14:01:00.009+00:00

Emilio Encinoso-Gil (Kyle) Martha Godber (Sally) and Chloe McDonald (Natalie)
Do I Love You?
Derby Theatre March 2025
Photograph by Ian Hodgson

⭐⭐⭐

Do I Love You?

Writer and Director John Godber

About Northern Soul

Northern Soul: an underground music and dance movement popular with the 1970's youth, where American soul (a type that was often less UK mainstream played) along with the Motown sound, really struck a chord for those who took soul music more seriously. With a unique dance style to boot, consisting of shuffling and foot sliding, half turns and spins, with the interjection of karate high kicks and backdrops, Northern Soul was a pop phenomenon for many.

Back in the day clubs and venues across the UK played Northern Soul and held Northern Soul nights and to this day, old schoolers (aka Northerns) attend regular Northern Soul events i.e. Cleethorpes and Blackpool.

Overview

It is Hull and the present day, so post Covid and what drives the subject of Northern Soul is the series of nostalgic recollections of misspent youth from a grandmother in ill health. Gran has a fabulous record collection of soul music too. Granddaughter, Sally, relays her Gran's stories and compares her own feelings of being under privileged and lacking in opportunities for a good life. Sally's bestie, Kyle and their mutual friend, Natalie also feel the country is in a worse condition and that it does a disservice for many of its younger generation who fall through the cracks.

When the trio find themselves one night with a Northern Soul community, they are hooked by the oldies still doing the thing they have always loved. The friends decide to use all one can attach to Northern Soul to discover hidden talents within themselves and are able to use Northern Soul creatively and as an act of escapism.

cast of three Do I Love You?

Derby Theatre March 2025

Photography by Ian Hodgson

Comment

The public in attendance at Derby Theatre consisted of mainly people over sixty, a few dressed in their Fred Perry tees (without the baggies). It was quite astonishing to observe the enthusiastic reception and by how much both men and women were equally loving this play.

Much foot tapping, finger clicking and people quietly singing along, some in the front rows were responding to the action on stage by shouting out comments which implied that 'they'd been there and got the t-shirt'. It is one of those plays where the critic observes the audience as much as the stage performance.

Obvious then, that John Godber was able to fine line pinpoint his target audience when he created this play.

The versatile, Martha Godber as Sally on the Derby Theatre stage once again is a skilled performer with a special talent for dance. Chloe McDonald and Emilio Encinoso-Gil are Natalie and Kyle respectively and both give confident performances full of energy and humour.

Negative comment: if one attaches the canon ruling as to what makes a good play some elements of Do I Love You? misses a beat. Where there is heart and sentiment and points to make it is lost in dialogue that is sometimes rather cringeworthy and actions are over cooked rising the boredom levels higher every time the format(s) is repeated.

Positive comment: The choice of recorded soul track material is one of the best highlights of this play. Hundreds of old school northerns and Northern Soul die hards around the country will definitely enjoy, it's a show for you all.

**ENDS**

Review by theatre critic, Debra Hall who attended the Do I Love You? performance at Derby Theatre, on Wednesday 26 March at 7.30pm

REFERENCES

Derby Theatre Do I Love You? downloadable programme

Derby Theatre image request

(27 March 2025)

Online

Derby Theatre Do I Love You?

https://derbytheatre.co.uk/event/do-i-love-you/

Hall, D. Stage Review Home Girl

https://notcompulsory.blogspot.com/2022/07/stage-review-home-girl-at-derby-theatre.html

Mazeys The Story of Northern Soul

https://www.mazeys.co.uk/blogs/news/the-story-of-northern-soul-in-the-uk

Kim's Convenience Stage Review

2025-03-20T12:53:00.018+00:00

The set of Kim's Convenience
at Derby Theatre, March 2025
Photograph Debra Hall

Kim's Convenience

Written by Ins Choi

Directed by Esther Jun

⭐⭐⭐⭐

Overview

Appa has been running his local convenience store in a Toronto neighbourhood for many years, he has become set in his ways and he fixates over small matters and enjoys stereotyping his clientele to make his day more interesting. He's a family man but carries a heavy heart mainly because of enstrangement; his wife, (Umma) thinks he should accept a generous offer of a buy out and retire.

Daughter, Janet (Jan) is exasperated by her father as equally as she is in loving and being entertained by him, together in the shop they make a double act in cheap point scoring to substitute the boredom.

Being the children of a Korean immigrant(s) certain expectations had weighed heavy on the shoulders of Jan and her brother, Jung. Jan had weathered the storm well and is now in her thirties and wants to be a photographer, she has no interest in taking over the shop. She is lively and courts her singledom, nonetheless flirting with an old crush, Alex is turning her head as well as her fathers!

In church, Jung opens up to his mother about his unhappiness despite being father to a new baby. It becomes apparent however, that Appa's teachings in regard to their Korean heritage has impacted on Jung in his adult life because when Jung enters the shop at the play's end and Appa quizzes him about significant dates and Korean related achievements that he had taught him, Jung responds by remembering each and every event; this impresses Appa greatly.

Comment

Written as a stage play first, (one that Toronto fringe premiered in 2011) Kim's Convenience has since been a Canadian sit-com for CBS Television, this coincided with the rise of interest in Korean pop culture over the last decade. Kim's Convenience also became a Netflix hit internationally.

Back to the play (which has not changed from its original) Kim’s Convenience was a sell out at Park Theatre, London and is now on a UK tour, whereas in Canada it is on the theatre programming again with a new cast, where the family patriarch, Appa is to be played by the play's actual creator and writer himself, Ins Choi.

This touring production of Kim's Convenience has a recognisable formula it is an ordinary, largely unremarkable story in an everyday setting. The themes include the generational divide and problems family experience in that regard. The feelings too, of displacement from first family immigrants and how that can run deep. Also the kind of strong determination people have to make good those life decisions made, and to have a sense of purpose in home and working life which (in this case) means serving the local community well.

This is undoubtedly a comedy however, and it does not preach or take any of the serious issues to heart; it is nicely balanced, as many comedies which lighten the darker sides of life turn out to be. The Appa character has been gifted with sharp wit and remains unruffled by whatever comes into his day.

It is a pleasant and entertaining 75 minutes time spent at the theatre, with a colourful and fully equipped corner shop and a wonderful cast of five, namely James Yi (Appa); Candace Leung (Umma); Caroline Donica (Janet); Daniel Phung (Jung) and Andrew Gichigi who plays Alex, but also an array of characters who frequent the shop.

**ENDS**

Review by theatre critic, Debra Hall who attended the performance of Kim's Convenience at Derby Theatre on Wednesday 19 March 2025 at 7.30 pm

REFERENCES

Arts Club Theatre Company

https://artsclub.com/

Kim's Convenience Derby Theatre

https://derbytheatre.co.uk/event/kims-convenience/

Represent Asian Project

https://representasianproject.com/news/kims-convenience-ins-choi-interview/

Toronto Life

https://torontolife.com/culture/kims-convenience-creator-ins-choi-on-the-shows-new-theatrical-production/

Photography Debra Hall

Character Profile in 150 words - Willy Loman

2025-03-13T12:42:00.009+00:00

Character: Willy Loman from Death of a Salesman (1949)
a stage play by American Playwright Arthur Miller

Illustration by artist, Debra Hall (2025)

Willy Loman had been travelling across New England in a sales role for years before his death. Once a top seller he was a popular guy, clients looked out for him and an extramarital affair fuelled his ego. Willy carried a chip on his shoulder about brother, Bernard who had made a lot of money very quickly, so in order to justify himself and his life choices, Willy preached to his sons that they had to put the time in to be successful.

As he aged however, Willy was in a poor mental state, at home he was getting forgetful, short-tempered and dismissive, yet always harping on about when life had its rewards and when he earned a salary and not commission only.

As Willy became more and more invisible in the working world, his stories began to rewrite history and reflected a certain self importance, son Biff fairly or unfairly called him a hypocritic.

REFERENCES

Death of a Salesman at Birmingham Repertory Theatre on Wednesday 12 March 2025 at 7.30pm

The Birmingham Repertory Theatre (The REP) printed programme Death of a Salesmean

online https://www.birmingham-rep.co.uk/whats-on/the-death-of-a-salesman/

Stage Review HAMLET RSC 2025

2025-02-21T15:37:00.001+00:00

Luke Thallon (Hamlet)
HAMLET RSC 2025
Photography by Marc Brenner

⭐⭐⭐⭐⭐

HAMLET

Directed by Rupert Goold

Overview

It's 1912 and on the deck of an ocean liner a Danish King lies dead under a draped flag of his country. Dignified respects are delivered before his body is cast into the dark and squally ocean waters.

Prince Hamlet, while in mourning for his father feels bitter that his mother, Gertrude had hastily married his father's successor, uncle Claudius. Hamlet's gasping speeches convey how deeply incredulous he finds it all.

Furthermore, after Horatio shares with him the knowledge that a ghostly apparition had been seen by crewmen, Hamlet is then a witness himself to the ghost of his father and he learns from the spirit's own mouth that the reason he had died was because Claudius had poisioned him.

In seeking revenge for his father's murder Hamlet adopts a weird madness, which Polonius (a member of the royal court) thinks is not down to Hamlet's melancholy but due to the young prince's repressed feelings for his daughter, Ophelia. Yet, as part of his ruse however, Hamlet rejects Ophelia.

Hamlet invites a company of players to perform a play where the plot mirrors somewhat the murder of his own father. He invites Claudius and Gertrude along and he watches Claudius closely for any giveaway signs of guilt to surface. His plan succeeds, so Hamlet strikes while the iron is hot and follows up with a visit to his mother's quarters where he confronts her in a scene of passion and rage. In his state of frenzy however, Hamlet, thinking it to be Claudius approaching, accidently kills Polonius.

Claudius adopts a plan of his own to get rid of Hamlet, baiting Polonius' son, Laertes, who is beside himself having lost both his father and his sister, as poor Ophelia, in terrible grief, has drowned.

Chaos rules as an unintended poisoning happens in a mix up, others die by the sword and all this happens on the bow of a sinking ship. What a metaphor!

A Production shot of HAMLET
Hamlet RSC 2024/25 season
Photography by Marc Brenner

Comment

This RSC production presents a Hamlet never seen before on main stage. One can see that the stricken liner Titanic is the inspiration for the set, arguably the plays' script and its fine prose and dialogue is energy enough to tell this ancient tale. Its intense scenes twinned with its wonderful stillness at times does not require an 'all bells and whistles' big stage-direction approach, however, the mammoth bow and its upper level installation representing an ill-fated ship in full sail is an absolute triumph.

Hamlet is a medium-cast play and each and every one of its Shakespearian characters is played with such purpose and intent by the cast members. The scenes require entrances and exits through trap doors and narrow stair wells. Costumes are bloodied and a fight scene is convincing in bringing the drama to a climax.

In the lead role, Luke Thallon's wonderful mannerisms and flamboyancy in his physical performance charts Hamlet's feigned madness descending to actual madness, with such exquisite attention to the speech as he delivers it.

And who doesn't enjoy Shakespeare's play-within-play format? The script itself actually credits Hamlet as The Chorus, because it is he who has arranged the dramatic performance of fiction (albeit to suit his rhetoric) within his own tragic story (of fiction).

The masked players wearing white robes and contrasting black and red additions, mimic a scene and deadly action to hauntingly beautiful music under stage-light in choreographed movement and dance. This is the performance highlight of this version of Hamlet, congratulations to the ensemble.

It is the RSC debut season for Luke Thallon and others, but also a return for those cast in recent RSC productions including Tadeo Martinez who plays Guildenstern this time around. A treat also, to see so many acting professionals altogether in one play, thank you for the safe hands of Anton Lesser (Ghost/Player King), Elliot Levey (Polonius), Jared Harris (Claudius) and Nancy Carroll (Gertrude).

Es Devlin's set is another level and an incredible feat by the production teams to bring to life, one can almost physically experience the sea view and later the motion of the tipping ship.

**ENDS**

Review by theatre critic, Debra Hall who attended the 1pm performance of Hamlet at The Royal Shakespeare Theatre, Stratford Upon Avon on Thursday 20 February

REFERENCES

The Royal Shakespeare Company (RSC) production photography 20 February 2025

The Royal Shakespeare Company (RSC) Hamlet printed programme

The Royal Shakesheare Company (RSC) PRINCIPAL CASTING ANNOUNCED FOR RSC’S HAMLET DIRECTED BY MULTI AWARD-WINNING RUPERT GOOLD 31 October 2024

Stage Review of Community A Drama / Comedy

2025-02-07T16:11:00.018+00:00

Sayyid Aki (Khalil) in the play Community

at The Birmingham Repertory Theatre Feb 2025

Photography Graeme Braidwood

Community

Writer, Farrah Chaudry

Directed by Alice Chambers

With her suitcase and designer bags in tow, Zoya loiters near a Birmingham bus route south of the centre. She is secretly relieved when her plan succeeds and she comes across an old aquaintance, the benevolent Leyla. Zoya remembered that Leyla lived locally (somewhere between Cannon Hill Park and Moseley) and that she could pretty much rely on her for putting her up for a while.

Leyla already has a housemate, Syrian refugee, Khalil, nonetheless, the mismatched trio embark on a flat share. It soon becomes apparent that Zoya's rich parents have cut her off, albeit temporarily. Leyla however, is adamant that Zoya does not freeload and insists she joins herself and Khalil down at the community centre by volunteering and helping the homeless and people in crisis.

The key portrayal is of Khalil, a migrant living in the city... a kind and gentle character who writes and ultimately performs his own poetry in which he is able to channel his feelings of loss and displacement in his own words. Zoya is keenly placed to present a person who has lived an indulgent life as a comparison, whereas Leyla is upholding her mother's legacy of being a community champion of sorts.

Kerena Jagpal (Leyla), Sabrina Nabi (Zoya), Sayyid Aki (Khalil) in the play Community

at The Birmingham Repertory Theatre Feb 2025

Photography Graeme Braidwood

This is a story of the multicultural Birmingham that Farrah Chaudry knows firsthand. An empathic writer in regard to conveying people's perceptions of belonging and offers up a sense of sadness in part, though there are a good few funny quips in the script too about the well versed views of local Birmingham people in that regard.

Many writers have explored the idea of what makes a community in the broader sense of the word and this is another completely rational, thought provoking exploration of that said same subject; Community is a new play on a topical theme.

Another benefit however, that involves the word community, namely community education and so we must be thankful that Chaudrey's little play with a big heart has been brought to stage, premiering at Birmingham's Repertory Theatre (Thursday 30 January – Saturday 8 February). Education is key, thank goodness for the arts and its power to reach people in their shared communities where other channels fail.

With an engaging cast of three players, the Community team(s) will tour West Midland's community settings after its short spell at The Rep and will be well received, without question.

**ENDS**

Review by theatre critic, Debra Hall who attended the 2pm performance of Community at The Door, Birmingham Repertory Theatre on Thursday 06 Feb 2025

REFERENCES

Birmingham Rep PRESS RELEASE: Cast announcement for Community 06 January 2025

Birmingham Rep Community Production Pictures. Credit Graeme Braidwood 04 February 2025

https://www.birmingham-rep.co.uk/whats-on/community/#event-booking

https://www.birmingham-rep.co.uk/whats-on/community/#cast-creative-team

Stage Review 10 NIGHTS

2025-01-28T14:49:00.000+00:00

Actor, Adeel Ali
A one-man play 10 Nights
10 Nights Production Image
Derby Theatre January 2025

play by Shahid Iqb10 Nights

10 Nights
Writer Shahid Iqbal Khan

Director Sâmir Bhamra

Actor Adeel Ali

It is the last ten days of Ramadan and Yasser is apprehensive about participating in itikaf for this duration inside the Mosque. This Islamic practice of seclusion and devotion to: prayer, the recitation of the Quran and to ibadah (worship); is not an easy prospect for Yasser as he will have to do without his smart phone and be away from social media - his TikTok following in particular.

Though Yasser has shut himself away from outside influences he is alongside other worshippers who he sees come and go, acknowledging them from a distance with just a nod and a wave. Apart from taking part in quiet conversation with just a few when they come together for cleansing rituals or iftar (after sunset meals), Yasser is largely alone and on his own spiritual journey.

A one man and a one act play from a first person perspective. Yasser's sunny, somewhat superficial character, seems to be on a predetermined path when we first meet him and we wonder how he'll get through.

The scenes help to navigate and frame Yasser's life narrative from his point of view, but when the isolation hits and his internal reality is allowed to surface, then we begin to understand the fact this young man is in denial about certain things and that there had been consequences from his past actions that he has not faced up to...until now.

Adeel Ali, gives a performance that educates and captivates. The performance is captioned in both English, Urdu and Arabic and is revealed in time with his speech. Ali performs all characters who feature so he is Yasser predominantly, and, with a subtle change of body position and a change of voice or stance, he is someone else. The captions reveal all lines of the play and also names characters which is helpful.

Ali recites the religious text with a beautiful soft rhythm that is welcoming and enlightening to the practices of the Muslim faith.

The audience is keen to see if Yasser lasts/survives his time spent in the Mosque, and to see if his skewed views about family and friendships formed over time remain, or if he surfaces with acceptance and honesty for what has passed.

An important play on many levels, 10 Nights is a touring production. Recommended!

**ENDS**

Review by critic, Debra Hall who attended the evening performance of 10 Nights at Derby Theatre on Monday 27 January, 2025

REFERENCES

Derbytheatre.co.uk
https://derbytheatre.co.uk/event/10-nights/

google.com

Phizzical.com

https://www.phizzical.com/latest-stories/full-tour-and-cast-announced-for-shahid-iqbal-khans-10-nights/

Stage Review Twelfth Night - The RSC 2024/2025

2024-12-20T13:43:00.000+00:00

Demetri Goritsas (Sir Andrew) Joplin Sibtain (Sir Toby) Daniel Millar (Fabian)

and forefront, Samuel West (Malvolio)

The Royal Shakespeare Theatre Twelfth Night 2024/2025

Photograph by Helen Murray

⭐⭐⭐⭐⭐

Directed by Prasanna Puwanarajah.

A mid-twentieth century setting for this version and though always a challenge to our contemporary culture Twelfth Night still endures as a performance piece.

The play's key themes include disguise, cross dressing, concealment and mistaken identity which brings about the lighter side; the comedy.

The shade, on the other hand, is represented in more serious themes such as the love and devotion of siblings, people's bad behaviour, off-handed meanness and the frustrations of love that goes unrequited.

Overview

Sebastian and Viola are shipwrecked twins at the beginning and are separated and it is the hope of their ultimate reunion that drives the play through. A sea captain points Viola in the direction of Duke Orsino's household.

Orsino is miserable that his love for Countess, Olivia is not recipricated and he dwells on Valentine's inability to fulfill a request he made to her. Viola, disguised as a man, (Cesario) is to handle the futility of the situation and act as a go between.

Another Sea Captain, Antonio, who saved Sebastian from drowning, befriends him. Sebastian is bereft as he believes his sister is dead, but is heading her way unknowingly.

Olivia is attracted to Cesario (Viola) and so declares her mourning period for a deceased brother as over. However, the true Viola finds herself falling in love with, Orsino, he, despite his infactuation with Olivia shows affection in return, so there's a love triangle developing.

Sir Andrew is a companion of Olivia's cousin, Sir Toby and is easily led by the drunken and bawdy behaviour of the latter, who has little regard for him really. Later, Sir Andrew is coerced into a fight with Cesario.

Michael Grady-Hall (Feste)
The Royal Shakespeare Theatre Twelfth Night 2024/2025

Photograph by Helen Murray

Feste is the clown, the entertainer, referred to as the fool, but he is a sharp cookie.

Malvolio of the Olivia household is a proud, snobbish character is not fazed when Olivia's cousin, Sir Toby suggests he's nothing more than a steward. However, Sir Toby, Maria and Fabian, mock him behind his back and concoct a nasty prank, after which Feste shows his mean streak.

The conclusion includes a marriage ceremony conducted by a priest, the reunion of two siblings and of two friends, a love match, comeuppance for individuals and the release of somebody wronged.

Bally Gill (Orsino)

The Royal Shakespeare Theatre Twelfth Night 2024/2025

Photograph by Helen Murray

Comment

Cast includes 2018 Ian Charleson award-winning actor, Bally Gill, in the role of Orsino. Gill also played dual roles in A Midsummer Night's Dream RSC 2024.

Michael Grady-Hall (Feste) adds variety and interest in the part of the jester, he is multi-talented: sings with a rich and steady pitch and whose movement and comic timing is spot on. He also entertains the audience outside of the play, he plays this part so deftly well - Feste is important in this play; a key figure and one of Shakespeare's most popular comedy characters.

Samuel West hits the mark achieving the desired tone attached to Malvolio's exchanges. West plays a 'worked up' Malvolio who has mistaken the fact that Olivia likes him to dress in yellow stockings and black criss crosses etc., and, equally expresses so convincingly, Malvolio's escalating hurt and bitterness of being so publically humilated.

Gwyneth Keyworth (Viola)

The Royal Shakespeare Theatre Twelfth Night 2024/2025

Photograph by Helen Murray

Freema Agyeman (Olivia)
The Royal Shakespeare Theatre Twelfth Night 2024/2025
Photograph by Helen Murray

'Tis the season that we see some of the cast making their RSC debuts including Gwyneth Keyworth (Viola) and Freema Agyeman (Olivia), therefore, acknowledging this RSC's Twelfth Night 2024/25 is the celebration of the skills of not just the whole cast but those involved in the production under the superb direction of Puwanarajah.

The soundscapes, sound and lighting design and the technical tricks are crucial to the flow of the story. The new music composed by London based artist Matt Maltese, specifically for the Twelfth Night company to perform live, with an exclusive Christmas song as part of the composition overall, is the icing on the cake!

High in its entertainment and amusement this is a perfect Twelfth Night and includes a few festive references and so is a proper treat for culture lovers over the Christmas and New Year run in Stratford Upon Avon.

**ENDS**

Review by theatre critic, Debra Hall who attended the 1.15pm performance of Twelfth Night at The Royal Shakespeare Theatre, Stratford Upon Avon on Thursday 19 December

REFERENCES

Colville, D. (2022) Feedback to (Debra Hall) assignment TMA02 for A112: Cultures The Open University

Hall, D. (2022) Character Profile in 150 words - Shakespeare's Malvolio (Twelfth Night)
https://notcompulsory.blogspot.com/2022/05/character-profile-in-150-words.html

The Royal Shakespeare Company RSC (2024) What's On https://www.rsc.org.uk/twelfth-night/

The Royal Shakespeare Company RSC (Oct 2024) MATT MALTESE MAKES HIS STAGE COMPOSITION DEBUT FOR THE ROYAL SHAKESPEARE COMPANY

The Royal Shakespeare Company RSC (2024) Twelfth Night
printed programme

The Royal Shakespeare Company RSC (Dec 2024) Twelfth Night production photography