★★★★★

“it is Demi’s charisma, energy and warmth which shoot the show onto a whole other level”

Demi Adejuyigbe is Going to Do One (1) Backflip is a delight from beginning to end. By Demi’s own admission the show is ‘so f*ing dumb’. But that is the glory of it.

Nominated for Best Newcomer at Edinburgh Fringe 2024, Demi Adejuyigbe has shot onto the U.K. comedy scene, despite hailing from LA, with his own brand of joyous offbeat musical comedy.

In a self-aware twist on the stand-up tradition of exploring identity, this show is unapologetically impersonal. Demi has heard his crush (Marge Simpson) thinks backflips are cool, so he’s going to do one live on stage. But before that he’s going to take us through the best ways to impress a crush, from teaching them about jazz, to solving racism. Hopefully the interruptions from various celebrity phone calls won’t ruin Demi’s chances with his crush!

The show is structured as a presentation, using AV, but there’s also pre-recorded elements, an on-stage keyboard, a mysterious box where audience members are encouraged to write their names, and at one point, a robot.

The presentation becomes a series of musical bits, each spiralling further into an atmosphere of general silliness. Demi’s relaxed style makes a thoroughly scripted and impeccably planned show feel fresh and off the cuff. The world is so well constructed that it briefly seems plausible that Barack Obama is really calling him.

The show is fun, and divorced from reality, but it is not empty escapism. There are topical elements, and moments where the darkness of the world bleeds briefly into the show, before Demi shakes it off and returns to a delightful musical number.

The script itself is so cleverly composed that someone else could follow the beats and perform the piece. However, it is Demi’s charisma, energy and warmth which shoot the show onto a whole other level. His cheeky, knowing vibe gives depth to the absurdity and allows the audience to float away on the tide of the madness.

This show is specific and odd, but Demi Adejuyigbe entirely pulls it off. It’s a piece oozing with zany originality which will stay with you for weeks to come.

Demi Adejuyigbe is performing at Soho Theatre until Saturday 15 February, and will perform at Fairfield Social Club, Manchester on Sunday 16 February.

THE NUTCRACKER

Theatre Royal Brighton

★★

“the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical”

This most famous of fantasy ballets for all the family begins as night falls on Christmas Eve. In this production by the Bulgarian Varna International Ballet, under the artistic direction of Daniela Dimova, featuring an all-adult company, the ensemble sets off for the Christmas Eve party, capturing a sense of childhood joy. The dancers infuse energy and humour into scenes of children playing in the snow, which carries over into the lively party scene. However, the magic is somewhat diminished by photographic projections instead of physical scenery changes—understandable given Varna’s ambitious touring schedule. While some projections are effective (such as toys leaping from an onscreen dollhouse into live-action counterparts), others feel generic and lack atmosphere. Set design is credited to Asya Stoimenova.

Toymaker Herr Drosselmeyer, hidden behind an elaborate Venetian-style mask, signals the start of Marie’s dreamlike adventure. His masked mechanical dolls perform intricate movements, but their faces are obscured, making it difficult to connect with the characters. Dmitry Tcherbadzhi’s costumes are a mixed success—Marie’s layered two-tone blue dress ripples beautifully in dance, creating a simple yet striking visual. In contrast, the Mouse King’s costume, especially the netted skirt, obscures his line, diminishing his physical presence. Traditional Nutcracker transformations are handled simply but effectively, such as Drosselmeyer’s cloak concealing the shift from doll to human Prince.

As midnight strikes, animated clock projections, a triangle from the orchestra, and a growing onscreen Christmas tree transition us into Marie’s dream world. The ensuing battle between mice and soldiers is one of the production’s most striking moments, with strong choreography by Vasily Vainonen (revised by Sergey Bobrov) and projections of miniature mice and soldiers advancing across oversized Christmas decorations. The Mouse King (Konsta Roos) commands authority, though his costume limits his physicality. The Snowflake corps de ballet, dressed in shimmering costumes, closes the first act with precision and grace, offering a magical moment.

The second act opens in the Kingdom of Sweets. While the cultural dances—Spanish, Chinese, Arabic, Russian, and French—are colourful, they are problematic. Some costumes feel stereotypical, while others mix cultural elements confusingly. Dancers in the Spanish and Chinese sections are hindered by accessories that restrict movement. While the sequence highlights the dancers’ technical skill, it lacks narrative cohesion, feeling more like a disconnected series of solos than part of Marie’s journey.

Most surprising is the omission of the Sugar Plum Fairy. Instead, Marie and the Prince (Giovanni Pompei) perform the iconic pas de deux. While technically fine, it lacks the contrast and variation a separate Sugar Plum Fairy would have provided. The chemistry between Marie and the Prince is underwhelming, and there are some awkward lifts. Marie’s costume change—from a simple ensemble to a more structured tutu and tiara—signals maturity in her character’s journey, but the emotional depth of this transformation is missing. Pompei delivers a strong solo sequence of grand jetés, followed by Marie’s solos and a final pas de deux and corps ensemble. Though technically polished, the extended conclusion feels visually repetitive.

At a time when many touring productions rely on recorded music, it was refreshing to hear a live orchestra. Despite being a relatively small 20-piece ensemble, under the baton of Music Director Peter Tuleshkov, they delivered a lively, heartfelt performance of Tchaikovsky’s beloved score, adding warmth and authenticity to the evening.

Ultimately, this production of The Nutcracker is a competent and visually colourful rendition that plays it safe. The company’s technical precision is evident, particularly in the Snowflake scene, but the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical. The audience gets what is expected from a touring ballet company staging three different productions on consecutive nights—competence, but little surprise or boundary-pushing innovation.

It was not always clear which dancers were performing, as the programme suggested rotation throughout the tour—or even within the same evening. This may explain the occasional lack of polish and chemistry between dancers.

DEMI ADEJUYIGBE IS GOING TO DO ONE (1) BACKFLIP

Soho Theatre

★★★★★

“it is Demi’s charisma, energy and warmth which shoot the show onto a whole other level”

DEMI ADEJUYIGBE IS GOING TO DO ONE (1) BACKFLIP

Soho Theatre

Reviewed on 29th January 2025

by Auriol Reddaway

Photography by Josh Goldner

Previously reviewed at this venue:

DEMI ADEJUYIGBE

DEMI ADEJUYIGBE

DEMI ADEJUYIGBE

THE NUTCRACKER

Theatre Royal Brighton

★★

“the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical”

THE NUTCRACKER

Theatre Royal Brighton then UK Tour continues (at each venue there is a performance of The Nutcracker, Swan Lake and Romeo & Juliet)

Reviewed on 29th January 2025

by Ellen Cheshire

More reviews from Ellen:

THE NUTCRACKER

THE NUTCRACKER

THE NUTCRACKER