★★★★★

“Jazz Emu is somewhat of a lovable buffoon with a lack of self-awareness that’s endearing rather than infuriating”

It’s the night of the Royal Variety Performance and one of the performers is getting a knighthood (apparently that’s how the Royal Variety works?). Whilst Jazz Emu might be the favourite in some quarters, he is up against the indomitable Kelly Clarkson for the gong. So, Jazz Emu must prove, to the King and his countrymen, through the performance of the perfect song, that he is the one that should be honoured.

But selecting the tune that’s going to secure the title is not an easy decision. For that he needs a little help from his biggest fans, in the basement cloakroom of the Royal Albert Hall.

It is highly probable that the audience at a Jazz Emu gig these days really are a bunch of devoted fans. Since his breakout 2019 run at the Edinburgh Fringe, Jazz Emu (aka Archie Henderson), has both received accolades from the comedy establishment and hit the big time on Tiktok, with more than 250k followers and videos with over 3.5 million views.

It’s clear to see why. Henderson’s combination of surrealist observation, multi-instrumentalism (Electronic Woodwind Instruments, Sax and guitar?!), and commitment to the bit, translate impeccably from small screen to stage. Jazz Emu is somewhat of a lovable buffoon with a lack of self-awareness that’s endearing rather than infuriating. His preoccupation with recognition endearingly reminiscent of David Beckham’s quest for an honour.

The live experience, and this show in particular, takes everything up a notch from previous performances. A live four-piece band of individually talented and accomplished musicians, clothed in blue sequin military jackets reminiscent of Sgt Pepper, play melodic jazz as the audience enter the cabaret style theatre. Sofia Grant on keys gets a moment to show off her smoky vocals, but despite protestations from Jazz Emu that he is a team player, we cannot forget this is his show.

As well as the band, we are also treated to highly produced video and audio content, with Henderson pulling in favours from a whole host of friends to support. A video cameo from fellow musical comedian Will Hislop makes an appearance, and credits cite video direction from Lucy Moss, writer/director of hit musical Six.

If you are looking to sing along to your viral favourites you will be in luck. There are full-out versions of some of his most catchy hits, like ‘My Brothe’, and plenty of nods to other more recent content. But even if you are new to Jazz Emu, or not a follower on social media, the jazz-funk beat of Still Waiting is such an ear worm you’ll be humming it into next week.

MAY 35TH at Southwark Playhouse Elephant

★★★½

“an important and extremely moving piece of theatre”

Next month marks 35 years since the Tiananmen Square massacre of 1989. In an act of memoriam and collective consciousness raising, Stage June Fourth, with support from Arts Council England and Amnesty International, are producing the first English language adaptation of a play inspired by witness testimony.

May 35th tells the story of an elderly couple whose son, Ah Ping, was killed in Tiananmen Square. May 35th is the codename for the event, as still, references to June 4 are censored on Chinese social media. Decades later, as they both face their own mortality, their dying wish is to hold a ritual for him in the place he was murdered.

Written by Candace Chong Mui Ngam, a Chinese playwright from Hong Kong, it is based on interviews and real-life stories of parents whose children were killed in the massacre. In the week that 14 pro-democracy activists were found guilty under Hong Kong’s new national security laws, imposed by Beijing, it is a timely reminder of the ramifications of Tiananmen into the present day.

Set solely in parents Siu Lum and Ah Dai’s small apartment, design by Hong Kong-style Pineapple Bun with Butter had a fitting mix of crumbling upper walls and more brightly painted lower thirds that got across both the horrors and more touching moments the apartment had seen over their lifetime. Almost imperceptible transformations at scene changes, such as additions of layers of knitwear, and the appearance and disappearance of a poster to Chairman Mao, demonstrate the passing of time and delineate between contemporary scenes and flashbacks.

Despite the frailty of the couple, they both brim with deep set anger over the senseless, evil violence done to him and all the victims of the massacre. In a particularly memorable scene, Siu Lum is tied to chair by Ah Dai, who is trying to stop her from rashly reacting to her son’s death. The power of her words and delivery, speaking about her anguish over her son’s death, not knowing what had happened to him, not being able to see his body and grieve his death, it utterly transfixing.

Contrasted with this is her husband, whose reticence to act for fear of repercussions from the CCP is a source of tension. But as we witness the couple in their heart-breaking final days, and wonder whether Siu Lum will make it to see her wish of lighting a candle for her son in the square, any doubts about Ah Dai’s devotion are redeemed.

May 35th is no doubt an important and extremely moving piece of theatre telling the story of the massacre. As emphasised by the CEO of Amnesty International and Zhou Fengsuo, executive director of Human Rights in China and President of Humanitarian China in an aftershow talk, shows like this can help support global activism and international support for Human Rights, truth and justice in China today.

JAZZ EMU: KNIGHT FEVER at the Soho Theatre

★★★★★

“Jazz Emu is somewhat of a lovable buffoon with a lack of self-awareness that’s endearing rather than infuriating”

JAZZ EMU: KNIGHT FEVER at the Soho Theatre

Reviewed on 6th June 2024

by Amber Woodward

Photography by David Monteith-Hodge – Photographise

JAZZ EMU: KNIGHT FEVER will also be at this year’s Edinburgh Festival Fringe

Previously reviewed at this venue:

JAZZ EMU

JAZZ EMU

MAY 35TH at Southwark Playhouse Elephant

★★★½

“an important and extremely moving piece of theatre”

MAY 35TH at Southwark Playhouse Elephant

Reviewed on 30th May 2024

by Amber Woodward

Previously reviewed at Southwark Playhouse venues:

MAY 35th

MAY 35th