★★★★

“She’s the kind of person you want to hang out with. Someone you might meet in a club bathroom on a night out and follow around, desperate to be her friend”

Watching Amy Gledhill is like stepping into a warm bath. This show won the Edinburgh Fringe 2024 Best Show award and it’s no wonder. She is so in control and comfortable on stage that the audience can just let the waves of comedy wash over them. She’s a pro in action.

Gledhill walks out and shimmies, then sultrily asks the audience if they’d like to go to bed with her. The moment instantly turns ridiculous as she hands out knickers for the audience to throw at her in enthusiastic passion.

She balances natural charm with self-deprecating honesty, which make us instantly warm to her. She’s the kind of person you want to hang out with. Someone you might meet in a club bathroom on a night out and follow around, desperate to be her friend.

She welcomes the audience into her life, without shame. Well, almost without shame. There’s a moment where she tells a particularly blue anecdote and hides behind the stage curtain so we can’t look at her as she tells it. Of course, that makes everyone like her more.

Her quips, observations and wordplay are masterful but it’s her physical comedy which really has the audience in stitches. Whether that’s the humiliation of a Go Ape harness, how she’d look with a bumhole for a mouth, her jaunty pre-sex ritual, or the struggles of standing up on the top deck of a bus, she nails each one with gusto.

She is unafraid to poke fun at situations she finds herself in, but is never cruel to herself. Her impression of an internet troll who attacked her physical appearance is strangely empathetic, and with that, hilarious.

The show is not without some serious emotional punch. It’s an exploration of confidence and self-esteem and a couple of her revelations are heart breaking.

But no moment is in there without purpose. After a national tour and run at the Edinburgh Fringe, the show is a well-oiled machine. Each passing aside comes back around, nothing is unnecessary. The show, as well as being very funny, is an artfully constructed piece of work.

MACBETH

In Cinemas

★★★★

“For Tennant’s performance alone, it is worth seeing this production”

After a critically acclaimed run at the Donmar Warehouse, Max Webster’s Macbeth is being brought to the screen. Filmed theatre is a tricky beast, on the one hand it provides accessibility and longevity, on the other it often struggles to capture the pin-drop intensity of being in the room. This film manages, mostly, to capture the magic. It’s a different experience but it’s still a sublime production.

Webster’s thoroughly modern and psychologically fraught show, pares back the theatricality and leaves us with a claustrophobic tale of untamed ambition and hubris.

We open on a close shot of a bowl of water. Blood drips into it, droplet by droplet. David Tennant as Macbeth, sits, wringing the blood from a cloth. The tight shot of his face allows us to see every ripple of anguish. For his performance, the film is worth it. He is tortured and conniving, witty and sensual, mad and ashamed. It is the kind of performance that defines a character. It’ll be referred to in textbooks of the future.

The design is sparse and monochromic. A bright white stage (designed by Rosanna Vize), actors in black (save Lady Macbeth in white) and a dark glass backdrop. Through this we see the larger cast, multi-roling into a chorus, who commentate and berate from the other side. The glass is interesting, it allows some chilling moments (a running child covered in blood, tree branches tickling the glass) but the brightness of the white stage is more effective. The film includes aerial shots, allowing us to see people lying on the stage, dancing on the stage, dying on the stage. This is a bonus of the film; it gives you a chance to view the piece from every angle.

In the stage play Webster had audience members wear headphones, with actors whispering in their ears to create a near immersive surround sound. This works in a cinema, and does make the audience feel more immersed, though it lacks the innovative punch of the original concept.

While it’s really Tennant’s show, the rest of the cast are very strong. Cush Jumbo as Lady Macbeth is a loving version, coming alive in her frustration and embarrassment at her husband’s unravelling. Their connection, and chemistry, gives a sexy heartbeat to the relationship. Jatinder Singh Randhawa as the Porter is hilarious, ad-libbing away and playing on the audience’s headphone wearing. Rona Morison as Lady Macduff is subtle and tragic. Noof Ousellam’s Macduff brings tears to the eyes in his quiet grief, definitely making him an actor to look out for.

The more theatrical moments don’t translate so well to screen, the visit from the witches fails to stir the necessary fearfulness. The show chooses the psychological over the magical, which works, but means when it strays into prophecy it feels incongruous. Similarly, what gets noticed on screen is less forgiving. The costumes leave a little to be desired, for instance everyone is in patent leather Chelsea boots. Interestingly that’s something that would be easily ignored on stage, but is glaring on screen.

This has not entirely converted me to the wonders of filmed theatre, but it has definitely softened me towards it. While it is undoubtably not as good as being there, it is a close second. For Tennant’s performance alone, it is worth seeing this production.

MAKE ME LOOK FIT ON THE POSTER

Soho Theatre

★★★★

“She’s the kind of person you want to hang out with. Someone you might meet in a club bathroom on a night out and follow around, desperate to be her friend”

MAKE ME LOOK FIT ON THE POSTER

Soho Theatre

Reviewed on 28th January 2025

by Auriol Reddaway

Photography by Paul Gilbey

Previously reviewed at this venue:

MAKE ME LOOK FIT ON THE POSTER

MAKE ME LOOK FIT ON THE POSTER

MAKE ME LOOK FIT ON THE POSTER

MACBETH

In Cinemas

★★★★

“For Tennant’s performance alone, it is worth seeing this production”

MACBETH

In Cinemas from 5th February

Reviewed on 20th January 2025

by Auriol Reddaway

Photography by Marc Brenner

Previously reviewed at the Donmar Warehouse:

MACBETH

MACBETH

MACBETH