★★★★★

“Each joke and lyric feels thoughtfully crafted, inclusive, and purposefully provocative”

Jordan Gray delivers a magnetic and fearless performance in her latest show, Is That a C*ck in Your Pocket, or Are You Just Here to Kill Me?, a chaotic, camp, and compelling hour that blends stand-up, music, and subversive cabaret.

The BAFTA-winning comedian commands the stage with confidence, humour, and a punk-rock irreverence that’s both disarming and deeply engaging. Armed with a guitar, a keyboard, and the surprise presence of her wife, Gray crafts a bold, unapologetically queer narrative that’s as heartfelt as it is hilarious.

From the moment she strides on stage, Jordan seizes the room, her wit razor-sharp, her physicality dynamic, and her transgender identity proudly front and centre. What could be a punchline for others becomes her powerful, self-authored opening act.

Her original songs, clever, catchy, and often wickedly funny, are woven seamlessly between monologues and improvisation, allowing the audience to connect with her personal journey. Each joke and lyric feels thoughtfully crafted, inclusive, and purposefully provocative.

Jordan Gray is a true polymath: comedian, musician, storyteller, and provocateur. In a cultural moment still negotiating inclusion and visibility, she doesn’t just ask for space, she takes it, owns it, and fills it with joy, defiance, and glitter.

If there’s one complaint, it’s that the show could be a little longer – the audience clearly didn’t want it to end.

FAYGELE

Marylebone Theatre

★★★★★

“allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing”

Faygele is a powerful and moving theatrical piece written by Shimmy Braun and directed with sensitivity by Hannah Chissick. It’s a work that gives voice to those so often left unheard – particularly queer individuals navigating faith, family, and identity.

From the opening moment, the production draws you in with a cleverly designed stage (David Shields) where the actors not only perform, but move the set around them, symbolising the constant shifting of roles and expectations. At the centre of the story is Ari Freed, a young gay man growing up in an Orthodox Jewish family. Ilan Galkoff plays Ari with honesty and vulnerability, instantly capturing the audience’s attention. His portrayal offers a deeply personal look into what it means to grow up queer in a religious world that doesn’t always have space for difference.

Clara Francis brings complexity to the role of Mrs. Freed, Ari’s mother. She is caught between her love for her son and her desire to keep the family together in a community that clings to tradition. Her performance reflects the silent emotional labour so many mothers endure when trying to bridge impossible gaps. Ben Caplan, as Dr. Freed – the father – gives a gripping performance as a man torn between faith, pride, and fear. His internal conflict is portrayed with intensity, especially as he wrestles with the idea that his son’s identity could bring shanda (disgrace) upon the family.

A standout performance also comes from Andrew Paul as Rabbi Lev, who is perhaps the most quietly revolutionary character. Instead of condemning, he listens. He reflects. He questions. Through his character, the play asks whether faith can grow, evolve, and hold space for queerness without losing its roots. His attempt to guide the family with compassion rather than judgment adds a hopeful thread to the story.

What makes Faygele so impactful is its ability to speak across identities. You don’t need to be Jewish to feel the emotional weight of tradition, nor do you need to be LGBTQ+ to understand what it means to be silenced, othered, or misunderstood. The play confronts difficult topics homosexuality, mental health, and generational trauma with courage and care. Words like “suicide” and “shame” are not hidden here, they’re spoken, embodied, and honoured in a way that invites dialogue rather than silence.

In a time when we often talk about inclusivity but struggle to practise it, Faygele does something rare: it listens deeply. It allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing. For anyone interested in queer stories, Jewish representation, or simply great theatre, Faygele is more than a play, it’s a must see.

JORDAN GRAY: IS THAT A C*CK IN YOUR POCKET, OR ARE YOU JUST HERE TO KILL ME?

Soho Theatre

★★★★★

“Each joke and lyric feels thoughtfully crafted, inclusive, and purposefully provocative”

JORDAN GRAY: IS THAT A C*CK IN YOUR POCKET, OR ARE YOU JUST HERE TO KILL ME?

Soho Theatre

Reviewed on 21st May 2025

by Beatrice Morandi

Photography by Paul Gilbey

After its run at the Soho Theatre, the show will then be at Edinburgh Festival Fringe throughout August

Last ten shows reviewed at this venue:

JORDAN GRAY

JORDAN GRAY

JORDAN GRAY

FAYGELE

Marylebone Theatre

★★★★★

“allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing”

FAYGELE

Marylebone Theatre

Reviewed on 6th May 2025

by Beatrice Morandi

Photography by Jane Hobson

Previously reviewed at this venue:

FAYGELE

FAYGELE

FAYGELE

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JORDAN GRAY: IS THAT A CCK IN YOUR POCKET, OR ARE YOU JUST HERE TO KILL ME?*

JORDAN GRAY: IS THAT A CCK IN YOUR POCKET, OR ARE YOU JUST HERE TO KILL ME?*