★★★★★

“reporting from inside the American Dream by someone who got out”

There are two kinds of Brits who come home from Los Angeles: the ones who talk about the light, and the ones who talk about the traffic. Ambrosine Davies has written a third account that’s a lot more accurate. L.A. Baby, her solo hour at Riverside Studios as part of the Bitesize Festival, compresses nine years in So. Cal. into sixty minutes. For audience members who are themselves L.A. returnees, this is twenty-five years of therapy delivered in an hour.

Davies eschews both the Los Angeles of the postcard and the version usually portrayed in British comedy. Instead, she presents the city of the relentless audition, the diner shift lost over an order of eggs benedict, of the nannying job for a family in the midst of narcissistic divorce shenanigans. Davies lived it. Anyone in the audience who has loved and resented a place in equal measure will relive every beat with her.

Davies writes and performs, with Eduardo Barreto directing. The entire hour runs on a single governing instinct: let the audience laugh first, then take the floor away. The opening stretch is very funny, assembled from the small humiliations of the working actor: the auditions requiring a smaller version of yourself, the jobs taken to fund the jobs you actually want. Davies is a precise mimic. The Californian voices she conjures, the agents, the employers, the casting assistants, are recognisable people rather than accents. She resists the easy contempt a British audience would have lapped up.

The turn, when it arrives, is not signposted. The boyfriend situation shifts from difficult to abusive to mortally dangerous in the usually incremental fashion. The room is still laughing when Davies reaches the point of being stalked, receiving death threats and calculating whether to carry a gun on the school run. It’s a real achievement not to change the show’s genre halfway through. The comedy becomes the mechanism by which the horror is delivered.

The staging is deliberately spare, which suits a piece that has travelled from Edinburgh. Storytelling carries the weight. Lighting and sound (by Eliska Van Lelyveld) unobtrusively but effectively mark the border between funny and frightening. The glow of flashing police lights forces our heroine out of her self-delusion that everything is ok.

The compression is the only cost. Nine years into sixty minutes means the early Los Angeles material gets room to breathe while the events that actually drove Davies home arrive at a run. A longer version of this show is surely waiting in the wings. It would be a harder watch.

L.A. Baby is billed as dark comedy, which undersells it considerably. It is reporting from inside the American Dream by someone who got out. It’s impossible to look away.

THE RISE OF JOSEPHINE BAKER

Riverside Studios

★★★★

“aching to burst its seams and present itself as a full-length biodrama”

Although it depends heavily on context and tone, the question “where are you from?” is often perceived as an aggressive sign of exclusion, based on race or appearance. The revolutionary American-born dancer, singer and actress, Josephine Baker, used this to her advantage, especially when she moved to Paris in 1925 where she became one of the most celebrated performers to headline revues such as the ‘Folies Bergère’. While France offered more artistic freedom than America, she still encountered racial prejudice and, initially, was pushed into inappropriate and exoticized stage roles. This is one of the central motifs of Shani Gray’s “The Rise of Josephine Baker”, and although Gray addresses it with light-hearted humour, we get a sense of Baker’s fight for acceptance and the experiences that shaped her civil rights activism.

With her trademark ‘Bakerfix’ hair gel and outlandish costumes, Gray is the spitting image of Josephine Baker on stage, which strengthens the immediacy of her account. Gray has also written the show, focusing on her move to Paris and rise to fame. Running at just over an hour – to conform to the scheduling constraints of the Riverside Studio’s ‘Bitesize Festival’ – the show is aching to burst its seams and present itself as a full-length biodrama. We are certainly left wanting more. A feeling mirrored by Josephine Baker who, by curtain call, gives the impression that she is only just getting started.

As the writer and producer too, Gray plays down her central role, generously allowing the characters that surrounded Baker to contribute to the story. Christoph L. Dorocant is Paul Colin, the French poster artist who helped launch Baker’s Parisienne career with his iconic Art Deco poster for ‘La Revue Nègre’. Dorocant gives a humble performance, somewhat downplaying his influence and energy. Little is made of the brief but intense romance that evolved; instead we witness a muted friendship. Pepito Abatino (sharply portrayed by Robert De Domenici) has more impact as the gigolo-turned-impresario who assumes the fake title of ‘Count’ to wheedle himself into the position of Baker’s manager. But then there is Philip Bayntun, who gives a wonderful turn as André Daven, the artistic director of the ‘Théâtre des Champs-Élysées’ who hires Josephine Baker to star in ‘La Revue Nègre’. A ball of energy and faux pas, he epitomises the institutionalised racism that Baker fought against. It is a double-edged performance, simultaneously affable and sinister. “Straight from the plains of Africa” he announces, ignoring the fact that Baker is American born, even referring to the ‘Jungle’ when describing her background. Against this context, Gray captures well the dichotomy of reluctantly living up to the stereotype while deploring it. She veers, however, towards compliance a little too easily in what is a subtle performance that could, at times, use a little more fire and ferocity. But nevertheless, Gray presents a striking and very watchable Josephine Baker.

Now in its seventh season, the Riverside’s Bitesize Festival is a platform for creatives to present new work in its early stages of development. “The Rise of Josephine Baker”, as it stands, has more of the feel of a production with its own run, setting the bar high for other shows in the programme. Candace Gray’s costumes highlight the dazzling Jazz Age of 1920s Paris (of course showcasing Baker’s infamous banana skirt), while Sam Edmunds’ evocative lighting creates the requisite atmosphere. The short musical bursts lie too low in the mix and in the narrative, but we can hear the intention as we long for a live band to complement the suggestive storytelling. Gray has rightly opted to focus on a specific episode of Josephine Baker’s life and career rather than trying to create an epic memoir. Like many successful life stories, we learn more from pivotal moments than from the broader picture. Director Jordi M. Carter respectfully zooms in on the minutiae, creating intimate moments that sit well alongside the historical facts.

We are watching a fascinating part Josephine Baker’s journey, as well as witnessing a pivotal part of Gray’s own journey with her performance piece. Intricately researched, it never feels like exposition. Instead, we are absorbed in the characterisation. We are still aware that the full potential has yet to be realised. But like the title character, we feel that Gray is destined for great things with this show. Our eyes will be peeled for its return to the stage.

Tag Archives: Bitesize Festival

L.A. BABY

★★★★★

Riverside Studios

L.A.BABY

Riverside Studios

★★★★★

“reporting from inside the American Dream by someone who got out”

L.A.BABY

Riverside Studios

Reviewed on 25th August 2026

by Elizabeth Botsford

Photography by Angela Milton

L.A. BABY

L.A. BABY

L.A. BABY

THE RISE OF JOSEPHINE BAKER

★★★★

Riverside Studios

THE RISE OF JOSEPHINE BAKER

Riverside Studios

★★★★

“aching to burst its seams and present itself as a full-length biodrama”