★★★½

“The show veers into chaos at times and revels in feverish energy that ignites the audience”

The cast of Miss Brexit frolic across the stage, directed by Alejandro Postigo and Amaia Mugica, in a joyful and touching celebration of identity and solidarity. The show poses as a pageant that allows one European contestant to remain in the UK after demonstrating their passion for British culture and music. Each song tells the difficult circumstances of their move to the UK, with stories of strange housemates, uncaring jobcentres and barmy employers. Accompanying the troupe is a bowtie wearing host who intercuts the performances with quizzes and audience participation.

The countries represented are Switzerland, (Maxence Marmy), Italy (Isabel Mulas), Portugal (Ricardo Ferreira) and Spain, or more accurately Catalonia (Alba Villaitodo – displaying exceptional commitment to ridiculousness) and Spain/Slovakia/Cuba (Shivone Dominguez Blascikova), highlighting the nuanced complex identities of Europe and Londoners AKA “The Marias”. The sparkly emcee (George Berry) whose performance is gleeful, reveals his own identity over the course of the show, parading as the epitome of British culture.

The cast have brilliant chemistry and tap into camp silliness, equipped with a recorder, black leotards, and a lot gumption, each brilliant in their respective scenes. The original music is impressive and delightful, incorporating other languages and delivered with passion (composed by Harvey Cartlidge), with particular singing talent exhibited in “Maria Maria” (Switzerland). The use of fabulous costumes make comment on stereotypes and colonisation as well as bringing levity and character to the segments.

The show veers into chaos at times and revels in feverish energy that ignites the audience. This glorious rough-around the edges piece is entertaining and surprisingly moving towards the end, with some hard truths and sad realties embedded into the fun. The writing is witty and satirical with the host spouting “unlike the communist dictatorships our contestants hail from, we have democracy”. The play tackles ramifications of xenophobia and Brexit in 2016, without referencing more recent developments and relying on Boris Johnson jokes (strangely there’s been three prime ministers since then). Occasionally, bits fell into confusion and were too reliant on audience interaction. There were also occasional, but noticeable moments where volume and lack of clarity was an issue despite the intimate performance space.

The show hits its message towards the end, switching from cabaret Eurovision to a more serious commentary on immigration and colonisation; undoubtedly, making use of the lived-experience of its performers. This bold funny and character-filled show is a jubilant audience experience with plenty of laughter and contemplation to be had as Britain and Europe grapple with the consequences of Brexit and its multicultural identity.

CONFUSED CHRONICLES OF ALEPPO at the Camden People’s Theatre

★

“The end result is indeed confused, and sad to say, lacking in drama”

Confused Chronicles of Aleppo sounds promising from the description on the Camden People’s Theatre’s website, but the actual performance turns out to be something rather different. It’s a fifty minute, two man production. Underluminal, the novel on which Confused Chronicles of Aleppo is based, presents the story of two photo journalists who travel the world in search of images that will make them famous. It’s a tale told in flashbacks, ending eventually in the war torn city of Aleppo. We know from the beginning that the Syrian assignment will have tragic consequences for both Gerard and Becky.

Confused Chronicles of Aleppo is well named, though perhaps a touch ironic, because there is much in the narrative that is opaque and difficult to follow. Performer Alessandro Onorato reads from a pile of pages on stage, accompanied by the steady beat of musician Nicolò Bodini of the band La Scapigliatura. As he finishes a page, he lets go, and it flutters to the floor. Truth be told, there’s not much about Aleppo in this meandering tale of two photo journalists who meet on a beach in Vietnam, and become colleagues, as well as lovers.

Onorato has any number of opportunities to connect with the audience and give a tangible sense of the main characters in Confused Chronicles of Aleppo. But it’s difficult for the audience to see these moments when Onorato’s eyes are glued to the pages he is reading. The beat from Bodini, while pleasant to listen to, also has the unfortunate effect of muting much of what Onorato is saying. The end result is indeed confused, and sad to say, lacking in drama. Despite the promising title.

Onorato and Bodini have the germ of something interesting in Confused Chronicles of Aleppo. There is an eye catching backdrop on stage for the piece, with rough textured textiles on which pages of script have been attached. Despite that, there are still missed opportunities to create a set that is more evocative of the locations that are described in the show. Most importantly, Onorato needs to ditch his script, and simply connect with the audience. There’s a great story waiting to be revealed in Confused Chronicles of Aleppo, but it needs more work before it’s ready for its next appearance in the theatre.

MISS BREXIT at Camden People’s Theatre

★★★½

“The show veers into chaos at times and revels in feverish energy that ignites the audience”

MISS BREXIT at Camden People’s Theatre

Reviewed on 29th May 2024

by Jessica Potts

Photography by Hana Ptáčková

Previously reviewed at this venue:

MISS BREXIT

MISS BREXIT

CONFUSED CHRONICLES OF ALEPPO at the Camden People’s Theatre

★

“The end result is indeed confused, and sad to say, lacking in drama”

CONFUSED CHRONICLES OF ALEPPO at the Camden People’s Theatre

Reviewed on 25th August 2023

by Dominica Plummer

More reviews from Camden Fringe 2023:

Confused Chronicles Of Aleppo

Confused Chronicles Of Aleppo