Tag Archives: Cornelius Atkinson

SOPHIE’S SURPRISE PARTY

★★★★★

Underbelly Boulevard

SOPHIE’S SURPRISE PARTY

Underbelly Boulevard

★★★★★

“a dazzling, tongue in cheek triumph”

Think 90s surprise party – what comes to mind? If it’s awkward goths, velour tracksuits, blue WKD and a run of 90s and 00s bangers, ‘Sophie’s Surprise Party’ will be right up your street – a thrilling comedy circus cabaret bursting with stunning acts and delightfully cheeky flair.

At ‘Sophie’s Surprise Party’, you’re not a spectator – you’re part of the show! You’ll chat to cast, borrow glitter, grab party poppers and munch on onion rings all before the show starts! Then the celebration kicks off with a bang, launching into death defying acrobatics, British banter and unexpected audience participation, making this the kind of party you’ll wish would never end.

This sizzlingly slick cabaret of circus acts, set to 90s and 00s anthems, thrillingly fuses danger with skill. There’s no safety nets, no wires – just sheer technique and trust. From aerial acrobatics and lightning fast skating to fire batons and mesmerizing diabolo, almost every act has real risk – and not just to the cast! The front row is told to lean back for the skate routine, and fire batons shoot sparks over our heads. It’s a spectacle of technical mastery unlike any circus I’ve seen.

What’s truly exceptional is how smartly conceived and brilliantly executed the show is. It leans hard into the 90s/00s vibe, with familiar stereotypes becoming characters with mini arcs. The audience plays pass the parcel and beer pong, while each act plays out to the perfect throwback tune. Best of all, it’s self deprecatingly British throughout, making the outrageous routines all the more surprising. From a deliberately unsexy striptease in a giant Sports Direct mug, to the bloke in an England t-shirt whipping out a strip of condoms with his literal face on them, to everyone screaming Bon Jovi’s ‘Livin’ On A Prayer’ – it nails the target audience with tongue in cheek brilliance.

Three Legged Race Productions stages ‘Sophie’s Surprise Party’ in the round in a very tight space, creating plenty of close for comfort moments that heighten the thrill and make the skill on display all the more astonishing. There’s a cheeky, risqué tone from the outset – we are literally showered with crisps, encouraged to chuck ping pong balls at the cast, and cheerfully debate our favourite forms of contraception, perfectly setting the mood. Transitions are impressively slick and cleverly concealed despite being centre stage, whether it’s through misdirection, sharp lighting or sheer speed, creating a tight, polished feel. While the narrative is loose, the spectacular acts and seamless pacing create cohesion, building suspense with escalating feats of skill. Comic relief punctuates the danger through sharp dialogue and irreverent staging. Audience participation keeps us engaged and on our toes. It’s immersive, anarchic, and consistently inventive – an experience that feels both meticulously crafted and joyfully unpredictable.

The design instantly channels edgy party atmosphere, with candy coloured lighting, glittering tinsel curtains and a giant Christmas pudding complete with real fire. Costumes cleverly capture each performer’s 90s/00s persona, be they goth, nerd, Barbie or F*** Boi. If there’s one minor drawback, it’s the sound design which occasionally drowns out audience reactions – but then again, when are house parties ever quiet?

The entire cast – Katharine Arnold, Nathan Price, Cornelius Atkinson, Josie Jones, Emily McCarthy, Willem McGowan – astonishes the audience with their skill, strength, precision and comic timing. Standout moments include Price and McCarthy’s blistering skate routine (I’m still surprised nobody lost any teeth), McGowan’s gravity defying diabolo (who knew you only need one hand??), Jones’ pyrotechnic prowess (I see your fire and raise you FIRE-SPARKLERS!), and Price, McCarthy and Atkinson’s jaw dropping trio culminating in a terrifying final drop. The whole company keeps the party pumping and every act brings the house down.

‘Sophie’s Surprise Party’ distils all the best parts of a wild house party and while pushing the bounds of what’s humanly possible. It’s a dazzling, tongue in cheek triumph – catch it while you can!



SOPHIE’S SURPRISE PARTY

Underbelly Boulevard

Reviewed on 19th November 2025

by Hannah Bothelton

Photography by Roger Robinson


 

Previously reviewed at this venue:

JEEZUS! | ★★★½ | October 2025

 

 

SOPHIE’S SURPRISE PARTY

SOPHIE’S SURPRISE PARTY

SOPHIE’S SURPRISE PARTY

LA CLIQUE

★★★★

Christmas in Leicester Square

LA CLIQUE at Christmas in Leicester Square

★★★★

“the perfect Christmas treat”

It was twenty years ago today (well, give or take a couple of months) that David Bates unveiled his alternative cabaret show at the Edinburgh Festival. Although it has grown in stature and reputation over the years it has retained its intimacy and subversive exclusivity – as though it is still a naughty secret for those that are fortunate enough to witness it. Wandering into the Spiegeltent in Leicester Square is like straying into one’s own alternative wonderland – albeit sharing it with a thousand other awe-struck spectators. “La Clique” has attracted many imitators, but Bates’ ability to lure the cream of the cabaret and circus scene into his extended and eccentric family puts the show into a genre of its own; mixing irreverence, sexiness and mayhem with jaw-dropping virtuosity and derring-do.

For the opening night of its twentieth anniversary, there is expectation. A birthday cake came out and the audience were invited to sing ‘Happy Birthday’, but otherwise it is business as usual. In fact, in some ways the show feels slightly more restrained than its previous seasons. Its censorship rating has definitely slipped down the scale – you’d be blushing less if accompanied by your maiden aunt – and the variety seems to be getting a bit slimmer. It is more circus than cabaret now. But no matter. It still thrills and inspires awe, and the performers flirtatiousness demolishes any boundary between the acts and the audience. On that note, if you manage to grab a front row seat you could well find yourself on the stage at some point (take that as a warning or an incitement depending on your preferences).

The drama still weaves through the evening. There is no storyline as such, but there is a natural cohesion between the acts as though an invisible thread links them together. It is the camaraderie we are feeling, and we want to be part of the party. There are a few newcomers to the troupe, including the ‘dysfunctional duo’ (their words – not mine) Isis Clegg-Vinell and Nathan Price. What they do on roller skates is almost beyond words. The advice to remain seated during their act probably sums it up best. They later team up with aerialist Cornelius Atkinson. Solo, Atkinson has already stunned us with his routine, but the three of them together (under the banner of ‘Trio Vertex’) defy the laws of physics, logic, gravity and most certainly good old common sense. The beauty and the danger, coupled with the eroticism and the precision, is what defines the essence of “La Clique”.

Humour runs deep too. Florian Brooks has an elegance and a nonchalance that belies the inventiveness and imagination of a stunning juggling act. Complemented by his reluctant assistant, Bubbles the goldfish (go see for yourself if you think I’m talking gibberish now) we laugh and we gape in equal measure. Asher Treleaven, when not astounding us with his Diablo skills, ups the bawdy humour stakes. As much a comic genius as a circus wizard, his hilarious repartee alone earns the show’s 16+ age guidance. Just when our muscles are being stretched through laughter, our necks take the brunt now as we strain to gaze to the heavens to witness aerialist Miranda Menzies, whose glossy knot of dark hair seems to be the only part of her that prevents her plummeting thirty feet to the ground.

Danik Abishev also balances the risqué with the risky. And with ladders. Oh, and with fire. Even, at one point, using a member of the audience as a prop. As we watch his balancing feats, we are also wondering – and not for the first or last time during the evening – ‘how does he do it?’. Bayley Graham zips through his tap dance routine like a machine gun on speed, leaving us breathless while he still manages to flirt and sip prosecco with the staccato clicks of his heel ricocheting around the tent at an alarming tempo. Stalwart and veteran of “La Clique”, Katharine Arnold, wows, as always, with her sultry sexy choreography that ignores all dimensions of space as she shimmers up and down her silks (no – that’s not a euphemism; it’s a perfectly legitimate circus phrase).

In the past, there has perhaps been more of a sense of real danger. We are left with a tiny nagging feeling that not all the stops have been pulled out for their twentieth birthday. But that is no reason at all not to attend the party. It’s also the fifth year running that the show has made its home in Leicester Square for the festive season. “La Clique” is the perfect Christmas treat. If you’ve never seen it – see it. If you have seen it – see it again. It makes life beautiful for a couple of hours. And don’t forget to pick your jaw up off the floor on the way out.


LA CLIQUE at Christmas in Leicester Square

Reviewed on 12th November 2024

by Jonathan Evans

Photography by Craig Sugden

 

 

 

 

 

 

 

 

Previous La Clique reviews:

LA CLIQUE | ★★★★★ | November 2021
LA CLIQUE | ★★★★★ | November 2022

LA CLIQUE

LA CLIQUE

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