★★★★★

“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.

SUPERSONIC MAN

Southwark Playhouse Borough

★★★★

“entertains with a heartwarming tale of courage in the face of adversity”

Just to get a couple of things out of the way to begin with. The title of Chris Burgess’ new musical, “Supersonic Man”, is misleading. So is the Marvel comic styled publicity artwork. Oh, and also the backdrop of David Shields’ set that depicts an over-sized ‘Greetings from Brighton’ postcard. None of this does remotely does what it says on the tin. Whether intentional or not, that is in fact a blessing. If you ignore the packaging and leave behind any preconceptions you might have, you are in for a real treat.

The ‘supersonic man’ in question is a young chap called Adam (Dylan Aiello), living a charmed life with his partner Darryl (Dominic Sullivan) in Brighton, surrounded by good chums Shaz (Mali Wen Davies), Ruth (Jude St. James) and Ben (James Lowrie). It has a feel of the ‘Friends’ sitcom about it, but this dissipates as it morphs through other genres and influences. This chameleon quality is a reflection of the writing. We think it is going to be a biographical account of the real-life character, Peter Scott-Morgan, whose battle with motor neurone disease was famously chronicled in the TV documentary ‘Peter: The Human Cyborg’. But, as Burgess has said, his musical is ‘loosely inspired by’, rather than ‘based on’, Scott-Morgan’s story and consequently reveals more about the human spirit in general.

And spirit is something this musical has in spades. Burgess isn’t afraid to give the serious subject matter a camp, glossy and comedic veneer. One that makes us laugh and tap our feet along to the catchy numbers, but one that doesn’t conceal the message either. Adam and Darryl’s life together is shattered when Adam is diagnosed with the disease. The short and long-term reactions are portrayed with integrity and without sentimentality. Aiello manages to mix the strength of Adam’s resolve to fight with a confused and lost anger that just wants to lash out. Sullivan’s Darryl is the force that keeps him going, along with Davies’ brilliant, no-nonsense Shaz, St. James’ solidly empowering Ruth and Lowrie’s cheerfully mocking yet motivating Ben. Yes, the focus is on Adam, but this is a close-knit ensemble. With a fair bit of multi-rolling thrown in.

The share of the songs is equally democratic, although Sullivan does seem to have been dealt the best hand here. His number, ‘The Life We Live’, is a keenly observed and moving ballad, with a touch of Barry Manilow’s ‘Could it be Magic’. That could well sound like an insult, but in context it is actually a huge compliment. (Oh – a quick note: in the absence of a song list, I’m giving the numbers my own titles… apologies to Burgess in advance if they are misnamed). Later, ‘Give Me A Voice’ is a gem steeped in metaphor and double meaning. The cast may not have the strongest voices, but they do capture the energy and character of Burgess’ lyrics.

Already a successful author and expert in robotics, Peter Scott-Morgan embraced every technology going in order to fight the progression of his disease, using himself as a test subject to help the cause of others with extreme disability. The Channel 4 documentary celebrated the story. Burgess, however, uses the parallel to expose the media’s cynicism. A domestic argument caught on camera is described as ‘TV gold’. One-liners pepper the text that on the surface are throwaways but, on closer inspection, shield a wealth of meaning. ‘I am in denial of being in denial’ quips Adam. ‘Jesus loves you’ he is told, to which he wryly replies, ‘tell him he’s not my type’. As the show progresses, the comedy gives way to poignancy. ‘I want you to be my lover, not my carer’. The show also drifts away from reality into dreamscape, reminiscent of the Bob Fosse ‘All That Jazz’ biopic. While Adam lies on the operating table, we witness his thoughts and dreams during a surreal, out of body sequence.

Richard Lambert’s atmospheric lighting constantly adapts to the varying sequences of the show, while musical director Aaron Clingham’s arrangements suit the mood of each number. Some of the musical staging is a bit repetitive and overall, the show does have rough edges. An epilogue feels like an afterthought, but it is still deeply moving, and the show is truly celebratory. We have spent the best part of two hours laughing (sometimes guiltily) and enjoying some catchy tunes. We have also been surreptitiously given a lesson. Sly, eh? Still, they say the best way to get people to listen is to entertain them. “Supersonic Man” definitely entertains with a heartwarming tale of courage in the face of adversity, with a powerfully honest love story running through it.

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

SUPERSONIC MAN

Southwark Playhouse Borough

★★★★

“entertains with a heartwarming tale of courage in the face of adversity”

SUPERSONIC MAN

Southwark Playhouse Borough

Reviewed on 11th April 2025

by Jonathan Evans

Photography by Louis Burgess

Previously reviewed at this venue:

SUPERSONIC MAN

SUPERSONIC MAN

SUPERSONIC MAN

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