Tag Archives: Hannah Bothelton

BRAINIAC LIVE

★★★★

Garrick Theatre

BRAINIAC LIVE

Garrick Theatre

★★★★

“a mad scientist lair with an unexpectedly polished West End finish”

As someone who grew up watching Brainiac on TV, I was curious to see how this explosive, cheeky science show would translate to the stage. But ‘Brainiac Live’ doesn’t disappoint – bursting with fun, physics and literal fire, it’s a great family show that keeps kids enthralled from start to finish.

Walking in, you’re met with a gleefully chaotic array of equipment – from radioactive barrels and hazard tape, to hot water bottles and deck chairs – a clear sign you’re in for a wild ride! Through a slick blend of experiments, videos and high energy performance, this snappy show keeps you on your toes and teaches you something too.

With original creative contributions by Ben Keaton and writing by Andy Joyce, the show is surprisingly funny and slick. The energy is kept high with rapid fire dialogue and ample audience interaction – the screaming, cheering and booing hardly needs encouragement. Though aimed at kids, the adults in the audience aren’t forgotten with jokes and references for them too. The comedy is largely physical, though the misheard lyrics section is delightfully silly and fun. The experiments are genuinely impressive and entertaining, even if they lean on big bangs which upsets a couple of kids – but explosive science is part of the Brainiac bargain!

Joyce’s direction keeps the energy high and the pacing snappy, each Brainiac high kicking onto the stage, and whipping the crowd into claps, cheers and competitions. The experiments are engaging – if sometimes loud – while punchy video segments mean you barely notice ’Brainiac Dave’ (i.e. Stage Management) expertly resetting the stage. Moments of unexpected silliness – such as the ‘Single Ladies’ bit complete with smoke and leotards – establish this as entertainment first and science demo second, though they blend seamlessly. A great example of making science fun!

Jack Andrews’ Brainiac Ned (a role shared with Joyce) keeps things zipping along expertly, with big, bouncy energy for the kids plus sharp comic timing for the adults. Andrews keeps the audience hooked throughout. Rik Warren gives Brainiac Ed a stoic but silly charm, opening with the strong, silent treatment before busting out some hilarious moves. Tracy Rahi’s Brainiac Raz completes the trio with real gusto. A cameo from Madison Grace sets the edgy tone early, and dramatic voiceovers from Odinn Orn Hilmarsson keep things moving.

Hilmarsson’s video editing, paired with GDL’s artwork, design and animations, give the video segments a really polished feel, boosting both the educational and entertainment value without ever feeling like filler. Additional design by Damien Stanton and Charlotte Paveley, including hazardous waste debris, playful lighting and slick sound design, builds a mad scientist lair with an unexpectedly polished West End finish.

Catch ‘Brainiac Live’ this summer – it’s big fun and bigger bangs, a perfect pick for kids who don’t mind a bit of noise.



BRAINIAC LIVE

Garrick Theatre

Reviewed on 28th July 2026

by Hannah Bothelton

Photography by Mark Douet


 

 

 

 

BRAINIAC

BRAINIAC

BRAINIAC

THE JONATHAN LARSON PROJECT

★★★★

Southwark Playhouse Borough

THE JONATHAN LARSON PROJECT

Southwark Playhouse Borough

★★★★

“a tender tribute from a world still not over his loss”

After its acclaimed Off-Broadway debut, ‘The Jonathan Larson Project’ arrives in London during the 30th anniversary year of Larson’s untimely death. Offering a rare glimpse into Larson’s early creative process, it celebrates his genius with sharp staging and a knockout cast.

This piece honours Larson’s life and legacy, opening with intimate videos and photos from his personal archive that immediately pull us into his world. From there, we move through songs from his earliest – and sometimes previously unperformed – projects before raising an affectionate final toast.

Shaping this collection of standalone works and offcuts into a cohesive whole is no mean feat, and Jennifer Ashley Tepper’s conception pulls it together with clarity and affection. Larson’s music and lyrics are presented as intended – ‘not a word has been changed’, the freesheet promises. The breadth of material shows off his range – who knew Larson wrote pop songs? – letting us peer deeper into his wickedly witty, politically restless mind. Standouts include ‘Hosing the Furniture’, a musically intricate breakdown earning the Stephen Sondheim Award; ‘Valentine’s Day’, an abusive love vignette featuring in early versions of ‘Rent’; and ‘Love Heals’, a soaring tribute to a friend lost to AIDS. It’s fascinating to see Larson’s early artistic voice, with hints of ‘Superbia’ and ‘Tick, Tick… Boom!’ in places. While you can see why some pieces were ultimately cut, the evening flows with surprising ease.

John Simpkins’ vibrant direction brings the collection to life. The revue like frame – with voiceover intro and contextualising captions – may feel simple, but the pacing is sharp and every number unique. Some songs are stripped back, others burst into full staging. ‘The Vision Thing’ drops us straight into a satirical musical skewering the circus of presidential campaigning. Elsewhere, we channel late 80s/early 90s pop with a slick music video that wouldn’t be out of place on MTV. It’s surprisingly cohesive – a clear testament to Simpkins’ assured direction.

Musical supervisor and director Livi Van Warmelo, with assistant Tom Renwick, captures the songs’ intricate architecture and deep emotion. The arrangements are adapted beautifully and the band – van Warmelo, Renwick, Tom Green, Aidan Platts and Tom Daley – shine with pulse and polish.

Taylor Walker’s choreography channels the late 80s/early 90s, pulling from hip hop, voguing, and contemporary musical theatre, showing a full range of colours in this tight, fast moving evening.

The design is strong overall. Alistair Penman’s mix feels muffled early on, with full band moments swallowing the cast’s resonance and lyrics. But when things pare back, both cast and band shine. Alex Basco Koch’s video design blends personal images with atmospheric visuals of New York skylines, abstract textures, even a tanker crashing on a reef. Captions provide helpful context, even if they flick past a touch too quickly. Nate Bertone’s set channels Rent’s urban industrial grit with scaffolding, ladders, shifting furniture, a roaming piano. The on stage scaffolds are a striking choice, though block the video’s smaller screen. Sam Biondolillo’s lighting is gorgeous – sometimes stripped back, sometimes gloriously maximalist, but never missing a storytelling beat. Jean Gray’s costumes evocatively channel the 1990s with denim, leather jackets and newsboy caps, before shifting into genre specific looks for each number.

The stellar cast delivers across the board, even if the sound occasionally underserves them. Max Harwood, Imelda Warren Green, Michael Mather, Natalie Kassanga and Marcus Collins slip fluidly between 90s artists and Larson’s characters, offering a vivid spectrum of moods and archetypes. Each brings a distinct vocal colour – warm, agile, rich, or electric – that lights up the material. Though it’s hard to name a single standout in a company this strong, each has their own standout moment. Warren Green’s attack and rock belt nearly stops the show; Mather leans into the grunge and emotional grit of ‘Valentine’s Day’; Kassanga adds velvety depth; Harwood brings jaded optimism and lightning-fast runs; and Collins delivers astonishing mix belt power.

‘The Jonathan Larson Project’ feels like a tender tribute from a world still not over his loss. Fans will love this rare, intimate window into Larson’s oeuvre, filling some of the creative space left by his untimely death, while still speaking to anyone interested in artistic evolution.



THE JONATHAN LARSON PROJECT

Southwark Playhouse Borough

Reviewed on 13th July 2026

by Hannah Bothelton

Photography by Danny Kaan


 

 

 

 

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