Tag Archives: Ikky Elyas


Cockpit Theatre



Cockpit Theatre

Reviewed – 26th June 2019



“While the show has a scattering of very funny lines, it’s mostly incomprehensible”


Perhaps you’ve heard the ancient Greek story about a nation’s women who, fed up with an interminable war, banded together to refuse men sex until they agreed to call off the fighting. This is the plot of Lysistrata by Aristophanes, first performed in Athens in 411 BC. The Delta Collective have revamped the play for the modern era, setting the story in a non-binary world.

Unfortunately, if you haven’t read the original play, this one won’t make much sense. Alice Carlill, Alex Kristoffy, Robin Kristoffy and Luke MacLeod’s adaptation takes almost no care to clarify who the characters are, where they are, and what they’re doing at any given moment. Each scene presents a new challenge to discern what they’re talking about. The specifics of their protest are opaque. The series of events verges on nonsensical: there’s a gathering of representatives – we have no idea who they are, or what they represent. In one scene, the women are hard at work hauling bags – we’re given no clue why. In another, a letter arrives prompting everyone to fall screaming to the floor – it’s never explained. The whole thing feels random and messy. It’s very hard to follow.

The characters make long, passionate speeches that are practically unintelligible. Generic language about “not submitting” and “rights” and “the workers” form highly vague arguments that don’t seem to be attached to any particular subjects. Flashes of clever, surprisingly funny lines prove the writing is strongest when it breaks out of adaptation mode. Ikky Elyas (Philurgus and Drakes), and Louis Rembges (The Secretary) stand out in regard to the comedy.

Lack of clarity in the writing combined with uneven performances makes the characters seem erratic: suddenly they’re shouting, suddenly they’re sobbing. It’s impossible to feel connected to the emotions when they appear to fly out of nowhere. Aoife Smyth, who plays Lysistrata, comes across more stroppy teen than fierce leader. But immaturity is a broader issue. Most of what should be impassioned debate is reduced to senseless juvenile screaming. It’s a young cast, and director Olivia Stone may have intentionally chosen to emphasise the characters’ adolescent behaviour. However, while teenage-leaning performances bring out the sophomoric nature of Aristophanes’ sex-based comedy, they’re shallower and less convincing as adults with spouses and children.

Lysistrata, a comedy about a sex strike, is not something to meet with seriousness. The Delta Collective are absolutely right to play and experiment with reshaping this text for 2019, interrogating its gender and sexuality power dynamics. It’s a shame the story seems to have been lost in translation. While the show has a scattering of very funny lines, it’s mostly incomprehensible.


Reviewed by Addison Waite



Cockpit Theatre until 29th June


Last ten shows reviewed at this venue:
On Mother’s Day | ★★★½ | August 2018
Zeus on the Loose | ★★ | August 2018
The Distance You Have Come | ★★★★ | October 2018
Don’t You Dare! | ★★★ | November 2018
Unbelonger | ★★★½ | November 2018
L’Incoronazione Di Poppea | ★★★★ | January 2019
Mob Wife: A Mafia Comedy | ★★★ | January 2019
Cheating Death | ★★ | February 2019
Bed Peace: The Battle Of Yohn & Joko | ★★★ | April 2019
Much Ado About Not(h)Ing | ★★★ | June 2019


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Arabian Nights – 4 Stars


Arabian Nights

Hoxton Hall

Reviewed – 19th September 2018


“Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production”


Iris Theatre presents a new, pertinent version of the ‘Arabian Nights’, turning Hoxton Hall into a wonderland of illusion. Rich colours, masks, puppets, dance and music blend and fuse with the narration to take us on a familiar journey, but down a different path. Nessah Muthy’s heartfelt rewriting of this centuries-old treasure adapts the framework of the story to show the strength and independent minds of women. King Shahryar finds revenge for his wife’s unfaithfulness by marrying a new wife every day and killing her the following morning. When he decides to marry Dunzayad, his young servant, her older sister, Sharazad, uses her gift of storytelling to buy time and save her. In doing so, she gradually sees behind the king’s brutal façade and challenges him, questioning her own feelings as well. Muthy also adds clever twists of gender within the tales, giving them a modern relevance.

Director, Daniel Winder, masterfully interprets the script with art and inspiration. Jonny Dixon’s superb puppets and masks feed our imagination and enhance this youthful yet enlightened production. The lighting (Ben Polya) and sound (Filipe Gomes) add magical and dramatic effects and a constant stream of additional details holds our attention – Amber Scarlett’s resourceful set design, evocative music and dance (Sonum Batra and Nour Alkawaja) and colourful costumes by Maddy Ross-Masson.

The well-chosen, multi-cultural cast poignantly reflects the rich origins of the ‘Arabian Nights’. The six actors cover a multitude of roles as well as manipulating the puppets with dexterity, allowing us to enjoy the fantasy. We not only hear of Ali Baba and Sinbad; brothers and sisters, princesses, husbands and wives, sailors, kings and queens and animals all play their part in recounting adventures, myths and morals. There are varied and vivid performances from Ikky Elyas and Maya Brittoa, Hemi Yeroham’s comic flair, Pravessh Rana’s powerful presence on stage, Izzy Jones’s portrayal as the spirited sister and a special mention for Sharon Singh as Sharazad, who elegantly holds the main plot together with the many narrative diversions.

The first half of the show takes a while to flow. Once we break through the slightly ‘theme park’ feel of the repetitive, pre-show piped music, the imitation stone of the set (from the audience’s close proximity) and the initial impact of the broad acting, we can appreciate the huge amount of thought, work and talent. It is neither a children’s show nor more suitable for adults; seemingly, it has something for everyone. And, at two and a half hours long, there is plenty of time to find it.


Reviewed by Joanna Hetherington

Photography by Ali Wright


Arabian Nights

Hoxton Hall until 13th October


Previously reviewed at this venue
Oranges & Elephants | ★★★ | January 2018
Don Juan | ★★★★ | April 2018


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