★★★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.

THE GLASS MENAGERIE at Alexandra Palace Theatre

★★★★

“haunting and dynamic”

Against the backdrop of arrested decay in the Alexandra Palace theatre blares a rotating neon sign reading “PARADISE”. The shiny circular stage is decorated around the edges with the eponymous glass menagerie and later with added candles and flowers (Rosanna Vize). As the scenes progress the sign turns like a clock hand; the threat of lost time looming over the characters. Tennessee William’s memory play is set in the 1930s, in this production, the cast adopt modern costumes and props to illuminating effect as the family drama is grounded in a more recent era. The scenes are underscored with eery instrumentals (Giles Thomas) and characters make use of two microphones on stands to emphasis the overwhelming nature of their conversations as the family suffocate each other with words. Echoing the turn of the sign, the company move around cyclically (movement Anthony Missen) winding on and off the stage as they orbit each other. With every entrance and exit comes the risk of breaking a glass animal, implying the precarious circumstances of the family.

The Wingfield family consist of a resentful writer and narrator Tom (Kasper Hilton-Hille), his histrionic mother Amanda (Geraldine Somerville) and anxiety-ridden sister Laura (Natalie Kimmerling). The play follows the family navigating financial strain, familial roles and desperation to secure stability in their lives. Amanda places her hope in the prospect of getting Laura married after she drops out of a business course due to her anxiety. Tom loses himself by writing poems and going to the movies and argues with his mother over money and craving independence. Jim O’Conner (Zacchaeus Kayode) joins the play more in Act Two as a colleague of Tom and former high school crush of Laura.

Somerville depicts Amanda with a multi-layered performance with humour and dignity, never adopting a shrill tone or overly manic demeanour. She is berating and materialistic, but cares deeply for Laura and Tom and attempts to pre-empt and solve problems. She is overbearing but also earnestly helps Laura pursue independence and happiness. She worries reasonably about Tom’s nightly escapes but ultimately has outbursts that alienate her children. Kimmerling presents Laura as a kind ostracised young woman, dogged by onsets of panic and insecurity. Her journey shows her sociable abilities and emotional intelligence, as well as her fragility and internal torment. Her performance is beautifully moving and the relationship between the siblings is touching. Watching her get so close to happiness but not quite achieve it is sad, but what makes the story tragic is her inability to emotionally recover from the setbacks in her life. Hilton-Hille captures Tom’s adolescent frustration and solemn reflection as he recounts his life. The growing conflict with his mother are balanced with his concern for Laura. In Act Two Kayode portrays the perfect man in Jim; empathic and charismatic, but also nostalgic and pathologising. He finds Laura intriguing and intelligent, but flawed. He offers her advice and ruminates on resilience; “everybody’s got problems”. Director Atri Banerjee bring outs the fun and joy of their would-be romance with dancing and music, leaving the audience wanting Laura to believe in love and more.

The family dynamic is captured through movement as they weave around the glowing “PARADISE” focal point above accompanied by dramatic backlights and dimly lit candles (Lee Curran). The drama’s intensity is heightened by the large performance space, creating a sense of loneliness and magnitude, with characters entering and exiting into the upstage void. The direction is slick, focusing on the intention of the conversations rather than fixating on the setting. This production of Glass Menagerie is haunting and dynamic, with each turn of the fluorescent sign pushing the family to the brink.

Tag Archives: Jessica Potts

MISS BREXIT

★★★½

Camden People’s 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:

CONFUSED CHRONICLES OF ALEPPO | ★ | August 2023

INVASION! AN ALIEN MUSICAL | ★★ | July 2023

MISS BREXIT

MISS BREXIT

Click here to see our Recommended Shows page

THE GLASS MENAGERIE

★★★★

Alexandra Palace Theatre

THE GLASS MENAGERIE at Alexandra Palace Theatre

★★★★

“haunting and dynamic”