★★★★

“the cast are eloquent and entertaining, delivering their anecdotes that extend beyond the niche world they inhabit”

Welcome to the ‘Ambridge Flower and produce Show’. For most of you, that phrase will conjure up images of the gentle rolling hills of the Midlands, where the bells of St Stephen’s Church can be heard from The Bull; the village’s only pub. “The Archers” is the world’s longest-running drama, having aired well in excess of 20,000 episodes over the last seventy-five years. To celebrate, a live theatrical experience brings the iconic radio drama out of the studio onto stages across the UK, each performance featuring four of the actual actors from the radio broadcast. For the London leg of the tour these are Tim Bentinck (David Archer), Annabelle Dowler (Kirsty Miller), Charlotte Martin (Susan Carter) and Ben Norris (Ben Archer). Collectively known as the ‘Flower Cast’, they are joined by the live sound-effects specialist Vanessa Nuttall.

A confession. I have never tuned into BBC Radio 4’s ‘The Archers’, which no doubt puts me in a minority of the population (I can’t help thinking that I’m an unlikely candidate to review this show). Tentatively setting foot inside the New Wimbledon Theatre I feel like an interloper. An outsider who has wandered into the wrong venue. There is no concession for the likes of me. But my worries are rapidly assuaged. Hosted by comedian Angela Barnes – who is a fireball of enthusiasm and energy – I begin to feel embraced by this quirky community, enveloped in the warmth of camaraderie; like an errant lamb nudged into the fold by a compassionate sheepdog. Of course, I am familiar with the theme music, and as soon as I hear it, I feel a vicarious nostalgia. I’m even thinking to myself that I might start tuning in each evening (or at least for the omnibus episode on Sunday mornings).

Barnes gives us a potted history of the last seventy-five years in a little over seventy-five seconds. It flies straight over my head, but it is brilliantly executed and quite hilarious. Once the four cast members are comfortably seated, amid the crates of vibrant, saturated fruit and vegetables, we are in chat-show territory. A giant video screen on the back wall is put to good use, depicting the rural backdrop. Featuring, for most of the time, a slightly curious Friesian cow watching over the proceedings, it is occasionally replaced by a llama (those who know will know, I guess).

In-jokes aside, the cast are eloquent and entertaining, delivering their anecdotes that extend beyond the niche world they inhabit. They all share the same dry humour and self-deprecation that draw the listener in. The conversation flows easily and we barely notice the cues that pockmark the exchanges. Yes, it is all prepared earlier, but it is as juicy as a lemon-drizzle cake in the village hall fete. Surprisingly little time is given to re-enacting episodes from the series. But when that occurs, it allows Vanessa Nuttall to show off her art, bringing the scenes to life using creative and sometimes surprising props. A modified bicycle pump becomes a champagne cork; an ironing board transforms sonically into any number of farm gates and barn doors. It is all quite an eye-opener (ear-opener).

Naturally there is audience participation, which is where I wonder if placing the press on the front row is a cruel joke or a clever pr strategy. But my fears subside – it is all done on a phone app. Act Two opens with a pub quiz – questions based on general knowledge of the show. I give it a go, and inevitably score nil out of five. The same app lets the audience submit questions to the cast. The most interesting (possibly planted) is whether the actors are ever recognised in public by their voices. We forget that, although these characters are household names and the theatre is full to bursting with their fans, nobody really knows what they look like. One wonders if the mental image the audience have is spoilt by, or contradicts, the reality. For me, however, there is no dilemma. “The Archers: Live at 75” is, without a doubt, directed at the fans, followers, aficionados, acolytes and devotees. But as testament to the wonderful storytelling, novices can find much to enjoy. It’s not cool, glamourous or sexy (Barnes’ words, not mine), but it has survived seventy-five years and shows no sign of letting up. They have plenty to celebrate.

THE RISE OF JOSEPHINE BAKER

Riverside Studios

★★★★

“aching to burst its seams and present itself as a full-length biodrama”

Although it depends heavily on context and tone, the question “where are you from?” is often perceived as an aggressive sign of exclusion, based on race or appearance. The revolutionary American-born dancer, singer and actress, Josephine Baker, used this to her advantage, especially when she moved to Paris in 1925 where she became one of the most celebrated performers to headline revues such as the ‘Folies Bergère’. While France offered more artistic freedom than America, she still encountered racial prejudice and, initially, was pushed into inappropriate and exoticized stage roles. This is one of the central motifs of Shani Gray’s “The Rise of Josephine Baker”, and although Gray addresses it with light-hearted humour, we get a sense of Baker’s fight for acceptance and the experiences that shaped her civil rights activism.

With her trademark ‘Bakerfix’ hair gel and outlandish costumes, Gray is the spitting image of Josephine Baker on stage, which strengthens the immediacy of her account. Gray has also written the show, focusing on her move to Paris and rise to fame. Running at just over an hour – to conform to the scheduling constraints of the Riverside Studio’s ‘Bitesize Festival’ – the show is aching to burst its seams and present itself as a full-length biodrama. We are certainly left wanting more. A feeling mirrored by Josephine Baker who, by curtain call, gives the impression that she is only just getting started.

As the writer and producer too, Gray plays down her central role, generously allowing the characters that surrounded Baker to contribute to the story. Christoph L. Dorocant is Paul Colin, the French poster artist who helped launch Baker’s Parisienne career with his iconic Art Deco poster for ‘La Revue Nègre’. Dorocant gives a humble performance, somewhat downplaying his influence and energy. Little is made of the brief but intense romance that evolved; instead we witness a muted friendship. Pepito Abatino (sharply portrayed by Robert De Domenici) has more impact as the gigolo-turned-impresario who assumes the fake title of ‘Count’ to wheedle himself into the position of Baker’s manager. But then there is Philip Bayntun, who gives a wonderful turn as André Daven, the artistic director of the ‘Théâtre des Champs-Élysées’ who hires Josephine Baker to star in ‘La Revue Nègre’. A ball of energy and faux pas, he epitomises the institutionalised racism that Baker fought against. It is a double-edged performance, simultaneously affable and sinister. “Straight from the plains of Africa” he announces, ignoring the fact that Baker is American born, even referring to the ‘Jungle’ when describing her background. Against this context, Gray captures well the dichotomy of reluctantly living up to the stereotype while deploring it. She veers, however, towards compliance a little too easily in what is a subtle performance that could, at times, use a little more fire and ferocity. But nevertheless, Gray presents a striking and very watchable Josephine Baker.

Now in its seventh season, the Riverside’s Bitesize Festival is a platform for creatives to present new work in its early stages of development. “The Rise of Josephine Baker”, as it stands, has more of the feel of a production with its own run, setting the bar high for other shows in the programme. Candace Gray’s costumes highlight the dazzling Jazz Age of 1920s Paris (of course showcasing Baker’s infamous banana skirt), while Sam Edmunds’ evocative lighting creates the requisite atmosphere. The short musical bursts lie too low in the mix and in the narrative, but we can hear the intention as we long for a live band to complement the suggestive storytelling. Gray has rightly opted to focus on a specific episode of Josephine Baker’s life and career rather than trying to create an epic memoir. Like many successful life stories, we learn more from pivotal moments than from the broader picture. Director Jordi M. Carter respectfully zooms in on the minutiae, creating intimate moments that sit well alongside the historical facts.

We are watching a fascinating part Josephine Baker’s journey, as well as witnessing a pivotal part of Gray’s own journey with her performance piece. Intricately researched, it never feels like exposition. Instead, we are absorbed in the characterisation. We are still aware that the full potential has yet to be realised. But like the title character, we feel that Gray is destined for great things with this show. Our eyes will be peeled for its return to the stage.

Tag Archives: Jonathan Evans

THE ARCHERS: LIVE AT 75

★★★★

UK Tour

THE ARCHERS: LIVE AT 75

New Wimbledon Theatre

★★★★

“the cast are eloquent and entertaining, delivering their anecdotes that extend beyond the niche world they inhabit”

THE ARCHERS: LIVE AT 75

New Wimbledon Theatre then UK Tour continues

Reviewed on 3rd September 2026

by Jonathan Evans

Photography by Carsten Windhorst

THE ARCHERS

THE ARCHERS

THE ARCHERS

THE RISE OF JOSEPHINE BAKER

★★★★

Riverside Studios

THE RISE OF JOSEPHINE BAKER

Riverside Studios

★★★★

“aching to burst its seams and present itself as a full-length biodrama”