★★★

“Flabbergast has clearly invested considerable time in the development and interpretation of this work”

As the audience enters the auditorium, Flabbergast Theatre’s seven strong ensemble is already on stage. Costumed (Henry Maynard) fundamentally in white underwear and black Doc Marten boots, their bodies show fresh red wounds. With white faces, mummy and zombie-like in appearance, the spectres fall to the ground, only to rise again, writhe and twirl in slow motion balletic forms before collapsing (movement direction Matej Matejka). Repeated over and over again the effect is mesmerizing and we know this will be no ordinary Shakespearean production.

A simple set is dominated by a vast scaffolding tower with Juliet’s bedroom, naturally, at the very top giving Romeo plenty of scope for climbing. Every inch of the Wilton’s excellent performance space – wide, deep and on multiple levels – is utilised in Henry Maynard’s impressive direction. There is beautiful and effective lighting throughout (Rachel Shipp). A pervading rich blue wash creates the dreamworld in which the action exists. But the darkness is transformed during Juliet’s lonely soliloquy into a magical luscious yellow.

Effective too is the sparing use of music (Nick Hart). English folk melody, world music, ecclesiastical chant and, in the case of the Capulet’s party, techno rave are all infused into the action to create a production that revels in its otherness.

The play begins in earnest with the choral prologue and from there things begin to falter. Each spectre speaks for themselves, the chorus is not in sync and the text is muddied. Sadly, this is to be a recurring problem throughout this performance.

Whilst fundamentally an ensemble piece, first amongst equals is Lennie Longworth (Juliet) who is a ray of sunshine. Bringing a youthful vitality to her role that at times we can believe that the young lover really is just a teenager, her ‘wherefore art thou’ plea is earnest and touching. Sadly not matched by her Romeo (Kyll Thomas-Cole) whose writhing, circling and throwing himself to the ground is given more weight than a clear and meaningful delivery of the text.

Vyte Garriga as the Nurse in a large, hooped skirt plays things perilously close to pantomime dame. The clowning skills of Simon Gleave (Mercutio) and Nadav Burstein (Tybalt) are excellent but at the cost of individual character. Daniel Chrisostomou gives a commanding performance as Friar Lawrence and whose comedic monosyllabic Peter brings out the laughs. Henry Maynard allows himself a sense of fun as Benvolio but seems less comfortable in the domineering role of Lord Capulet. All of the cast, however, perhaps with the exceptions of Lennie Longworth and, conversely, the clown behind the mask of Paris are generally unclear in their enunciation and expression.

Flabbergast has clearly invested considerable time in the development and interpretation of this work and Henry Maynard has a clear vision of how he wants dramatic theatre to be made. But when all the outside influences so dominate that some scenes are unintelligible, what is Shakespeare if we can’t hear the poetry?

This is a five-star production in its concept, movement and ensemble but ultimately let down by its two-star textual delivery.

THE TRAGEDY OF MACBETH at Southwark Playhouse

★★★★

“It is a whirlwind, whirligig production.”

You wander into the space at Southwark Playhouse at your peril, like an outsider may unwittingly stray through the gates of Bedlam. Flabbergast Theatre’s take on ‘The Scottish Play’ eschews Jacobean pomp, placing us somewhere in an uncertain dusty battlefield. A prolonged pre-show has the company writhing demonically, not yet fully formed. Caked in clay they are yet to be moulded into their characters. It is bestial and raw. With fractured moans and tics, elastic limbs and fits they writhe insect-like. Repetitive. Like nomadic animals in captivity – indicative of the madness into which we are soon to be plunged. “’Tis time, ‘tis time”. It doesn’t take us long at all to be swamped in their madness. We are already there. It is primitive, tribal. A mix of middle earth, pre-history, Norse warmongering, druid dystopia. A heightened apocalypse. Taiko rhythms deafen the senses, and the witches proclaim their prophecies in unison. The lunatics have taken over the asylum.

We wonder where we can go from here. The extraordinary opening cannot afford to dip, but has it got the energy to rise. Its sheer strength proves to be the one weakness that keeps the performance on the one level throughout. Thrilling as it is, it is relentless, leaving us wanting more of the stillness. More relief. But when those moments do come, they are truly striking, and the combined talents of this cohesive ensemble shine through. Attuned and in tune, the performers interact as one: their individual backgrounds adding rich flavours that “in the caldron boil and bake”. Physical theatre, puppetry, clown work, percussion, ritual, mythology, European folk music, and medieval chant are brought together under artistic director Henry Maynard’s steely direction.

Maynard is also tonight’s Macbeth (not always – some cast share roles and interchange on a nightly basis). A rich-voiced, booming presence not quite emasculated by Briony O’Callaghan’s Lady Macbeth. O’Callaghan, vampiric in her thirst for blood and status, gives a striking performance, both baiting and taming Maynard’s feral Macbeth. The supernatural nature of Shakespeare’s play is powerfully portrayed, often relying on just the performers’ bodies. Deep red wine symbolises the copious spilt blood. At times the wine and blood are as one, especially when Simon Gleave beautifully crackles as Banquo’s ghost, spitting and pouring claret-hued and venomous fear into the veins of Macbeth. Flabbergast are not afraid to go out on a limb, while remaining loyal to Shakespeare’s text. Comic relief comes courtesy of Dale Wylde’s Porter; a rubber-faced, New-Age Mr Bean at the gates of the castle.

Multi-rolling Daniel Chrisostomou comes into his own, particularly in Act Two as Macduff, plotting his revenge, while Kyll Thomas-Cole’s eye-catching Malcolm teases and tests his motives. One of the more riveting scenes, on a par with the stillness of the soliloquies. These moments, though, struggle to be remembered once the panoramic bombast subsides. The symmetry, synchronicity and physicality of the performance is undeniably exhilarating. It does not probe too deeply into the sexuality or the chemistry between Macbeth and Lady Macbeth. In today’s climate one expects the subject matter inherent in the text – what does it mean to be a man, or a woman? – to be milked for all its worth and given the ‘correct’ treatment. This show, deliberately or otherwise, admiringly leaves it up to the audience, respecting intelligence by not spooning out popular judgement. The resonance stands on its own.

It is a whirlwind, whirligig production. One that captures the ethos of “Macbeth”, even if the story is one of the casualties, strewn among the body count. Yet it is a powerful, thrilling and quite extraordinary interpretation. A unique, sensory overload that can probably be heard across Southeast London, but should definitely be experienced up close.

ROMEO AND JULIET

Wilton’s Music Hall

★★★

“Flabbergast has clearly invested considerable time in the development and interpretation of this work”

ROMEO AND JULIET

Wilton’s Music Hall

Reviewed on 11th June 2025

by Phillip Money

Photography by Michael Lynch

Previously reviewed at this venue:

ROMEO AND JULIET

ROMEO AND JULIET

ROMEO AND JULIET

THE TRAGEDY OF MACBETH at Southwark Playhouse

★★★★

“It is a whirlwind, whirligig production.”

Reviewed on 16th March 2023

by Jonathan Evans

Photography by Michael Lynch

Previously reviewed at Southwark Playhouse:

JOIN US