★★★★★

“a theatrical experience that leaves both kids and grown-ups completely enchanted”

Sinbad the Sailor is a magical and heartwarming production brought to life by writer and creative producer Mona Khashoggi and director/choreographer Anjali Mehra. It’s a show that truly captures the imagination, perfect for both adults and children.

The story follows Sinbad, a legendary sailor from Arab folklore, who sets off on thrilling adventures during the time of the Abbasid Caliphate (750–1258). As he journeys through East Africa and South Asia, he encounters enchanted lands, mysterious creatures, and all kinds of supernatural wonders.

These tales are inspired by real-life sailors’ journeys across the Indian Ocean, ancient poetry like Homer’s Odyssey, and fantastical stories from Indian and Persian traditions.

Sinbad has been told and retold in cartoons and theatre over the years, but this version by Mona and Anjali is truly something special. With stunning choreography, vibrant costumes, and a beautifully unified dance ensemble, the show feels like a dream straight out of One Thousand and One Nights. A standout feature is how Anjali has choreographed solo moments for nearly every dancer, letting each performer’s talent shine.

Adding to the magic is Gregor Donnelly’s breathtaking set and costume design. From rich fabrics to imaginative staging, his work brings Sinbad’s world to life in the most dazzling way.

Sinbad the Sailor is a joyful blend of music, dance, and storytelling, a theatrical experience that leaves both kids and grown-ups completely enchanted.

SONGS OF THE WAYFARER

Lilian Baylis Studio

★★★★

“we are being invited to a new kind of theatrical experience”

Claire Cunningham is a disabled artist, who performs on crutches. Predominantly known for her dance and choreography, in this affecting examination of journeys, she also draws upon her experience as a classical singer.

We begin in the lit studio, with beanbags and chairs on the stage, welcoming audience members to immerse themselves in the performance. A rumpled sheet bisects the floor, feeding into a thin AV screen, which projects surtitles and looped film. In the corner a mountain has been built with crutches, all intersecting like a molecular model or a climbing frame.

As the audience file in, Cunningham moves amongst the crowd, chatting amiably and encouraging everyone to get comfy. This sets the tone of the show – we are being invited to a new kind of theatrical experience, one which has accessibility woven into the fabric of the piece.

Cunningham welcomes us to the space and prepares us by demonstrating the extremes of light and darkness, silence and noise, making sure we know what to expect. There will be no sudden surprises.

It’s rare to feel so connected to a performer. It can also be rare to feel so relaxed and comfortable as an audience member. Cunningham’s warmth and acceptance is infectious.

As the show begins, we watch Cunningham blend physical theatre with snatches of spoken word poetry and the classical song cycle ‘Lieder eines fahrenden Gesellen’ (‘Songs of a Wayfarer’) by Gustav Mahler. Parts of this are mesmerising, her voice transcendent and movement captivating.

This is an ambling, exploratory show. It takes the theme of journeys and considers it through many lenses. There are performance breaks, ebbs and lulls which are both stylistic and physically necessary for Cunningham.

There are many different elements blending together. The projected film sees Cunningham’s feet and crutches navigating different terrain, as well as shots of waterfalls and running water. The spoken word element is recorded as voiceover, overlaying the performance with lyrical Scots. Choice phrases from the Mahler lyrics are projected on the floor, reminding us to slow down and to take our time.

The messaging of the show echoes within its form. It is meandering and soothing.

This won’t be a show for everyone, certainly the pacing may be too slow for some. There are patches where the energy drops a little, or where a moment lingers too long. Some of the meaning was a little murky, and there were elements that were not immediately clear.

However, as an exploratory piece of art it is undoubtedly beautiful. Cunningham’s voice is skin-tinglingly lovely and her physicality and innovative choreography are jaw dropping.

SINBAD THE SAILOR

Lilian Baylis Studio

★★★★★

“a theatrical experience that leaves both kids and grown-ups completely enchanted”

SINBAD THE SAILOR

Lilian Baylis Studio

Reviewed on 15th July 2025

by Beatrice Morandi

Last ten shows reviewed at Sadler’s Wells venues:

SINBAD THE SAILOR

SINBAD THE SAILOR

SINBAD THE SAILOR

SONGS OF THE WAYFARER

Lilian Baylis Studio

★★★★

“we are being invited to a new kind of theatrical experience”

SONGS OF THE WAYFARER at Lilian Baylis Studio

Reviewed on 4th December 2024

by Auriol Reddaway

Photography by Sven Hagolani

More reviews from Sadler’s Wells’ venues:

SONGS OF THE WAYFARER

SONGS OF THE WAYFARER

JOIN US