Tag Archives: NASIA NTALLA

THE LAST BANTAM

★★★½

Etcetera Theatre

THE LAST BANTAM

Etcetera Theatre

★★★½

“Hughes’ performance is energetic, generous, and delivered with clear affection for the subject matter”

The Last Bantam, written, performed and directed by Michael Hughes, invites us into a stripped-back world shaped by the remnants of the First World War. Against a simple set, we meet Patrick Michael Wolfe, dressed in his military uniform – the last surviving member of a 30,000-strong Bantam regiment, men initially rejected for their height but full of heart. Wolfe, the final Bantam left, now faces a room of unseen reporters, ready to recount what truly happened.

The show begins with the history of the Bantams: spirited men eager to fight for their country, yet repeatedly turned away because they fell below the army’s height requirement. Hughes vividly brings to life this lesser-known chapter of WW1, introducing us to Wolfe, an Irish recruit who joined after Belfast newspapers announced in 1915 that men between 5ft and 5ft 3in could enlist in Britain. His humour, particularly around the absurdity of recruitment slogans urging Bantams to “unleash the giant within,” offers welcome levity amid the darkness.

Hughes’ performance is energetic, generous, and delivered with clear affection for the subject matter. He balances comedy with the harsh realities of war, even weaving in a song that briefly lifts the weight of the narrative. As the story deepens, the tone shifts: the terrible casualties suffered by the Bantam battalions are conveyed in unflinching detail. Pride gives way to disillusionment, and Hughes asks pressing questions about duty, faith, and survival. What remains when everyone else is gone? How does one keep believing in anything at all?

Some of the storytelling is particularly beautiful – Hughes’ moments of stillness, enhanced with considered lighting, draw focus to the emotional gravity of events and allow the quiet to speak as loudly as the action. His portrayal is powerful, though at times the performance remains locked in a single tonal mode. A greater variation in vulnerability, reflection and portrayal of anger, beyond the soldier’s hardened exterior, could further enrich the emotional landscape of the piece.

Similarly, while the early humour builds warmth and highlights the stigma these men faced despite their willingness to fight, the repeated height-focused jokes at times overshadow the deeper spirit and resilience of the Bantams. The play shines brightest when it honours the bravery, camaraderie and sacrifice of these men – not just their physical stature.

The Last Bantam is a heartfelt tribute to those who served and suffered, and an engaging exploration of an often overlooked corner of military history. Hughes’ writing offers much to reflect on, giving us a rounded insight into Wolfe’s life and inner thoughts. His performance delivers the story with sincerity and conviction, providing both historical understanding and a resonant sense of humanity amid unimaginable horror. It is a story that may be hard to hear, but one worth keeping alive – and worth bringing to many more audiences.



THE LAST BANTAM

Etcetera Theatre

Reviewed on 8th December 2025

by Nasia Ntalla

Photography by Michael Gill


 

Previously reviewed at this venue:

KILL YOUR FATHER | ★★★ | November 2025
PUBLIC SHARING: DICK FIDDLER IS DEAD | ★★½ | November 2025
CHECKMATE | ★★★ | September 2025
HOSTAGE | ★★★★ | March 2024

 

 

THE LAST BANTAM

THE LAST BANTAM

THE LAST BANTAM

RED

★★★★★

Chickenshed Theatre

RED

Chickenshed Theatre

★★★★★

“fills the audience with joy, curiosity, and genuine wonder”

Red reimagines the familiar tale of Little Red Riding Hood, inviting us to dig deeper into the grey areas between villain and hero. Supported by the passion of over 200 performers, this vast, ambitious musical adaptation redefines the story as an exploration of identity, perception, and the courage it takes to truly see beyond the obvious.

Directed by Michael Bossisse, Bethany Hamlin, Cara McInanny and Jonny Morton, Red becomes a vibrant quest of self-discovery: a teenage girl, angry at the world yet unknowingly supported by it, embarks on an unexpected journey with her siblings. Along the way she learns that ancient myths may hold more truth – and more lessons – than she ever imagined.

The writers, Dave Carey, Ashley Driver and Sebastian Ross, deliver a wholehearted, humorous script that bursts with emotional truth and fills the audience with joy, curiosity, and genuine wonder. This is a grand, communal celebration of what it means to be together, to be different, and to belong.

From the moment the show begins, the stage welcomes us into an inclusive performance world, with main characters and actors interpreting in sign language. What initially appears to be a simple set reveals itself as a transformative marvel: first a train, then a bustling village, then elegant dining halls and winding pathways. Andrew Caddies’ combined set and lighting design is magical – producing images that feel both fairytale and otherworldly. The stage doesn’t just change, it “shape-shifts”.

Emma Gale’s beautifully crafted costumes carry us seamlessly between these worlds. Despite the rapid pace of the show, transitions appear effortless; the costumes seem to breathe with the story, adapting to every shift in tone and place.

In every scene, we witness breathtaking ensemble dance and movement pieces. Everywhere you look, there is another story unfolding, another set of eyes drawing you deeper into the world. How many people can you fit on a stage dancing? At Chickenshed, the answer is always: more. And the more there are, the more astonishing it becomes. Yet above all the spectacle, the most exceptional moment of the production is witnessing the entire ensemble becoming one moving body – a single organism pulsing with unity, purpose and heart. When the ensemble moves, the whole theatre breathes with it.

The production features a fully original score, performed live onstage. Under the musical direction of Dave Carey and Phil Haines, the music becomes the heartbeat of the show – magical, lyrical, and deeply connected to everyday life with multiple genres. Each song fits into the narrative like a perfect piece of Lego, building the world one note at a time.

The cast’s energy is boundless. Every performer, from lead to ensemble, gives everything – hearts open, souls shining, ready to perform not just for the audience at Chickenshed, but for the world.

While it’s impossible to single out only a few, standouts include Grandma (Cara McInanny) with her unhinged, fearless commitment; the Wolf (Michael Bossisse), whose warm and effortless acting brings new layers to the iconic figure; Chester the Butler (Sebastian Ross), who charms with perfect comedic timing; and one of the signers, Mouse O’Hehir, whose quirky, magnetic presence and beautiful movement add a captivating extra dimension.

Red holds you from start to finish. It’s a story about the power of unity, the search for authenticity, and the way we discover ourselves through the support of others. Lush with imagery, bursting with imagination, energy and heart – it’s a must-see show made by many, for many, and about all of “us”.



RED

Chickenshed Theatre

Reviewed on 27th November 2025

by Nasia Ntalla

Photography by Mark Field


 

Previously reviewed by Nasia:

MAYBE I SHOULD STOP | ★★★★ | DRAYTON ARMS | November 2025
DEATH BELLES | ★★★½ | OLD RED LION THEATRE | October 2025

 

 

Red

Red

Red