Tag Archives: Natalie Boakye


Ghosted – Another F**king Christmas Carol


The Other Palace





“It is a rib-tickling celebration of queer culture. The Play That Goes Wrong meets Queer Eye, with a sprinkling of Have I Got News For You”


‘Tis the season of way too many Dickens adaptations, but as you can most likely tell by the subtitle, “Another F***ing Christmas Carol,” this is very much not a standard version of the Christmas classic.

Written by Jon Bradfield and Martin Hooper and directed by Andrew Beckett, the team behind the celebrated adult pantomimes for Above The Stag Theatre, Ghosted may just be my favourite festive show of the year. Hilariously self-aware, it was set firmly in 2022, with pop culture references, political jokes and many, many references to queer culture.

It begins with three carol singers in period dress, holding traditional, Victorian style lanterns. They start singing a beautiful carol, until they are interrupted by Bobbi Cratchitt (played with incredible comic timing by Nikki Biddington), running in late, through the audience, wearing a bright Christmas jumper and reindeer antlers. This riotous beginning brings the story into the present and sets the tone for the whole piece. When the carol singers get chatting about their terrible boss stories (very relatable – we all have one!), Bobbi Cratchitt begins to tell us about Eloisa Scrooge (Natalie Boakye) and three queer ghosts (all hysterically camp, played by Christopher Lane) who give her a makeover on Christmas Eve. The rest of the story loosely follows the plot of A Christmas Carol, with a few surprise twists and turns.

The cast is made up of just four people, switching effortlessly between all the characters, and every member was as strong and hilarious as the rest. Although a standout moment for me was Liam McHugh, switching between playing a mother and son in the same scene. A fantastic ensemble with brilliant chemistry, who all had stunning singing voices. Their creative and sweary updates on classic Christmas carols were sung beautifully, with gorgeous harmonies, along with a hefty dose of F words, and even a few C bombs… it is certainly not a show to bring the children along!

The set (designer David Shields) is a purely white room, with very few props (Isla Rose) or set pieces, meaning a small amount of imagination was required. The costume design was very much the same, a couple of key items for the quick changes between the characters. But there were many jokes made of this, and it became a running gag throughout the piece. Paper chain decorations became the chains around “Jacob Rees-Marley”, and with a few subtle lighting (Oli Matthews) and sound effects (Joel Mulley), the stage became an office, a flat, a dining room, a beach, and even a nightclub smoking area.

It is a rib-tickling celebration of queer culture. The Play That Goes Wrong meets Queer Eye, with a sprinkling of Have I Got News For You – heart-warming, without being sickly sweet – it is exactly what is needed in the current climate, and I didn’t stop laughing throughout.



Reviewed on 2nd December 2022

by Suzanne Curley

Photography by Mark Senior


Previously reviewed at this venue:

Millennials | ★★★ | July 2022
Glory Ride | ★★★ | November 2022


Click here to read all our latest reviews


Sh!t-faced Shakespeare: Macbeth


Leicester Square Theatre

Sh!t-faced Shakespeare: Macbeth

Leicester Square Theatre

Reviewed – 8th July 2021



“an exceptional show from beginning to end”


The story of the Macbeths and their murderous grab for power in eleventh-century Scotland is one of Shakespeare’s most renowned plays. First performed in 1606, Macbeth (the play and its characters) command great respect on the theatrical stage…that is, until one of the cast members drinks multiple pints and half a bottle of gin just before curtain up.

That, essentially, is the premise of Shit-Faced Shakespeare. A staple at fringe festivals across the country, Shit-Faced Shakespeare has entered its fifth year at the Leicester Square Theatre, bringing much needed revelry to a socially distanced audience. At each performance, one professionally trained actor is chosen to get drunk before the show begins, and their sober co-stars must react accordingly to their sozzled antics. One audience member is even given a gong to hit if the show is too tame and another drink is required, whilst another receives a bucket in case of emergency.

The drunk for this evening was James Murfitt who played Prince Malcolm and one of the Three Witches. Stumbling and slurring, Murfitt injected pure chaos into the play, making comments about The Guardian reviewers in the audience (who, apparently, will love his penis flag), wanting to hook up with the Domino’s delivery boy, and insisting Malcolm is a black belt in judo.

Far from the bargain bin from which they joked they came, the cast were exceedingly good at improvising and bouncing off one another. Their recall to odd quips made by Murfitt was exceptional and served well to tie the whole play together amongst the havoc on stage. Will Seaward who played Duncan was particularly strong at this, and his booming voice reminiscent of Brian Blessed juxtaposed with Murfitt’s slurred speech perfectly.

Despite all the silliness, the show was highly polished. The sets, which Murfitt tried to climb on multiple occasions, were elaborate, the props were humorous (the knife Macbeth ‘sees before him’ attached to the end of a fishing line controlled by Murfitt), and the lighting and sound effects were well-timed and highly atmospheric. The costumes were suitably Shakespearean, and regular costume changes posed an extra (but hilarious) obstacle to the drunk.

A notably funny bit of prop comedy was the murder of Fleance, Banquo’s son, who is played by a puppet on wheels. A member of the audience was given a toy crossbow to shoot at Fleance as if playing some twisted carnival game. This was laugh-out-loud funny and was a brilliant example of just how creative the team behind the show are.

Shit-Faced Shakespeare: Macbeth is an exceptional show from beginning to end. Fortunately for the audience, its premise means that one could watch the play over and over again without getting bored due to new hijinks and jokes afoot at each performance.



Reviewed by Flora Doble

 Production image by Andrew AB Photography


Leicester Sqaure Theatre

Sh!t-faced Shakespeare: Macbeth

Leicester Square Theatre until 11th September


Other shows reviewed by Flora this year:
Ginger Johnson & Pals | ★★★★ | Pleasance Theatre | June 2021
Godot is a Woman | ★★★½ | Pleasance Theatre | June 2021


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