★★

“There are some pertinent lines and astute observations”

Landlordism has existed for a very long time and has always had a bad press. Historically it was viewed as a means for unearned income for a class of parasitic landlords, but in today’s society the negativism is much stronger. Landlordism is associated with high rents, the housing crisis, homelessness, and the spin off problems of poor living conditions and mental health. There is no denying that it is a deeply ingrained problem with political origins, one that recent governments have arguably failed to address. Ethan and Kalman Dean-Richards, however, tackle the subject head on – with no apologies – in their new play, “The Good Landlord”.

Drawn from their own experiences with renting, the play is an absurdist take that holds up a pretty fractured mirror to the stories we are likely to hear on the news. Jack (Jason Adam) is facing eviction by his ruthless landlord, Marianne (Julia Winwood), for nonpayment of rent. Jack’s girlfriend apparently left him in the lurch, but that is an underexplored sideline. Slightly dim-witted Sean (Blayne Kelly) has been roped in by Jack to concoct a scheme to thwart the imminent eviction by subletting. The pair will pretend to be landlord and letting agent to lure an unsuspecting tenant into renting a cupboard in the flat. In walks Sony (Caroline Gray), over eager to humiliate herself and fall for the scam. Yes – she is not what she seems. We learn that she is a mystery shopper – a social media sensation known as the ‘Bad Tenant’ – on a maniacal mission to expose rogue landlords. Nay, not just expose, but explode (quite literally). It is at this point, however, that the drama implodes.

It looks like the play could be a farce of sorts but, even at a slim seventy-five minutes, it is somewhat drawn out – like one of those pop-ups, clickbait videos that frustrates with its repeated stalling. The writers appear to have aimed for absurdism. A kind of creative chaos. Yet the result is simply a bit of a mess. It is true that humour is a powerful method of getting people to listen, but the message here is swamped in exaggerated performances and an autocratic self-righteousness. We want more of a soap opera, but we get soapbox protestations. Yusuf Niazi’s direction allows a semi-improvised approach which we are never absolutely sure is intentional.

Confusion extends to the performances. Kelly’s hyperventilating Sean swiftly descends into a catatonic, mute and inexplicable portrayal while Adam, as Jack, delivers with no noise gate or compression. Gray is suitably quirky as Sony while Winwood’s Marianne is quietly befuddled and underused. All four resemble headless chickens at some point or other. Despite the lack of nuance, there are some neat touches. A Black and Decker drill is brandished like Chekhov’s gun, and previous connections between the characters are cleverly revealed. But, overall, the characters’ motivations are too dubious and extreme to gain our sympathy, even if we might agree with their reasoning.

It is an admirable project, backed by renter’s union Acorn, and Ethan and Kalman Dean-Richards can truly be applauded for highlighting the serious issues. “The Good Landlord” definitely plays on the caricature of landlords and letting agents to great effect. There are some pertinent lines and astute observations. This could be quite an incendiary exposé, full of dark humour, but the approach and execution is clumsy and disorganised, and has a simplistic preachiness beneath the chaos that is off-putting. Like its subject, “The Good Landlord” needs more regulating.

JULIUS CAESAR

Omnibus Theatre

★★★★

“Cleverly reimagined, well crafted, and pulsing with style”

Over 400 years since its premiere during enormous political and social tension, Shakespeare’s ‘Julius Caesar’ still hits a nerve. Tangle Theatre Company’s African-inspired adaptation taps into the 21st century zeitgeist with charged intensity and cultural flair, delivering a punchy take on power, corruption and verbal warfare.

Caesar’s days are numbered, though he doesn’t know it: while Caesar courts kingship, rival Cassius sows the seeds of doubt, leading to a colossal betrayal by once loyal friend Brutus. But their bid to save the Republic backfires when the charismatic Mark Anthony swoops into the power vacuum. Suddenly Cassius and Brutus are on the wrong side of history, outmanoeuvred by a shrewd foe. Will it end in tragedy? You’ll have to find out!

Anna Coombs’ gutsy adaptation cuts straight to the play’s heart with bold, intelligent choices. Forty-plus roles become eight performed by five cast members; entire scenes and characters are slashed like Caesar on the Senate floor; expository speeches become brisk, visceral moments with deeper character insights. Several characters are condensed into a mysterious shamanic Soothsayer, steeped in symbolism, channelling ancient force, driving the plot, and offering commentary with refreshingly modern clarity. Die-hard Shakespeare fans needn’t worry, the iconic lines remain. The overall effect is fiery yet faithful and should be commended.

Coombs’ direction blends European and South African theatrical traditions through music, dance, multilingual storytelling and deconstructed staging. The Soothsayer anchors these elements through fourth-wall breaking critique and rhythmic talking drum accompaniment. Antifascist salutes add bite, though feel mismatched with Mark Antony’s loyalty to Caesar. Spatial choices could be sharper: aisle performances often go unlit or face away, and Brutus frequently turns his back during key exchanges, dulling the impact. Still, the production’s strengths outweigh the areas for improvement.

John Pfumojena’s richly textured score sets the tone with precision, layering nature sounds, vocalisations, and ambient textures to heighten tension. It’s an immersive accompaniment that complements the action and packs unexpected depth. Bawren Tavaziva’s choreography knits the production with fluid precision, at times understated, at others central. Drawing on natural and supernatural movements, and creating striking fight scenes, it feels fully integrated, breathing life into a script that risks feeling stale after four centuries.

Colin Falconer’s minimalist set design gives the stage a striking openness, with metal fencing beautifully catching the light while evoking danger, especially during the play’s frequent thunderstorms. Joe Hornsby’s lighting design contrasts naturalistic ombre washes with stark geometric lighting, flashes of lightning cutting through the darkness unexpectedly. A neon circle suggesting surveillance adds visual intrigue, before changing colour with split-second timing. However, the absence of aisle lighting occasionally undermines the immersive staging. Khalil Madovi’s sound design layers accompaniments, vocalisations, and percussion with precision. Thunderclaps and drumbeats synchronise perfectly with the action, amplifying dialogue with finesse. Falconer’s costume design reinforces the Afrocentric aesthetic, with the Soothsayer’s bold look paired with colourful prints to maintain cohesion with the rest of the cast. Simple yet effective costume changes track multiple roles and the play’s tonal transitions.

This all-Black ensemble delivers a strong collective performance with energy and cohesion. Yaw Osafo-Kantanka’s Soothsayer is magnetic, commanding the space with ease. The dynamic blend of acting, singing, dancing and drumming makes for a true triple (plus!) threat. Stepping in unexpectedly as Mark Antony, Samater Ahmed delivers a stirring performance with remarkable poise. The pacing and emotional nuance give the impression of a fully rehearsed performance. Roland Royal III delivers a layered Caesar that seduces and unsettles in equal measure.

Tangle’s ‘Julius Caesar’ brings bold vision and striking style to Shakespeare’s classic work. Cleverly reimagined, well crafted, and pulsing with style, you won’t want to miss out.

THE GOOD LANDLORD

Omnibus Theatre

★★

“There are some pertinent lines and astute observations”

THE GOOD LANDLORD

Omnibus Theatre

Reviewed on 18th November 2025

by Jonathan Evans

Photography by Amrit Kaur

Previously reviewed at this venue:

THE GOOD LANDLORD

THE GOOD LANDLORD

THE GOOD LANDLORD

JULIUS CAESAR

Omnibus Theatre

★★★★

“Cleverly reimagined, well crafted, and pulsing with style”

JULIUS CAESAR

Omnibus Theatre

Reviewed on 29th October 2025

by Hannah Bothelton

Photography by Stuart Martin

Previously reviewed at this venue:

JULIUS CAESAR

JULIUS CAESAR

JULIUS CAESAR

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