★★★★

“slick in all the right ways”

Keelan Kember’s new play, set in the corrupt (and bizarre) world of high art, is a witty and playful piece of theatre.

Christopher (Kember) and his colleague Milly (Arsema Thomas) work together at a fictional art house (Beauchamps) They are tasked with selling a genuine Leonardo Da Vinci. Except it’s not a genuine Leonardo Da Vinci. And their clients are both obscenely wealthy and obscenely trigger-happy. Bit of an eek.

Kember’s script is characteristically witty, with Kember himself – still confusingly endearing – leading the charge. Directed by Merle Wheldon, the whole piece is compelling and compact, even for the majority of us plebs who knows nothing about the art world. John Albasiny as Boris, the Russian oligarch who has made his fortune in *cough* aluminium (with a sprinkling of cadavers along the way) is excellent. Though tiny in stature, he’s pretty terrifying, and commands the stage completely. As the Prince, Fayez Bakhsh is also an excellent addition, horrifying in his own spoilt, childish way.

The set design (Eleanor Wintour) deserves its own paragraph. It is the perfect complement to the premise: the glossy, white minimalism is visually satisfying, but it also works in a fascinating conceptual dichotomy with the ostentation and conspicuous capitalistic world the play centralises (the method for transitions is also excellent). Good stuff.

There are some tonal inconsistencies in the characterisations which are a little jarring. The acting varies from the pantomimic to the minimalist, which can, a times, be whiplash-y. Steve Zissis as Tony, the epitome of a free-market capitalist and Republican is certainly very watchable, if a little implausible. He is funny, but again, a little pantomime-esque, which is sometimes at odds with the play’s overall vibe. And perhaps the barrage of jokes at the expense of Americans and the differences between them and the British are a little over-wrought.

The strength of Kember’s script lies largely in the delightful repartee and gentle sardonicism, which he, as an actor, exemplifies. The one scene without him actually stands out as a little extraneous, though this could be because of the somewhat contrived romantic sub-plot. But these are small points.

‘Da Vinci’s Laundry’ is slick in all the right ways. Above all else, it is entertaining – which is not a given in the current theatrical landscape – and very amusing. It’s tight, it’s clever, it’s genuinely funny.

BLESSINGS

Riverside Studios

★★★

“acted with eloquence and assurance by an outstanding cast”

We find ourselves in the year 1969. It’s an era many look back on with nostalgia — a time often imagined as simpler and less complicated. People had less, but were happier. For people of my age, all that we know is that which is taught to us by our parents and grandparents, or what we may have learned from documentaries. The setting for this play exactly matches the vivid, idyllic depiction that we have of this period.

The subjects of this narrative are the Deacon family. Again, they are typical of their era. Frank Deacon (Gary Webster) is the breadwinner, and Dorie is the stay-at-home Mum. Two of the four children, Martin and Penny, have moved out but are home often enough, while the other two: Frances and Sally, remain living at home. It all seems normal – and that ordinariness is the point; if things seem normal, then they are normal. Blessings is an intriguing tale about the story of a family yet to come to terms with its own secrets, where the cover-up may be worse than the truths that are uncovered.

One of the most impressive aspects of this play is its authenticity to the time in which it is set. Sarah Shelton’s writing is delicately detailed, dropping in countless era-specific references. The family discuss the first moon landing which would take place a few months later. The Troubles in Northern Ireland are the biggest thing in the news. Frances and Sally talk about going to see “that new Michael Caine film: The Italian Job”, while the brutal murders masterminded by Charles Manson can be heard described on the radio.

The set and costume design is equally as impressive (Alice Carroll). Patterned wallpaper adorns the back wall. A Beatles LP can be seen by the radio and the daughters are seen reading from the teen magazine ‘Jackie’. Simple staging — a bench and table on either side of the room — creates three distinct locations, allowing scenes to flow smoothly.

The star quality of the performance comes from Emily Lane who plays the role of Sally Deacon. Sally emerges as the focal point, with all storylines connecting through her She faces the painful honesty of her family, who “don’t really see her in a career,” yet her resilience shines through as she drives the story to its climax. It’s a performance that reflects Lane’s West End pedigree.

Gary Webster and Freddie Webster are praiseworthy in their roles too. Both actors take on two roles with skill, particularly Gary Webster, doubling as Frank Deacon and parish priest Father O’Brien. While their performances are excellent, the play suffers from the fact that these characters are never on stage together, which would add a new dimension to the show.

The plot twist is wonderfully delivered by the cast in a fitting finale, however, this scene, is slightly rushed and when it does arrive takes us by surprise, rather than the crescendo it should have been. Nonetheless, the play is acted with eloquence and assurance by an outstanding cast.

DA VINCI’S LAUNDRY

Riverside Studios

★★★★

“slick in all the right ways”

DA VINCI’S LAUNDRY

Riverside Studios

Reviewed on 8th October 2025

by Violet Howson

Photography by Teddy Cavendish

Previously reviewed at this venue:

DA VINCI’S LAUNDRY

DA VINCI’S LAUNDRY

DA VINCI’S LAUNDRY

BLESSINGS

Riverside Studios

★★★

“acted with eloquence and assurance by an outstanding cast”

BLESSINGS

Riverside Studios

Reviewed on 2nd October 2025

by Luke Goscomb

Photography by Lidia Crisafulli

Previously reviewed at this venue:

BLESSINGS

BLESSINGS

BLESSINGS

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