★★★

“Garad has created interesting, deeply layered characters in this impressive show”

Maryam Garad presents a compelling debut show as part of the Soho Rising season showcasing new talent. She has a commanding stage presence, navigating the audience deftly through an intricate tale of growth and felony. There were a few issues with pacing and direction, but Garad is clearly a raw talent with huge promise.

Reparations follows the story of Aisha, a 24 year old from the ends who is rebuilding her life after a stint inside. She was convicted after finally getting caught out for her kleptomania, which she has lived with since childhood. On a walk in a park that stretches from Aisha’s estate to a wealthier, whiter, performatively yoga-practising neighbourhood, Aisha and V lock eyes, each intrigued by the other. Another run-in at a club cements a friendship, and then business ventures; Aisha offers V social clout and ‘authenticity’, and V introduces Aisha to her rarefied world of privilege and wellness.

Garad explores a plethora of meaty issues, including class, race, the criminal justice system, and social media through her fascinating anti-hero Aisha (and her wellness guru alter ego Alyssa). She is not afraid to explore the grey areas, and invites the audience into Aisha’s vulnerability as a contrast to her swaggering, and sometimes dangerous adult life. For all this, Reparations is laugh out loud funny, with Garad’s charm landing all the humour.

She embodies all her characters with a natural ease and great physicality, from Aisha’s caring Somali aunt, to V’s plummy Made-in-Chelsea tones, and a hilarious turn as a sham shaman.

For all these efforts to guide the audience through a complex story, there are a few narrative jumps that feel a little challenging. The sudden leap to a wellness camp in Peru felt unsettling, suddenly a world away from the familiarity of a London park. I would have liked to see more how V and Aisha’s relationship developed, and more exploration of how Aisha rebranded herself as Alyssa. A side character is attacked as part of the Amazonian drug-taking ceremony, and then described as ‘lifeless’. Was this actually murder? It’s not dwelled upon again.

The direction could also do with tightening up to show more differentiation between scenes, the transitions of which were inconsistent. Sometimes these were stark and interesting, a change of song or lights snappily moving the narrative along. Other times this was less clear. Lighting is used occasionally to powerful effect, such as when Garad stands to stage left, half lit, reflecting the hidden darkness growing in her as a seven year old. A sterile probation room is harshly lit, but in other scenes the colours were incongruous. There were a couple of issues with props, though one of these was dealt with hilariously, Garad not even flinching as she ad-libbed.

This may be my age showing, but I also am not sure this story needed to have the social media success framing at the top and tail as there’s so much to explore without this. We do not see how Aisha’s following is built up over time, or get to put a microscope on V and Aisha’s codependent relationship. I love a story about infamous scammers (c.f. Anna Delvey or Caroline Carroway) and their rise is part of the legend. I feel like the audience is robbed of some of that here. The importance of a social ‘brand’ is also maybe a bigger deal for younger people, but the prevaricating on this did leave me, a less-online millennial, slightly cold.

None of this takes away from the fact that with another round of editing, Reparations could be a classic. I’m so intrigued to follow this consummate performer as she launches her career. Garad has created interesting, deeply layered characters in this impressive show, and I cannot wait to see more of her.

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

Stuff Shakespeare, Pantomime is probably my favourite theatrical tradition. There are not many other settings where you can have babies, grandparents, and long-suffering assorted other relatives entertained for a couple of hours by good old British drag.

And Clive Rowe knows how to entertain. His stewardship at the Hackney Empire continues this year with another barnstorming performance as Mother Twanky in Aladdin. We are transported to the land of Hack-ne-lah, for a riot of fun, anti-consumerism and disco dancing. Trust me, it works!

Do I need to explain the plot? Probably not. The main additions to the traditional tale here are the sneering, evil billionaire Mildew Funk played in gloriously writhing camp fashion by George Heyworth (better known as Bourgeois in the celebrated cabaret duo Bourgeois and Maurice), who unfortunately also happens to be Jazz’s (Isabella Mason) father. He is determined to marry her off to a fellow rich man, when her heart has already been captured by the pure and kind Aladdin (Fred Double). The biggest baddie is Abby-na-zaaar! spelt properly with three ‘As’, one ‘R’, and an exclamation mark (Natasha Lewis). She is determined to become the most powerful wizard in the world, and also the best trombonist. I did not realise my panto needed brass on stage, but turns out it really does, especially accompanying a reworked Meghan Trainor song.

Aside from the magic lamp, there’s also a magic ring (the spirit of which is played by a charismatic and ditsy Ruth Lynch), who’s provenance got slightly lost in the exposition of the opening scenes, but nonetheless is charming.

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

Rounding out the cast is Rishi Manuel as Wishy, who does a great line in slapstick comedy, and pulls the audience through the obligatory participation songs. Kat B is the coolest genie I’ve ever seen, in a plunge neck disco outfit, and towering platforms.

Rowe also directs, and has assisted Will Brenton in writing the script. Once the heavy lifting of character introductions is out the way, Rowe warms the audience up with the help of a laundry list of gags – literally. Pun after pun after visual joke came tumbling out of Widow Twanky like the assorted items out of her brilliant bag lady dress, embossed with Groucci. The outfits get more and more extraordinary – Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top.

The big dance numbers also show off the talented ensemble and heighten the energy even more, grabbing the attention of even the chatty two year old sitting next to me. Myles Brown’s choreography, using professionals, (members of the Hackney Empire’s young Artist Development Programme, and the Vestry School of Dance and Performing Arts) is both polished, but also has an inclusive, community feel.

Though Widow Twanky might have moaned about the special effects budget, I was impressed by the sheer amount of pyrotechnics on show, and especially the magical carpet ride. Steve Edis’ original song here was also a welcome respite from memories of Peter Andre singing that version.

The short second act feels like it’s also had a gin at the interval, with the jokes getting more risqué, though firmly on the side of family friendly: the children around me were confused as to why I was laughing so hard at a gag about the Ultra Low Emissions Zone. I also think they might have been bypassed by the bisexual lighting and Aphrodite statue in a certain evil lair which foreshadowed a lovely romantic tryst and twist.

Hackney Empire once again presents yet another magnificent panto and Clive Rowe is truly the grand dame of panto dames. Long may his reign continue.

REPARATIONS at the Soho Theatre

★★★

“Garad has created interesting, deeply layered characters in this impressive show”

REPARATIONS at the Soho Theatre

Reviewed on 9th February 2024

by Rosie Thomas

Photography by Clara Lattimer Walter

Previously reviewed at this venue:

REPARATIONS

REPARATIONS

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

ALADDIN at the Hackney Empire

Reviewed on 30th November 2023

by Rosie Thomas

Photography by Steve Gregson

Other reviews by Rosie:

Aladdin

Aladdin