★★★★

“a heartfelt tale of legacy and healing”

You might ask if we have any room for another interpretation of Dickens’ A Christmas Carol. How much more is there to squeeze out of Bob Cratchit and his ensemble? Well, ZooNation’s new production of Ebony Scrooge manages to find a genuinely refreshing take, exploring grief and identity through the medium of hip hop.

Dannielle ‘Rhimes’ Lecointe led the development of Ebony Scrooge as director, writer and choreographer, setting the framework of the original story against the fashion world, where Ebony reins. When she cancels Christmas to stage her best fashion show yet, the familiar trio of ghosts knock on the studio door.

The first act is the weaker of the two, as we’re slow to get into the action. There’s an animated introduction and then a narrator-led introduction, when the audience knows the beats of the story well enough to just want to get stuck in and see what this version has to offer us. Plus, the narrators disappear for long stretches, so it’s a bit jarring when they pop back in. Lindon Barr’s solo as Bob Cratchit is a highlight, mesmerisingly fluid amongst clean and crisp, but not particularly memorable, movement from the ensemble. Natalie Pryce’s costuming gives a fun, glamorous feel, and it’s impressive to watch Leah Hill pop and lock in towering platform heels, strutting around giving orders as Ebony.

We gain clearer momentum once we meet the first ghost, which is just one instance where Joanna Scotcher’s set is used in combination with lighting to enhance the movement with theatre magic. It’s frightening to see the mannequin come to life with uncanny choreography, and heed warnings from behind the gauze. The order of the ghosts has been switched, so we meet Christmas Present first, visiting Ebony’s niece Freddie at the Christmas party she’s throwing. Melissa Bravo is genuinely joyous as Freddie, her sparky movement delivered with lightness and a beaming smile, whether she’s handing out party tickets or driving a dance off. Christmas Future sees the arrival of an army of tracksuit-ed messengers, delivering the expected sombre warning with seriousness and flair.

Where the first act feels constrained by the original story, we exhale in the second half as the show expands way beyond Dickens’ building blocks and truly flies on its own. We finally meet the ghost of Christmas Past, escaping the fashion world Ebony has boxed herself into and diving into her Dominican heritage instead. There’s a beautiful fluidity to the flashback scenes which share the source of our titular characters’ grief. As the vocals fade away and the comfort of the drumbeats remains, it’s genuinely moving to watch Ebony take tentative steps towards the free flowing energy her ancestors demonstrate, and to eventually part a dance floor to reach Young Freddie. Michael ‘Mikey J’ Asante’s original music skilfully taps into nostalgia here, providing ethereal arrangements evocative of classic Christmas movies.

With solid choreography and a sharp ensemble, the dancing is as accomplished as you’d expect from the ZooNation team, but the real magic happens when the movement, music and narrative fuse into something unexpectedly tender. What starts as a funky visual spectacle transforms into a heartfelt tale of legacy and healing. This is A Christmas Carol reinvented with rhythm, warmth and unmistakable soul.

MIMI’S SHEBEEN

Sadler’s Wells East

★★★★

“Seutin’s choreography is a masterful fusion of styles, crafting a vivid visual landscape”

Miriam ‘Mama Africa’ Makeba is a towering figure in the global struggle for Black liberation, yet surprisingly few theatrical productions explore her life. The UK premiere of ‘Mimi’s Shebeen’ marks a vital – and arguably overdue – addition, not simply paying tribute but igniting the stage with the passion and precision worthy of such a cultural icon.

Loosely based on Makeba’s life, ‘Mimi’s Shebeen’ is less biography and more evocative dreamscape set within a burnt out ‘shebeen’ – clandestine bars created by Black South Africans to seek refuge from apartheid’s oppressive racial laws and restrictions. Through a rich tapestry of song, music, spoken word and poetry, we trace her beginnings under South African apartheid through many decades of exile to her death in Italy. Makeba’s music and UN addresses are artfully reimagined to create powerful windows into her life which, though fragmented, connect past injustices to present-day struggles. Hope lights the way, though the powerful ending reminds us of its fragility.

Conceived by Alesandra Seutin with text by Lisette Ma Neza and Lebo Mashile, ‘Mimi’s Shebeen’ honours Makeba’s rich legacy through a kaleidoscope of languages, musical styles and movement vocabularies. It opens with a ferocious, aching rendition of ‘Nomeva’, delivered as ‘Mimi’ towers over the ashes of her raided shebeen. The first half pulses with intensity, with iconic songs such as ‘A Piece of Ground’ and ‘Malaika’ reborn as raw, aching laments. Contemporary recordings deepen the immersion, transporting us to the heart of apartheid-era South Africa. The second half offers a brighter tonal palette and more itinerant narrative arc. While this lets in hope, it also feels less cohesive. The symbolism of the bicycle – referencing Black migrants in the town where Makeba died – only becomes clear in a post-show talk, potentially leaving some motifs unresolved. Still, it never loses its emotional grip, resonating with Makeba’s enduring voice.

Seutin’s choreography is a masterful fusion of styles, crafting a vivid visual landscape. Each movement resonates with intention and the full spectrum of human emotion, which the cast delivers with striking precision.

Angelo Moustapha’s music and Hans Mullens’ sound design breathe new life into every song and sample, stripping away any mainstream sanitisation. Their ambient and synth soundscapes expertly build and release tension. Yet the most powerful moments are when the cast raises their voices in completely unaccompanied harmony, filling the auditorium with a powerful affirmation of the right to simply be.

The staging by Stef Stessel and Ine Van Bortel is strikingly effective. Deflated black, bin-bag-like structures slowly unfurl skyward, abstract shapes becoming increasingly human until the conjure the ghosts of possible lynchings. Though their elongated silhouettes obstruct sightlines and might benefit from a little reconfiguration. As the performance unfolds, the structures lift mostly out of view – perhaps a metaphor for overcoming past violence. Yet the stage feels a little bare and their absence blurs the boundaries of the shebeen.

Caroline Fainke’s costume design is visually expressive, unifying the aesthetic while allowing individuals to shine. Most arresting is Mimi’s towering form in the opening scene, crowned with Makeba’s iconic cylindrical hat. Margareta Andersen and Stef Stessel’s lighting design is richly atmospheric, creating stunning effects with shadow as much as with light. Diederik De Cock’s sound design makes the onstage band sing, layering the space with resonant bass which gives the music a deeply physical quality.

The cast (Tutu Puoane, Nandi Bhebhe, Kopano Maroga, Nosiphiwo Samente, Kenza Deba, Rose Sall Sao) is phenomenal, landing every movement, note, and gesture with thrilling intensity and creating infectious collective energy. While the whole cast should be congratulated, Puoane’s ‘Mimi’ leads the way, as commanding as she is vulnerable.

‘Mimi’s Shebeen’ is a powerful, stirring tribute to a woman whose voice reverberated across continents, honouring Makeba’s legacy while urgently speaking to the present.

EBONY SCROOGE

Sadler’s Wells East

★★★★

“a heartfelt tale of legacy and healing”

EBONY SCROOGE

Sadler’s Wells East

Reviewed on 6th December 2025

by Jessica Hayes

Photography by Pamela Raith

Previously reviewed at this venue:

EBONY SCROOGE

EBONY SCROOGE

EBONY SCROOGE

MIMI’S SHEBEEN

Sadler’s Wells East

★★★★

“Seutin’s choreography is a masterful fusion of styles, crafting a vivid visual landscape”

MIMI’S SHEBEEN

Sadler’s Wells East

Reviewed on 22nd October 2025

by Hannah Bothelton

Photography by Danny Willems

Previously reviewed at Sadler’s Wells’ venues:

MIMI’S SHEBEEN

MIMI’S SHEBEEN

MIMI’S SHEBEEN

JOIN US