★★★★

“light-hearted and bizarre performed with precision and spontaneity”

Amusements opens with Ikechukwu Ufomadu approaching the microphone clutching a teacup with a pained expression and dressed in a tuxedo. Already inciting laughs, he reactively winces at an audience member opening a crisp packet before addressing the intimate crowd of the Soho Theatre. From New York, Ufomadu evokes an old fashioned American host who somehow got a gig entertaining the voices inside someone’s head. Having been developed at the Edinburgh Fringe in 2023, ‘Amusements’ is delightfully weird and hard to define, but enjoyable and entertaining throughout. It is technically a ‘family friendly’ show in terms of content, but definitely not for children. It’s not shouty or obscene; just completely nonsensical and silly. It asks many questions “what is this?” “what did I watch?” Fear not – there’s a (not very) helpful Q&A at the end where the presenter (does not) answer these queries. A lot of the joy of the show is from the sheer unexpectedness of topics. To enjoy the ride, it’s recommended to go in as unprepared as possible. Stop reading this review at once!

Having said that…we are thrown into a wonderfully odd show peppered with impressions, word play and excerpts from “Shakespeare was…the Shakespeare of his time”. Ufomadu dissects the nature of theatre and performer: “I am playing the role of a comedian” projecting the persona of an American television host on the verge of a breakdown who launches into tangents of impersonations of presidents and actors in entirely unpredictable monologues. There’s singing and reading and even an informative power point. The show builds in its hilarity and warms itself gradually, relying on the energy of the audience somewhat. Performed with a trusty microphone, two books and the occasional sound effect ‘Amusements’ fills its hour easily.

Without wanting to spoil the show, be warned: there is audience participation. The same advice to the audience that anyone might give when attending a stand-up show apply: avoid the front, don’t look too scared and don’t try to feed them a joke. Ufomadu plays with the idea of audience and spectatorship by parodying applause and pointing out tropes. Its strange style may not be for everyone. it’s committed to its peculiar tone and does not pander. The wide ranging piece can feel like a stream of consciousness at times, with little holding it to planet earth, however with acceptance of the confusion comes appreciation for subverting expectations. No mention of politics, current events or audience observations, ‘Amusements’ is light-hearted and bizarre performed with precision and spontaneity by Ufomadu.

WISH YOU WEREN’T HERE at the Soho Theatre

★★★

“strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery”

Wish You Weren’t Here, written by Katie Redford, tells the story of a mother and daughter from Sheffield going on a weekend getaway to Scarborough. Mila (Olivia Pentelow) is sixteen and overwhelmingly ‘over it’. Her mother Lorna (Eleanor Henderson) is a single mum and desperate to connect to her daughter. Their dynamic grows in complexity as the audience are taken on a whistlestop tour of topical inter-generational issues including feminism, social media and the environment. In a curious, but emblematic of the current era, characterisation Lorna appears more carefree and fun-seeking whereas her teenage daughter is more reserved and uninspired; a sign of the times. The weekend trip proves testing for both characters in this emotive and comical two-hander. The story is modern and well-tuned with realistic and playful dialogue throughout, making up for its somewhat well-trodden subject matter.

The themes of the play, likely as a result of being based on conversations and testimony from hundreds of young people by the Theatre Centre. Its mission to work with young people ‘to write a better future’ is further reflected in the show’s ultimate message of healing. As a piece of theatre in education, Wish You Weren’t Here reflects the zeitgeist of teenagers and does so without cringe-inducing references or ham-fisted observations. Both mother and daughter grapple with phones (adults are equally screen-addicted as youth) and both can relate to insecurities as women.

Scarborough and its trappings as a seaside destination are staged with five simple platforms at various heights (Bethany Wells) and through videos shown on tv screens, which also depicts the intensity of technology in the characters’ lives (Rob Watt). The tone of scenes is supplemented by lighting evoking bright arcades and dark streets (Jess Brigham). The sound design complements the videos and action (Tom Sharkett). Additionally, detailed and accurate images on the prop phones make the large usage of phones on stage infinitely less distracting (no obviously dark or incorrect screens when texting or facetiming! It’s the little things!)

A major success of Wish You Weren’t Here is the heartfelt performances of its cast, directed by Rob Watt. Pentelow embodies an eye-rolling apathetic teenager and impassioned but hurt girl struggling with the world with outstanding realism. Brilliantly, Henderson manages to appear both in opposition and support of her daughter, sharing her experiences as a once teenage mother with energy and presence. She ultimately tries to protect her daughter from hard truths whilst exposing her own flaws as events unfold. The pair portray a funny and tested relationship accompanied with some impressive “Dance Dance Revolution” sequences (Movement by Kiren Virdee) and ramblings about mushrooms “they need shit to grow”.

The show is a strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery.

AMUSEMENTS at the Soho Theatre

★★★★

“light-hearted and bizarre performed with precision and spontaneity”

AMUSEMENTS at the Soho Theatre

Reviewed on 28th February 2024

by Jessica Potts

Photography by Zach DeZon

Previously reviewed at this venue:

AMUSEMENTS

AMUSEMENTS

WISH YOU WEREN’T HERE at the Soho Theatre

★★★

“strong representation of modern mother and daughter relationships with beautifully honest and down-to earth delivery”