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Little Women

The Space

Little Women

Little Women

The Space

Reviewed – 6th December 2018



“the performances are committed and energised”

‘Little Women’ is a much loved classic, and Rachael Claye’s adaptation is deeply true to the spirit of its inspiration. Warm and human and familiar, this is a play about family, about growing up, about leaving and about coming back together. Four young women live with their mother, each yearning for different things. Amy is an artist, Jo a writer, Beth a carpenter and Meg wants to make a difference in people’s lives. We meet them as they begin to encounter the world, caught between child and adult.

The cast is consistently strong. Miranda Horn as Beth is particularly lovely, natural and bright onstage. Sean Stevenson’s Laurie is playful and likeable, Amy Gough as Jo is earnest and fervent. In fact across the cast, the performances are committed and energised, and the familial relationships feel nothing but genuine. Jonathan Hawkins as the quirky Professor is a vibrant late addition to the play.

The script captures well what is so brilliant about the book, the relationships and characters are well sketched. However whilst very strong in many ways, it suffers from indecision. The narrative is supposedly set in modern day Crouch End but the dialogue fluctuates back and forth, sometimes genuinely contemporary, in other moments far more mannered and of its time. The ages of some of the characters also seems confused. Stephanie Dickson as Amy, for example, has been directed to play quite young complete with pigtails and a bow in her hair but is simultaneously applying to art school, an incongruence which is not believable.

The show is also a little too long. There are a couple of scenes that are unnecessary, if lovely, and the end, equally is not needed. The image of Beth and Jo together for the last time, of ‘Little Women’ forming in Jo’s mind, is one of both sadness and hope, and I don’t think we learn anything further from the action that follows that. 

A Christmas classic, Claye’s 2018 adaptation of ‘Little Women’ is a charming joy to watch that just needs some tweaking to really situate itself.


Reviewed by Amelia Brown

Photography by Matthew Thomas


Little Women

The Space until 15th December


Last ten shows reviewed at this venue:
Be Born | | June 2018
Asking For A Raise | ★★ | July 2018
Bluebird | ★★★★ | July 2018
I Occur Here | ★★★★★ | August 2018
Rush | ★★★½ | August 2018
Fleeced | | September 2018
Little Pieces of Gold | ★★★★★ | October 2018
Love is a Work In Progress | ★★★★ | October 2018
The Full Bronte | ★★★ | October 2018
Woman of the Year | ★★★ | October 2018


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Review of The Tempest – 4 Stars


The Tempest

Greenwich Theatre

Reviewed – 29th September 2017





“Joshua Bhima and Robert Magasa delivered a truly memorable Ariel”



On my way to see the Tempest in the Greenwich Theatre I felt slightly nervous. This great play has been reinterpreted, reimagined, and rediscovered so many times, yet the well of new ideas inspired by Shakespeare’s classic seems bottomless. So it would be interesting to see what new spin international theatre company Bilimankhwe Arts, could come up with.

The production adapted and directed by Kate Stafford promised an engaging and ambitious spectacle. The cast included actors of African, Caribbean, and British heritage. This instantly brought to mind one of the core interpretations of the origins of the play, concerning the adventures of Sir George Somers and his peers, who got lost on their way to Jamestown, Virginia, and were cast instead on Bermuda.


The play was intriguing from the start, welcoming the audience with what at first appeared to be two native men engaged in a mysterious, sensual dance, accompanied by incredible (live!) Malawian music. It soon became apparent that these men were in fact two faces of Ariel, the spirit who serves the main protagonist, Prospero.

Splitting Ariel into two worked wonderfully. One of Shakespeare’s assets, which is universally loved but also difficult to perform, is his ability to create magical worlds full of wondrous creatures and dream-like scenarios. Ariel was played by two talented Malawian actors Joshua Bhima and Robert Magasa. I have no doubt that these men imparted most of the surreal atmosphere that accompanied us so successfully throughout the play. They always appeared on the simply set stage together, often dancing (choreography by Shyne Phiri) or singing hypnotically, sometimes just watching but never for one second abandoning their character. They delivered a truly memorable Ariel.


There was an interesting casting choice in Victoria Jeffrey as Trinculo. After the initial confusion, I found myself really enjoying what this brought; now we had a brilliantly portrayed drunken butler (Benedict Martin) with a drunken female jester who delivered subtly and hilariously changed lines. The monster himself, Caliban (Stanley Mambo), was powerfully characterised, often pitiful but then portraying a sadness that could bring tears. Young Miranda (Cassandra Hercules) and Ferdinand (Reice Weathers) were humorous, innocent, and full of life. If a little crude, they were very likeable.

Prospero, as the central figure was unfortunately disappointing. He seemed visibly uncomfortable standing on stage and watching the unfolding of the events. His wisdom, cunning, kindness, and charisma was somehow lost in the mostly angry or nonchalant portrayal by Christopher Brand. Understandably, he wasn’t meant to be depicted as a positive character, but the climax of the play was lost since Prospero didn’t seem to feel entirely himself as a magician.


It seemed that issues relating to colonialism, race, and relinquished freedom were the main inspiration for Kate Stafford. The atmosphere of the play was enriched and made more soulful because of such a diverse cast but I couldn’t help wondering if the director’s vision of the play, would not have come across stronger, if the foremost message of the work wasn’t lost in the meantime. We never met Alonso the King, Sebastian his brother, Antonio, Adrian or Gonzalo. The play mostly held together without their lines, although I missed the sharp and witty exchanges and the comfort of the unequivocally wise and kind Gonzalo. However, the last scene in which Prospero forgives all the wrongdoers became significantly weaker and less touching due to there being fewer of them to forgive for their scheming. 

Perhaps the quality of acting wasn’t completely consistent but the play offered a number of exciting ideas that could be developed and perfected in the future. The Malawian music, the terrifying, dreamlike, outstanding Ariel(s) and the complex character of Caliban will stay in my mind unchanged for a long time.


Reviewed by Aleksandra Myslek

Photography by Matt Martin




was at Greenwich Theatre

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