Tag Archives: Bush Theatre

“Feeling Afraid As If Something Terrible Is Going To Happen” at the Bush Theatre

It makes sense that Marcelo Dos Santos’ monologue was a success at the Edinburgh Festival. The Comedian character we spend an hour with has a lot to say about humour and his delivery is impeccable. It’s clear Samuel Barnett, who takes the role, could have a second career in stand up. And the play is very funny.

Dos Santos provides insight as well as laughs, even if not all his ideas are new. The tears of a clown cliché, the need for an audience – we know all this – but less so the cold calculating skill of the comedian’s craft being compared to the work of a butcher. Along with stops and starts to what may or may not be the routine, there’s enough to make you pause, question and think.

The play is a love story, too, as an affair with an American, whose name is never revealed, develops. Again, discussion of dating apps and cultural differences is standard stuff, although well written. The offstage character is vivid and the romance endearing. And there’s a great twist when it comes to “what’s wrong” with this new love that provides a surprising and neat conclusion.

It’s all tightly written, and Matthew Xia’s direction helps enormously. If there are reservations, you might question how well Dos Santos handles his “unreliable first-person narrator”. The Comedian, with his hook-ups and drug use, might be too obviously troubled to create much tension? Too frequently his passive aggression is, well, just aggressive.

Still, it is a bold move to stretch our sympathy, and Barnett really comes into his own here. The “professional neurotic” he plays often grates, but he earns our attention even when he’s being contemptuous. And you feel for him even though he is silly. After all, isn’t being morbid and self-obsessed contradictory? (If you think life is pointless, why does yours matter so much?)

If the show aims at edgy, it doesn’t quite get there, but all involved do a great job. The script is efficient, Xia sensitive and Barnett fantastic. Even the microphone is used to great effect – as a weapon and a shield. How Barnett manages his single prop neatly parallels the show’s underlying anger and vulnerability.

Until 23 December 2023


Photo by The Other Richard

“Sleepova” at the Bush Theatre

Matilda Feyiṣayọ Ibini structures her new play to great effect. At first, the scenario is simple, slight even, with four friends celebrating a 16th birthday. As a sweet coming-of-age story with great humour, and fantastic energy from Jade Lewis’ impeccable direction, there are smiles all round.

Ibini tackles common problems that come with writing about young people well. Rey, Elle, Shan and Funmi are smart and very funny, but not so much beyond their years. They have some silly ideas – one source of fun – but their wit is a delight. Ibini’s writing is detailed and specific – addressing age, race and location – but always has an eye on universal experiences that come from first loves and leaving school.

The cast responds to the strong script superbly. Amber Grappy, Shayde Sinclair, Aliyah Odoffin and Bukky Bakray bring an ease to the scenes that make the girls’ ages and friendships convincing. They are a joy to watch. The characters are distinct and complex. While you fear a sharp tongue, with cutting lines delivered perfectly by Bakray, or note Grappy’s cleverly suggested nonchalance, it is clear these girls care deeply about each other. Grappy and Sinclair make their roles charming but both Rey and Elle have a selfish side that makes them believable. The quartet’s touching friendship, mixing banter with sincerity, comes to the fore when things get tough for all of them.

Ibini prepares us for the play to become darker… but I admit I was having so much fun I missed it. After the interval, Elle’s parents’ protectiveness becomes abusive when she is sent to a gay conversation camp. Meanwhile Rey’s affair with an older woman has its own problems. Shan suffers from sickle cell disease and has a near-death experience. And Funmi’s father dies. There is heartbreak in Sleepova – every character has a scene that moves, a defining moment in their maturity, an instant when a young life is being shaped.

By getting to know the girls, the audience is invested in them and cares about the problems they face. Sleepova is gripping as a result. Maybe the four grow up a little too quickly? Or maybe they mature too evenly? But big problems are faced and the development of each is heartwarming. Remarkably, humour is retained throughout – the performers are fantastic comedians – even in the darkest moments. The sense that, through their friendship, all will be well might be an idealistic touch. But Sleepova’s optimism makes it a play to fall in love with.

Until 8 April 2023


Photo by Helen Murray

“The P Word” at the Bush Theatre

The letter in the title of Waleed Akhtar’s play covers two insults – slurs against people from Pakistan and homosexuals. The play makes important political points with clarity and skill. Still, the best moments come when the writer confounds expectations.

The P Word is a close examination of two very different men. Bilal (or Billy) is British and deliberately written as unlikeable. His life is work, the gym and Grindr. It’s a harsh view of gay culture, and any humour is bitter. It takes time to appreciate the problems the character faces, a journey the author Akhtar, who performs the role, tackles superbly.

Audience sympathy is channelled towards Zafar, who is seeking asylum having fled Pakistan when his homosexuality was discovered. Esh Alladi brings an intense energy to the role, which is agitating to watch. Anxiety surrounding the future and the trauma Zafar is running from are depicted with sensitivity. But it’s moments of joy, despite everything, that add originality and appeal most. What Zafar goes through is a wakeup call, delivered with conviction, that many need to hear – and the theatre has worked with the charity Micro Rainbow during production.

The two stories are told in tandem, woven together in the skilled script and by Anthony Simpson-Pike’s strong direction. Presenting the men in such detail – so they aren’t just cases or examples – leads to examining prejudices and provides insight especially into the characters’ sad self-hatred and questionable behaviour.


The P Word gets even better when the men meet. A friendship that develops with fits and starts acknowledges how complex their lives are. The performances blossom, but will romance?

There’s tension around this love affair, some coming from the fact that the characters see themselves as an unlikely couple. And, of course, there’s Zafar’s potential deportation. To avoid plot spoilers, let’s just say the play becomes both exciting and rousing. What impresses most is Akhtar’s clever handling of the sentimental, which leads to a superb finale.

Until 29 October 2022


Photos by Craig Fuller

“Favour” at the Bush Theatre

Six months and 40 shows into 2022, Ambreen Razia’s new play is the best thing I’ve seen so far. A deceptively simple story about three generations of one family, the script is hilariously funny and deeply moving. Four unforgettable characters are brilliantly realised by a talented cast. 

First up for praise – Favour has a decent plot. Beginning with Aleena’s release from prison, we want to know why she is late? What has happened to her mother, Noor, and daughter, Leila, while she has been away? And why was she in prison? Family secrets and feelings are revealed with skill under the careful direction of Róisín McBrinn and Sophie Dillon Moniram. It isn’t all doom and gloom either – there’s a magical fantasy scene for Aleena and Leila with “sugar and TV allowed” that is winning. As for why we care so much – the answer comes with Razia’s excellent characters.

With Aleena, Avita Jay portrays a mercurial woman with mental health and addiction problems who is both dangerous and inspirational. The role of Noor is taken by Renu Brindle, who shows us a figure of fraught dignity gradually transforming. The youngest character Leila is exceptionally well written with a mix of smart remarks and naivety that is wry and emotional. Ashna Rabheru, who takes the part, is fantastic, especially in scenes that show the character suffering from anxiety.

Rina Fatania and Renu Brindle

There’s a fourth character too – Fozia, played by Rina Fatania – a busybody whose barbed comments get the audience howling with laughter. Fatania provides brilliant comedy though Fozia is more than a clown (note her departure from the stage).

Presenting different ages could be a clumsy shortcut for conflict.  But Razia is careful to provide depth so that Favour is continuously stimulates. And Razia’s intelligence is seen as the play tackles serious ‘issues’ too. It is notable that this is a story of working-class women and that the play is firmly rooted within a London Muslim community. Furthermore, the play is co-produced by Clean Break (whose members include women with lived experience of the criminal justice system). But this is all addressed with a matter of fact, fresh, feeling; none of these factors define the characters, no matter how much they must negotiate life with them.

Instead of problems, the love that comes with motherhood is the focus of these women’s lives. No matter accusations to the contrary, you never doubt the love the family feel for one another, and this drives the play. Razia has created a dramatic space for powerful reflections and truths. That the youngest character takes the lead is a suitably upbeat conclusion to a superb show.

Until 6 August 2022


Photos by  Suzi Corker

“House of Ife” at the Bush Theatre

Given its subject matter, Beru Tessema’s debut play is remarkably enjoyable. An estranged family struggling with the death of the titular character through drug addiction sounds grim. But Tessema’s confident comedy skills add well-placed lighter touches. And an exciting ear for dialogue gives this straightforward domestic drama its own originality.

This is a family with secrets, that’s haunted by grief, but the strong bonds between its members are the focus. Establishing a trio of bickering siblings is well done from the start – and great fun. Taking the lead is an adorable younger brother, Yosi, whose performance by Michael Workeye is the standout for the whole show.

Michael Workeye in House of Ife at the Bush Theatre
Michael Workeye

The deceased Ife’s sisters show us different sides of grief, and the performances by Yohanna Ephrem and Karla-Simone Spence make a good contrast. The parents bring yet more insight through their Ethiopian heritage and the father doing “God’s work” (while starting a new family) back in Addis Ababa. There are strong performances again, this time from Jude Akuwudike and Sarah Priddy.

With so much ground to cover – the family history and big issues – it might not be surprising that Tessema addresses topics thinly. Questions of belonging, of culture and of religion from five different perspectives are explored – but not that deeply. Ife’s addiction isn’t examined enough, leading to this pivotal offstage figure feeling sketchy.

Instead the show’s strengths come from comic observations and the tension between generations. Director Lynette Linton’s close work, with the steady flow of conversations between the parents, the children, and the whole family, are always engrossing. The pacing is excellent, with loud arguments and quiet reflection nicely balanced. An explosive final scene provides a worthy payoff for all the care and attention taken.

Until 11 June 2022


Photos by Marc Brenner

“The Sh*t” at the Bush Theatre

Kenny Emson’s play tells the story of a youth worker, Eric, and his client, Daniel. The script is detailed and tidy, qualities reflected in Alexander Ferris’ admirable direction. The performances are excellent.

Eric and Daniel meet often (I’m not quite sure your average troubled youth gets this much quality attention) and the drama of their developing and turbulent relationship is effective, if predictable.

Eric’s troubled past is expected, too. And doesn’t quite explain his connection with the younger man. But Lladel Bryant’s performance in the role is exceptional – the growing care and exasperation he feels with Daniel is believable and moving.

The writing for Emson’s younger character is better. Daniel provokes and challenges not just his youth worker but the audience. Dillon Scott-Lewis brings out the intelligence and humour of the role and allows Daniel to be vulnerable as well as angry.

It is a little too easy to see The Sh*t as a two-hander that aches to be expanded. Eric’s boss is a voiceover performed by Samantha Béart and, while Bryant does his best, these scenes are poor. Maybe the idea was that having an offstage manager would provide a Big Brother scenario – but both the role and the arguments need to be stronger.

Eric’s despair and rage against the system – and its scorecard assessments of people – may be naïve, but it is powerful. The recurring question of how Daniel rates with “managing feelings” – a score that Eric doesn’t reveal – is worth considering with regards to all three characters. The scope to develop and focus on this theme is clear.

Until 23 April 2022


Photo by Ant Robling

“Red Pitch” at the Bush Theatre

This assured debut by Tyrell Williams makes playwriting look easy. A carefully modest story of young friendship, Red Pitch is funny, sweet and has something important to say about life in London.

The three 16-year-olds we watch practising football is surely a challenge to negative stereotypes about young black men. You can’t review what a play isn’t but, suffice to say, they are an admirable trio: smart, supportive of one another and dedicated. Getting to know them is a pleasure. And Williams’ comedy writing is joyfully solid.

It helps that the roles are wonderfully performed. Under Daniel Bailey’s exuberant direction, Kedar Williams-Stirling, Emeka Sesay and Francis Lovehall bring the characters to life – comfortably so. The confidence isn’t surprising – all three performers are bright young things – but it’s also appropriate given the sense of camaraderie between them. The banter is recognisable as common among young men. The affection, less so – and this is what impresses most.

These lives are not easy. But nor are they a grim, defeated struggle. Omz is a primary carer, despite his age, which leads to moving moments for Lovehall. Bilal is under pressure to become a professional football player – a plot allowed to emerge with skilful subtlety. The pace of the whole play is commendable, Sesay’s strong depiction of Joey, who matures most as we watch, is indicative of how firmly structured the writing is.

There is a further pressure on these youngsters – one they have no control over. The redevelopment of their estate is a backdrop to the action (carefully evoked by Khalil Madovi’s sound design). As their families relocate, and their community is about to change, there are moments of touching naivety to remind us that our heroes aren’t as old as they pretend to be.

Tensions erupt, and the play threatens to end on a sour note. Separation will occur, and not just because of relocation – these childhoods are about to end. But, as an indication of how involving Red Pitch is, I’m glad Williams suggests friendship will endure, that the bonds shared and enjoyed by the audience aren’t so easily broken.

Until 26 March 2022


Photo by Craig Fuller

“Harm” at the Bush Theatre

Leading the welcome return to theatre, this beloved West London venue is staging Phoebe Eclair-Powell’s smart monologue. After far too long away from live performances, the temptation is to be excited about almost anything…but Harm is a strong piece and it’s great to report that the show is a definite ‘Go See’.

Kelly Gough gives a brilliant performance as a disaffected estate agent which, at first, has the feel of a stand-up comedy routine. Full of witty and blunt observations, Gough has a fantastic presence, energetic despite her character’s lethargy, that wins you over right away. Both Gough and the play are funny.

As Gough’s character sets about selling a home to an Instagram influencer called Alice, there are plenty of vicious laughs: Eclair-Powell makes sure Alice is a character it’s enjoyable to dislike and from that cleverly questions a desire to hate her. Harm adventurously morphs into a thriller, as an obsession with Alice’s wonderful life develops.

As the estate agent morphs into an internet troll – ‘sadbitch11’ – the play reiterates common enough concerns about social media. Yet we become increasingly uneasy about what real life action might occur. And the text flips again, as concern for its troubled lead takes over, raising serious issues about mental health. Gough has made us laugh so much playing ‘The Woman’ that seeing her cry is heart wrenching.

Previously seen on BBC Four, director Atri Banerjee brings the show to the stage with a strong sense of theatricality. And the set from Rosanna Vize, with its giant fluffy bunny, is sure to prove memorable. Eclair-Powell’s ability to juggle genres, taking us from comedy to commentary on the edge of our seats along the way, means that her play defies the simplistic hashtags. But if we must… Harm is #fantastic.

Until 26 June 2021


Photo by Isha Shah

“Overflow” at the Bush Theatre

Trans activist Travis Alabanza’s new play is set entirely in a toilet. Given that public conveniences are currently contested places the location is, if a little depressing, appropriate enough. But what Alabanza does within this limited space, and what is achieved with the play’s careful focus, is remarkable.

A theatre blog isn’t the best place to discuss trans rights. Like the Twitter comments Alabanza’s character Rosie decries, the issues are complex and emotive. And this play certainly manages to speak more eloquently about them than I could. Theatre, in Alabanza’s hands, proves a stirring forum: the argument put forward is intelligent and elaborated with a human experience that makes for a powerful show.

Reece Lyons in 'Overflow' at the Bush Theatre
Reece Lyons

The key is Rosie, a well-written character brought to life in a strong performance from Reece Lyons, ably directed by Debbie Hannan. Smart, sharp and often witty, Rosie proves a fascinating guide as we learn her history – fun and fraught – through different toilets. From hiding as a child, to school pranks, then discovering her identity in night clubs, the space performs more functions than I at least ever imagined. The smallest room was a place of sanctuary… until recently.

Alabanza provides an essential dramatic twist for Overflow. For it seems that Rosie’s experience of toilets has got worse as society commends itself for being more liberal. The show is punctuated by knocks on the door from men waiting outside; Rosie is under threat. There are also discussions of how women have become more hostile to Rosie, making the space she considers her own one that she now wants to wreck.

The rage that culminates in the destruction of Max Johns’ clever set – the circular shape recalling an arena, adding to the drama – becomes understandable and also moving. And touches of bravado to hide her fear deliberately fail to convince: this isn’t what Rosie wants, rather the wish is to “swim not drown” in these metaphorical waters. It’s Rosie’s address to women – an appeal to sisterhood – carefully drawn together as the piece culminates, that provides Alabanza’s strongest points. And a hope for a kinder future.


Until 16 January 2021

Photos by Sharron Wallace

“Sea Wall” from the Bush Theatre

The film of Simon Stephens’ fantastic half-hour monologue is offered during lockdown and serves to remind us of its original home – the West London venue whose new writing, the playwright has observed, makes it one of the most important theatres we have. Specially written for the venue, although subsequently filmed on location, this is a piece of the highest quality. But some caution – and a plot spoiler – follow.

Andrews Scott in Seawall at the Bush Theatre
Andrews Scott in Seawall at the Bush Theatre

Given that Sea Wall is about the sudden and random death of a child, it isn’t for everyone or an easy watch. But it is a play full of love. As soon as we meet Alex, we see he is a character of enormous appeal, carefully nurtured in Andrew Scott’s magnificent performance. His adoration of his wife and daughter is entirely convincing, as is his love for his father-in-law. Stephens’ detailed descriptions of a happy life full of holidays are all the more endearing as Alex knows how lucky he is.

Or how lucky he was – as the expertly written story unfolds and Alex’s life plummets unexpectedly into the depths of despair, the piece becomes something of a confessional. His cruelty towards the “shattered” form” of his father-in-law and the “hole in the middle of him”, a visceral image of the pain he is now experiencing, show the power of Stephens’ nightmarish imagining. Questions about God are probed throughout – they are surely a natural part of an experience such as this – but Stephens handles them with considered sophistication.

The success of the piece, which Stephens directed for film with Andrew Porter, is guaranteed by Scott’s performance. Originally written for the actor, Scott is an expert on camera, and his connection to the audience is a marvel. Brief pauses and halts in the delivery ensure the illusion of spontaneity and his movement is expansive without ever seeming artificial. Scott grabs lighter touches forcefully and he makes sure we fall a little in love with his character. It makes the telling of this private tragedy all the more moving; traumatic but also strangely beautiful.

Streaming for free until 25 May 2020


To find out about a new series of monologues commissioned during lockdown and to support the venue see www.bushtheatre.co.uk