THEGAYUK

Tag: Theatre Review

All the latest breaking news on theatre in the UK. Browse THEGAYUK’s complete collection of news, articles and commentary on LGBT+ theatre in the UK.

  • THEATRE REVIEW | Lady Bunny in Trans-Jester, Soho Theatre, London

    ★★★★| Lady Bunny in Trans-Jester

    She’s the queen of drag queens, and almost as famous as the Queen of England, Lady Bunny is back in town to perform her one-woman show called Trans-jester, and no one is safe from her catty claws and endless wit. It’s a no-holds-barred performance that is the best of Lady Bunny.

    She commands the stage in her glitteringly-best sequins and a wig that practically reaches the ceiling. With shiny jewellery that, she tells you, is bought at yard sales.

    Lady Bunny, direct but not straight from New York, provides her loyal and tongue-wagging audience with literally an oral history of her life, which included lots of black cock-sucking jokes, as well as her days as a no name drag queen in Atlanta Georgia USA when she and Rupaul used to be roommates.

    Lady Bunny also gets all political by discussing the ridiculous notion of how now everyone has to go by a label. She tells us that she remembers when it used to be only ‘G’ but now it’s LGBTQIA – she screams that it’s ridiculous to have labels – and the audience agreed with her with a roaring cheer! Bunny doesn’t hold back when discussing Bruce Jenner and the transformation to Caitlyn and how Caitlyn’s Republican arse and new pussy doesn’t come close to representing her community. And there are quite a few hilarious Kardashian jokes thrown in for good jester.

    But Bunny is best when she does jokes. They come fast and furious in the part of the show that is her tribute to the old US television show Laugh-In. It’s a skit she used to do at the late and great Wigstock Drag Queen festival she founded in the late 1980s and which sadly came to an end in 2001.

    Lady Bunny is an institution, and she should be in an institution (ha ha ha). But she’s one of a kind, the Queen, a pure Lady, and now’s your chance to go see her live in person before she’s put out to pasture. Long Live Lady Bunny!

    Lady Bunny in Trans-jester is playing at the Soho Theatre until Saturday, July 1st.

     

  • THEATRE REVIEW | Miss Meena And The Masala Queens – West Yorkshire Playhouse

    ★★★| Miss Meena And The Masala Queens – West Yorkshire Playhouse

    Miss Meena’s drag club is on the brink of closing; and like Miss Meena herself, it is tired, run down and needing a boost. But two strangers are about to enter Miss Meena’s life, both of whom have very different consequences for her. With people that she can trust, and people she can’t, close by, Miss Meena must decide whether or not the show will go on.

    CREDIT: David Fisher

    Tackling the difficult subject of sexuality and drag in the British Asian community, Miss Meena is a socially relevant piece of theatre and one which serves both the purposes of being entertaining, but also telling the seldom heard stories of the British Asian drag community. The story is in many ways very familiar, and there are a number of elements which make the narrative and the characters feel a little like a British Asian combination of the Priscilla and Burlesque movies.

    From the small cast, Raj Ghatak stands out, with a heartfelt performance as the titular character; and there is some decent support from Jamie Zubairi as Munni; whist Nicholas Prasad fills out the sling backs nicely as Shaan.

    But it is the writing that really shines through, and whilst the story is a narrative which is familiar, it is the detail within the characters and the universal themes of conflict for the gay community which shine through. Most of the characters struggle with their sexuality or their identity in some way, and each of them tackle their internal struggle differently. There is a real theme of family running through the show, from the perspective of both family in the traditional sense, but also the family made up of those we chose to surround ourselves with. There is also a relevant and valid social comment about the LGBT community having a safe space to go to; and the purpose of that space; whether it is to express themselves, away from a repressive family environment, or whether it is somewhere to be supported by those who understand the impact of such repression.

    That said, and despite the themes, the show remains uplifting, comedic and fun, with some great Bollywood lip-synch numbers which serve the purpose of being musical interludes rather than narrative progression, some physical comedy, a few snappy one-liners and a genuine warmth that resonates from the stage. By the time the show concludes in a cascade of glam, sparkle, saris and a bhangra version of a gay anthem, the characters really do feel like old friends.

    Miss Meena and the Masala Queens is a relevant, entertaining and socially progressive piece of theatre.

    Miss Meena and the Masala Queens is currently playing at West Yorkshire Playhouse, Leeds until Saturday 17th June 2017. Visit www.wyp.org for details. You can read our interview with Pravesh Kumar, the director, here

     

  • THEATRE REVIEW | Dirty Dancing – Sheffield Theatres and National Tour

    ★★★| Set in the 1960’s, Frances “Baby” Houseman goes to Kellermans holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul, and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellermans. For established fans of the film, the show will be hard to beat.

    The show is currently playing at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 10th June 2017, before continuing on its extensive national tour, calling in at a number of venues including  Edinburgh, Bristol, Manchester, Leeds and Liverpool between now and September 2017.  Visit www.dirtydancingontour.com for details.

  • THEATRE REVIEW | Mamma Mia – Leeds Grand Theatre and National UK Tour

    ★★★| Mamma Mia – Leeds Grand Theatre and National UK Tour

    Mamma Mia Theatre Tour Review

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

     

    Currently on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.

    Mamma Mia is currently playing at Leeds Grand Theatre (www.leedsgrandtheatre.com ) until Saturday 8th July 2017. Leeds play host to the forthcoming tours of Wicked and The Band; and present the World Premiere of Kay Mellor’s Fat Friends in November 2017. The show then continues on its national tour, calling in at Canterbury, Bournemouth, Brighton, Aberdeen, Sunderland, Oxford, Glasgow, Llandudno, Northampton, Wolverhampton and Sheffield. Visit  http://www.mamma-mia.com/uk-tour/index.php for details and tickets.

     

  • THEATRE REVIEW | Catch Me, Underbelly, London

    ★★★★★ |  Catch Me, Underbelly, London

    It’s a sure sign that summer is here when the Underbelly opens on London’s Southbank. If you haven’t seen it before on its travels, it’s an upside down giant purple cow that acts as a big top for international circus acts. This year they’re showcasing more Canadians with Quebec’s acrobatic troupe Flip Fabrique with a show called ‘Catch Me’.

    Catch Me Udderbelly review

    You’ve seen one circus/gymnastic/acrobatic troupe and you might think that you’ve seen them all. If you think that then you’ll be pleasantly surprised by this show. Even the most jaded and cynical are at risk of sitting with their mouths open in awe like they’ve got some sort of chronic sinus problem.

    The show contains all the usual stuff: balancing, juggling, trampolining and a handful of hot men one of whom is hypnotically beautiful when he whips off his top and reveals a torso to die to die for. There’s more to it than that and it’s not the vague and unnecessary storyline (that you won’t even realise is there unless you read the program) that makes this show so enjoyable. Just as you complacently think you know where a stunt is going, the performers snap you back out of that and you’re treated to a spectacular and unexpected twist on a theme.

    The last fifteen minutes is a frenetic sensory overload that leaves the audience gasping like children at a firework display. They’re a quirky bunch and there’s a hipster vibe to their styling. Most of all this is a fun night for a summer evening. Enjoy!

    Catch Me, plays at Underbelly, until 9th July 2017

  • THEATRE REVIEW | 5 Guys Chillin’, Kings Head Theatre, London

    ★★★ | 5 Guys Chillin’, Kings Head Theatre, London

    5 guys chilling kings head theatre review

    There’s a chemsex party taking place at the King’s Head Theatre. No, it’s not an actual party – It’s the returning show 5 Guys Chillin’.

    In the comforts of the living room of J (David Palmstrom) and M (George Fletcher), them and three other guys (actually men) are enjoying each other as well as the drugs on the table in order to experience the highs, and in some cases, the lows, of what gay men (not all gay men) are getting into nowadays; drugs and sex and more drugs and in some cases unsafe sex in private house parties.

    B (Gareth Watkins) and R (Tom Ratcliffe) are a bit of an unmatched couple; R is very young but not so innocent, while muscular big daddy B is experienced and likes it any which way and loose. And the last one to arrive at the party is Pakistani PJ (George Bull). He’s a bit unsure as to why he’s there, but slowly gets into the action. But he’s got a story to tell the other guys; he’s actually married with a young child because it’s what is expected in his culture. Besides him, all the guys have stories to tell; B’s story is particularly vivid as he recounts the time he was spit roasted in Berlin where sexual diseases were not discussed. It’s all a lot to take in; the play’s honesty and brutal nature is scary because know all know these types of gay men, and parties, do actually exist.

    And all the actors should be admired for performing such an in your face play shedding emotions as well as bravely shedding their clothes. Writer and Director Peter Darney seems to have gotten the tone and characters right, but luckily I wouldn’t know because I’ve never been and don’t plan to go to one of these parties.

    5 Guys Chillin’ plays at Kings Head Theatre  until June 3rd 

     

  • THEATRE REVIEW | La Strada – Sheffield Theatres and London’s West End

    ★★★ |  La Strada – Sheffield Theatres and London’s West End

    Based on the film by Frederico Felini, La Strada is set in the heart of the Italian Countryside, and tells the story of the Gelsomina, who becomes the assistant to a travelling showman, Zampano, as they move from town to town trying to earn their keep. But things change when they join a travelling circus and they meet Il Matto, a clown, who teaches Gelsomina that there is more to life than her current existence and encourages her to find herself.

    La Strada is a show with a very European flavour and a real feel for the source material, being Fellini’s classic 1950’s Italian film. The music is a broadly uplifting fusion of gypsy, jazz and folk, providing a jaunty soundtrack which melts into the story rather than providing standalone moments, and whilst the show is billed as a musical, it would perhaps be better pitched as a drama with musical interludes.

    Overall, the show carried with it an impressive presentation. Sally Cookson’s direction is distinctive and stylish, with a slew of innovative theatrical techniques, carefully choreographed movement and almost constant activity on and around the stage. The set has a feeling of 1950’s European cinema, with its muted colour pallet and its use of shadows and silhouettes, and the provision of the on-stage musicians added a nice touch. Feeling almost cinematic in its staging, the show does has a certain magic about the way in which it presents itself.

    La Strada boasts a large international cast, led by Audrey Brisson and whilst the performances were functional, they never really excelled. The story is filled with pathos and it is bold in its attempt to portray what is effectively a road movie on a single, static set. The pacing of the show is very slow and the narrative is thin, almost only allowing the audience to glimpse snapshots of the character’s lives, rather than allow them to join them on their journey;  which is where the production struggled overall and where the emotional punch of Fellini’s film was somewhat lost

    La Strada is a show which is a luxurious, visual feast, but one which has a low-key narrative, and a steady pace; and is a more high-brow musical  for people seeking an alternative to the saccharine-coated West End extravaganzas or the traditional staples of musical theatre. It is very much style over substance, but may well reward the patient audience member.

    La Strada is currently at Sheffield Lyceum Theatres (www.sheffieldtheatres.co.uk) until 27th May 2017, before transferring to the West End, playing at The Other Palace in London from the 30th May to the 8th July 2017. Visit www.theotherpalace.co.uk/whats-on/la-strada for details.

     

  • THEATRE REVIEW | The Faulty Towers Dining Experience, London

    ★★★★

    | The Faulty Towers Dining Experience, Kingsway Hotel, London

    The Faulty Towers Dining Experience review

    Believe it or not, I’ve never seen an episode of Faulty Towers. I knew that it is a British television institution, a classic, yet I’ve just never got around to watching it (plus I’m a bit too young to remember when it originally aired on television). So I didn’t know what to expect when I went to the Faulty Towers Dining Experience.

    It was hilarious! Taking place in the dining room at Kingsway Hotel in Covent Garden, the Faulty Towers Dining Experience is an interactive and immersive theatre at its best. Of course, there is a meal that’s included in the experience, but it’s all about the show that is unravelling (and falling apart) right before your very eyes as you’re tucking into your leek and potato soup – that is if Manuel hasn’t taken it from you.

    If you don’t know much about the television show, which would be hard to believe, it is about characters in a fictional hotel in the seaside town of Torquay. First off there is owner Basil Fawlty – a true Englishman – and his wife Sybil, who orders him around but she’s the one who wears the pants in the relationship. And then there is Manual – a short in stature Spanish waiter who practically speaks no English and gets the instructions from Basil all wrong. So it’s these characters from the show that you get to ‘enjoy’ your dining experience with.

    The show starts immediately when Basil (played by Benedict Holme) tells Manuel (Anthony Clegg as an exact replica to the Manuel played by Andrew Sachs) to take the glasses away, of course, Manuel takes people’s glasses off their faces and not the drink glasses! Then Basil tells Manuel to pass out the peanuts, so Manuel literally passes out the peanuts. It’s one thing after another, and once you sit down in the Faulty restaurant it’s only a matter of time until Manual interferes with you – he turns your napkin into a bib, tosses rolls around the room, does somersaults, and spends the entire time misunderstanding and misinterpreting everything Basils says. Lucky for us it’s Sybil (Suzanna Hughes) who manages, a bit, to keep the entire dinner from melting into complete chaos! It’s very physical comedy, but it’s also physical for the attendee because you’re laughing very hard and out loud too! It was the unlucky few who found a set of teeth in their soup – gags like this that make the whole thing hilariously fun and funny! No person is spared, and god forbid if you are celebrating a birthday or anniversary – you will get a special gift from Sybil – and boy is it special! It’s an experience that you will not forget – just don’t mention the war!!!

    It was a treat to be transported back to the 1970’s with being part of Fawlty Towers Dining Experience. The trepidation that you might be picked on was real and you almost expect the soup to end up on your lap? Sybil was so like the television character down to the scary laugh, while Manuel was brilliant and made the whole show so very reminiscent of the television snow. What a great way to spend a two and a half hours – to be part of this experience makes me want to watch the television series now.

    Tickets for the Fawlty Towers Dining Experience can be bought here:

    http://www.torquaysuitetheatre.com

    If you have any questions on the show, there is a Frequently Asked Questions on the first page.
    The London shows, held in the Torquay Suite Theatre at the Kingsway Hall Hotel, are held throughout the year, while there is also a version that tours the UK as well as Australia and the rest of the world. Yes, this is how popular this show is – continuously playing much to the delight of the television show’s fans – it’s the world’s most successful comedy dining show of it’s kind and now it’s time for you to experience yourself too!

  • THEATRE REVIEW | Judy, The Arts Theatre

    ★★★★★ | Judy!, The Arts Theatre

    Judy! review at the Arts Theatre London

    If you were off from gay school the week that they covered gay icons then this is the play for you. If you’re already well versed in Garland mania then you’ll love this too. Judy is a potted history of the life of Judy Garland told with wit and warmth from the clever perspective of having three Judy Garlands on stage at different points in her life.

    Judy Garland was the child stage actress and star of pappy films who hit the big time after landing the role of Dorothy in the iconic film ‘The Wizard of Oz’. Her frenetic delivery on stage, her fragility and her belting unique voice made her a public favourite in spite of her flakiness, late stage arrivals and occasional no-shows. Behind the spotlight, she was a troubled figure and the familiar story of the Hollywood legend played out: psychiatric problems, drug and alcohol abuse, multiple marriages and an untimely death from a Barbiturate overdose aged 47 in London in 1969.

    Ray Rackham presents us with three Judys. Firstly we have hard drinking and waspish middle-aged Judy struggling to keep her temper, plagued by debts and desperately trying to make a failing TV show work. Secondly, we have pill-popping mid-life Judy: mother to Liza Minnelli, box office poison, about to risk everything by embarking on marriage number three and throwing all her remaining cash into a risky venture of a grand show on Broadway. Finally, we have awkward teenage Judy, dominated by her pushy show business mother and being used and abused by the film studios.

    The device works well and showcases not only a number of songs but manages to portray both uplifting and funny side of Garland as well as the not so joyous times. There’s a cast of twelve with cast members doubling up as the live band too. Oh and the Judys? They’re pitch perfect and totally on point both in mannerisms and vocal style. They’ve clearly had great direction from Ray Rackham (part of the team behind the hit musical ‘Apartment 40c’) and spent a lot of time on YouTube studying Ms Garland’s unique style.

    This is a great show in its third incarnation after successful runs as ‘Through the Mill’ at London Theatre Workshop and Southwark Playhouse. It a piece that’s tightly written and will both move you and fill you with equal parts of joy and sadness. Go see it.

    Judy! runs at The Arts Theatre until 17th June 217

  • THEATRE REVIEW | The Faaaabulous Ceri Dupree Show – National Tour

    THEATRE REVIEW | The Faaaabulous Ceri Dupree Show – National Tour

    ★★★| In this one man, twenty-one woman show, the Faaaabulous Ceri Dupree brings an evening of glitz, glamour and variety to the theatre. Featuring a combination of original songs, colourful characters, female impersonations, anecdotal comedy, an abundance of feathers and sequins, quick fire one liners and healthy dose of tongue in cheek sardonic barbs aimed at members of the audience, the show is unashamedly old school drag.

    Photo Credit – PR supplied

    Taking the scattergun approach to comedy, there was a good mixture of comedy, ranging from gentle observations to the slightly risqué to the downright crude, with the vast majority of the gags hitting the spot. Throw into this, a slew of characters, from Dame Edna Everage to Camilla Parker Bowles, from Shirley Bassey to Mary Hopkins and from Amy Winehouse to Gladys Pugh, there were plenty of laughs to be had.

    The show is a bit of a mixed bag in terms of success. Parts of the act were hilarious – such as the Dame Edna section, which involved copious amounts of ribbing members of the audience, whereas the Amy Winehouse impersonation fell rather flat and garnered little response. Some of the jokes were probably around when Bernadette was touring with Les Girls, and some of the relevance of the characters, such as Gladys Pugh (from Hi-Di-Hi) and Mary Hopkins would be lost on many of the younger members of the community (although gays of a certain age (like me) will find it hilarious).

    But that said, the show shone brightly in the main, especially with the original songs, some hilariously blue and innuendo filled humour, a song-laden second act and genuine warmth resonating throughout. With drag standards all present and correct, Joan Collins, Shirley Bassey, Kathyrn Jenkins, Charlotte Church and even the Queen don’t escape unscathed. As the show rounds to a close with the mirror balls spinning and the audience on their feet for a rousing rendition of I Am What I Am, you know that you are firmly in the campest of floorshows.

    The show is pure cabaret, of the ilk which is reminiscent of the old days of variety in the style of Hinge and Bracket or Danny La Rue.  What makes the show stand out is that it does away with the bitchiness and backstabbing and places the fun and entertainment value of drag squarely in the centre of the stage. Whilst there is very little here that you won’t have seen before if you had been knocking around the scene in the eighties, the show ups the ante of the pub cabaret circuit and delivers a quality and style of show which is becoming harder to find on the scene.

    Slick, polished and with more laugh out loud moments than anticipated, this is a show which will either take you back to your youth, or show you how it used to be done properly.

    The Faaaabulous Ceri Dupree Show was reviewed at CAST in Doncaster, who have a varied and packed programme of shows and is a cultural gem in the heart of the city. Visit https://castindoncaster.com/ for details. The show is on national tour and details can be found at http://www.ceridupree.co/index.html

  • THEATRE REVIEW | Tommy The Musical, Birmingham Rep

    ★★★★ thrilling and emotional

    One of the most influential UK rock and roll bands, The Who were formed in 1964 in Shepherd’s Bush, London. In 1969 The Who created a unique concept album called Tommy, and it quickly became a cultural fete. In 1975, Ken Russell adapted the album into one of the best and biggest films with an all-star cast starring Tina Turner, Elton John, Eric Clapton, Jack Nicholson, and more.

    New Wolsey Theatre and Ramps on the Moon collaborated to bring to life Tommy The Musical to the main stage as a daring musical. The Who’s Tommy musical was a sad, gritty and powerful tale about a boy who is ‘deaf, blind and dumb’ and at the mercy of Uncle Ernie (Garry Robson) who ‘fiddled about’ with him at night; Cousin Kevin (Lukus Alexander) who bullied and taunted Tommy, and a thug of a stepdad Frank (Alim Jayda), relentlessly trying to ‘solve’ Tommy’s disabilities.

    Tommy The Musical, directed by Kerry Michael, was extra special for it allowed the opportunity for actors who are D/deaf, disabled and non-disabled to work together to produce an eerie and fantastic production with all-audience accessibility. Through embedded audio description, creative captioning and integrated British Sign Language, everyone could engage and be a part of the musical.

    Tommy (William Grint) was phenomenal. William really brought to life the chronicles of Tommy’s life and was sublime in the delivery. What Tommy went through, was hard and gruelling, and William did an amazing job showcasing the outcomes of so much abuse. His two voices (Julian Capolei and Matthew Jacobs-Morgan) were perfect for Tommy’s voice, in particular, Julian’s voice, which was so powerful and pleasing to the ear. Tommy’s mother, Nora (Donna Mullings) was also formidable, really conveying emotion without speaking a lot, and when she did, it was potent and emotionally charged. The best voice in the production was the actor playing Nora’s voice (Shekinah McFarlane).

    The outstanding performer of The Who’s Tommy was Acid Queen (Peter Straker). In the film, Acid Queen is played Tina Turner, and for this production, it was a man dressed in drag, which was a very progressive touch to the production. Peter’s voice was stunning and his overall performance was commanding – this was the highlight for me.

    This is an excellent idea, and we need to see more theatre productions reflecting stories through actors who are physically affected by the context of the plays.