Month: October 2025

Accessibility Review of ‘Private Lives’

/ thevicritic / Leave a comment

Hi everyone, and welcome back to another review!
I know — two reviews back to back! That doesn’t happen very often. But this show is a completely different experience from the one the night before, so strap in for this one!

This time, I was kindly invited to see Private Lives at The Mercury Theatre in Colchester.

Set in the 1930s, the play follows two newly married couples who book into a glamorous hotel on the French Riviera. It soon becomes clear that the husband of one couple and the wife of the other were once married to each other. Their passion reignites, and what follows is a wonderful mix of drama and comedy as old feelings and fiery tempers resurface.

From start to finish, this was a lively, engaging, and genuinely entertaining production, with just the right touch of seriousness sprinkled throughout. Every cast member delivered exceptional performances. Ashley Gerlach’s comic timing — paired with his little ad-lib moments — was spot-on. Sometimes these moments pushed a point further; other times they simply added a touch of charm. They didn’t have the audience roaring with laughter, but they didn’t need to. It was just enough to make the show that much more enjoyable.

Chirag Benedict Lobo and Pepter Lunkuse had fantastic chemistry — as did the entire cast — but their connection as Elyot and Amanda felt especially genuine. You could really sense that they cared for one another, both as actors and as the characters they brought to life, all while clearly having great fun on stage.

Two actors stand on a brightly lit stage with a red curtain backdrop. The floor has a red and blue checkerboard pattern. Both performers are mid-dance, smiling and animated. The person on the left wears shiny blue silk pyjamas, while the person on the right wears a light pink robe and trousers. Behind them are vintage-style furniture pieces, including a record player, a red armchair, and a lamp.

Visually, the show bursts with vibrant colour — from the detailed sets to the stylish costumes and lighting. It was easy to distinguish one character from another, and everything on stage felt bright and full of life. Personally, I would have liked to have seen a bit more of Ashley Gerlach and Sade Malone, as there was a point where I wondered if they’d return! One scene between Elyot and Amanda did run a little long, but that’s probably just down to personal taste.

For those with some useful vision, the abundance of colour can become a little tiring by the end, as there’s a lot to take in. There’s no harsh lighting, but the first act features quite a bit of fluorescent neon lighting, which is toned down significantly in the second act. The orange and teal tiled floor stood out the most — bright and eye-catching under the stage lights. I’d recommend sitting no closer than row D for the best balance, but if bright visuals bother you, a few rows further back might be ideal.

A performer stands in front of a turquoise-lit backdrop with a red and white checkerboard floor. They wear a cream-coloured dress with orange diamond patterns, long white gloves, and a curly silver wig. Their mouth is open as if singing or speaking dramatically, and one arm is stretched outward. Behind them are white metal café-style tables and chairs.

For blind or visually impaired audience members, I’m delighted to say that an Audio Description and Touch Tour are available for this production. This show is about fifty percent dialogue and fifty percent physical, including a highly physical scene in the second act and near the end. These moments enhance the story beautifully without taking away from the plot, and the audible reactions from the cast ensure you won’t miss out on what’s happening.

Overall, Private Lives is a delightful night out — full of laughter, energy, and heart. It’s a refreshing and thoroughly enjoyable production that offers something a little different. Although it has a short run at The Mercury Theatre from the 9th to the 11th of October 2025, I’ve been told it will also be heading out on tour. So if you can’t catch it in Colchester, keep an eye out for tour dates soon.

The Audio Described and Touch Tour performance takes place on Saturday 11th October at 2:30pm, with the Touch Tour approximately two hours beforehand — but do confirm this with the Box Office team when booking.

Private Lives runs at The Mercury Theatre, Colchester from the 9th to the 11th October 2025.
More information and tickets are available via The Mercury Theatre’s website — click here for details.

Until next time,
The VI Critic

Promotional artwork for Noël Coward’s Private Lives. The image features a large ornate gold key against a dark green curtain background. Tiny figures of two elegant couples dressed in 1930s evening wear stand on the key. The title “Noël Coward’s Private Lives” appears in large, metallic-style lettering on the right-hand side.

Accessibility Review of Tassa Deparis’s ‘Swallow The Lake’

/ thevicritic / 1 Comment

Hi everyone, and welcome back to another review!

I was kindly invited to the Mercury Theatre to see their new Original production, Swallow The Lake — a heartfelt and thought-provoking piece that stayed with me long after the curtain fell.

The story follows Joanna, a young woman who’s spent much of her life abroad due to her father’s career as an army chef. Constantly on the move, she’s never truly had a place to call home. We watch her journey unfold from a curious child to a grown woman searching for belonging — but the question lingers: has she really found happiness?

Written by Tassa Deparis, Swallow The Lake is a touching exploration of childhood innocence, growing pains, and self-discovery. It delves into family tensions, teenage friendships, and the heartbreaks that shape who we become — themes that almost anyone can relate to.

A woman sits barefoot on the edge of a wooden table, surrounded by tall golden reeds that fill the background. She has long curly dark hair and a warm, joyful expression, looking slightly upwards with a soft smile. She’s wearing a loose, cream-coloured blouse with full sleeves and light beige trousers. The lighting is gentle and warm, giving the scene an autumnal, golden glow. The overall feeling is calm, intimate, and slightly nostalgic — as if she’s lost in a happy memory or daydream.

The production takes place in the Mercury Studio, an intimate venue that brings the audience remarkably close to the action. It’s a setting that allows for a real emotional connection between performers and audience members — though, as I discovered, it’s not the most generous when it comes to legroom! Still, the closeness makes the experience all the more immersive and, for many, more accessible.

Lydia Bakeelmun gives a standout performance, showcasing remarkable range and emotional depth. Her portrayal of Joanna is both tender and powerful — by the end, I genuinely felt for her. Matthew Jewson delivers an equally strong performance opposite her, and together they bring a wonderful authenticity to their characters. Watching them transform seamlessly from childhood to adulthood was truly captivating.

Supporting them, Liam Bull and Krupa Pattani shine in multiple roles throughout the show. Both demonstrate an impressive versatility, shifting between characters with ease. It’s a skill that’s much harder than it looks, yet they make it appear effortless.

A man crouches on top of the same wooden table, holding a long stick in his hands and leaning slightly forward as if pretending to draw in the sand or poke at something on the ground. He has short hair and a thoughtful, focused expression, with a hint of curiosity or playfulness. He’s wearing a short-sleeved blue T-shirt and beige shorts. Behind him, the same tall golden reeds create a natural, rustic backdrop, softly lit in warm tones. The lighting feels gentle and earthy, suggesting an outdoor or beach-like setting.

The staging is simple but beautifully effective. Tall beach grass borders parts of the stage, while soft, semi-transparent curtains — gently lit from behind — help define each new scene. A few benches, chairs, and a table are all that’s needed to bring the world to life, letting the performances take centre stage.

Most of the show is dialogue-driven, with minimal physical action or bright lighting. The atmosphere remains soft and natural throughout — calm, reflective, and intimate. However, I was disappointed to find there was no touch tour or audio description available. While some may argue that this production doesn’t strictly require audio description, I believe access options should always be available for those who need them. Even a short touch tour to explore the set and costumes would have been a welcome addition.

For those with useful vision, you can choose how close you sit without worrying about harsh lighting or sudden flashes. If you have little or no vision, the show is still easy to follow thanks to its strong script and clear dialogue. A few small visual moments — like someone pretending to chase chickens or draw in the sand — might be missed, but they don’t detract from the overall experience.

Overall, Swallow The Lake is a must-see for its outstanding performances and emotionally resonant storytelling.It’s an intimate, beautifully acted piece that captures the highs and lows of growing up and finding your place in the world.

Swallow The Lake by Tassa Deparis runs at the Mercury Theatre, Colchester, from 8th to 11th October 2025. For more details and ticket information, visit the Mercury Theatre’s website which you can find by clicking here!

Until next time,
The VI Critic

A striking underwater image featuring a young woman submerged in clear blue water. Her eyes are closed, and she appears calm and peaceful, with small air bubbles surrounding her face. Her curly dark hair floats gently around her head, fanning out in soft waves. She holds her hands delicately near her face, fingertips touching her cheeks and chin, as if caught in a moment of stillness or reflection. The water gives her skin a smooth, glowing look, and the light filters down in a serene, dreamlike way. To the left of the image, in large pale cream-coloured text, are the words: “SWALLOW THE LAKE” and beneath in smaller text: “BY TASSA DEPARIS.”