Accessibility Review of John Buchan’s ‘The 39 Steps’!

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Hi everyone, and welcome to the first review of 2025! Here’s to another year of excellent and accessible theatre!

The first review of the year is The 39 Steps, written by John Buchan, adapted by Patrick Barlow, and directed by the brilliant Ryan McBride at The Mercury Theatre in Colchester. This thrilling and hilarious production follows the story of Richard Hannay, played by Mateo Oxley, as he finds himself on the run across the Scottish Moors with the fate of the British Empire at stake!

This show is a comedy masterclass from beginning to end! The two clowns, Danielle Bird and Phil Yarrow, do a fantastic job of keeping the audience howling with laughter, with Danielle particularly shining in her role as The Professor! If my schedule had allowed, I would have gladly seen this production again!

The set design is simple—but in a good way. It allows you to fully engage with the story while still making it visually clear when the location changes. There is also great use of props that cleverly transform from one thing to another—kudos to the workshop department for their creativity! Hopefully, these details are effectively conveyed in the Audio Description, ensuring that blind and visually impaired audience members can fully appreciate these clever transitions.

The use of colourful costumes helps establish each character clearly and makes them visually distinct. However, there are moments when the two clowns switch characters simply by changing hats. While this is a clever and understandable choice given the fast pace of the show, it may make following character transitions a little more challenging, especially for those relying on partial vision. Ideally, the Audio Description will help clarify these moments for blind and visually impaired audiences.

This is, at times, a very visual show, with several physical comedy moments and visual gags. There are also two loud gunshot sounds—one at the very end of Act One and another towards the end of Act Two—so be prepared for those if you are sensitive to sudden noises.

For audience members with little to no vision, there may be moments where visual gags are missed without Audio Description. However, this does not impact the overall understanding of the story—you won’t miss anything crucial plot-wise. If you have some useful vision, I recommend sitting as close to the centre of Row E as a minimum, though Rows D or C would be even better for an optimal view.

For those wanting an accessible experience, there is an Audio-Described performance and Touch Tour on Saturday, 29th March, at 2:30 PM, with the Touch Tour at 1:00 PM. More information, including ticket details, can be found on The Mercury Theatre Colchester’s website via the link here.

This is a wonderful production—gripping, hilarious, and full of energy! I couldn’t recommend it enough and would absolutely see it again if I had the chance!

Until next time,
The VI Critic

This is a promotional image for The 39 Steps, adapted by Patrick Barlow. The background is deep green with a slight texture, giving it a classic, vintage feel. The show's title, The 39 Steps, is prominently displayed on the left side in large, bold, golden-yellow letters with a three-dimensional effect, making them pop against the background. The number "39" is especially large and eye-catching, with a red-to-orange gradient. Below the title, smaller text credits Patrick Barlow as the adapter and acknowledges John Buchan’s novel and Alfred Hitchcock’s film adaptation. On the right side of the image, two actors are dramatically posed, looking startled. The woman in the foreground wears a striking bright blue skirt suit with a fitted jacket, a crisp white blouse with a bow tied at the collar, and a platinum blonde wig styled in soft waves. Her facial expression is one of shock, with wide eyes and an open mouth as if she has just been caught in a perilous situation. Her left arm is extended, and she is wearing a metal handcuff on her wrist, with the chain dangling loosely. Behind her, a man dressed in a classic brown trench coat, white shirt, and dark tie wears a brown fedora hat tilted slightly to one side. He has a thick, neatly groomed mustache and holds the brim of his hat with one hand while peering around the woman's shoulder. His facial expression conveys both concern and curiosity, as if he is either about to step into action or has just been caught off guard. In the background, a vintage black steam train with a large round headlamp is bursting through a red, art-deco-style frame. The train's number, "817", is visible on the front, and a thick plume of white smoke billows from its chimney. The red frame around the train is designed to resemble a doorway or portal, adding to the sense of movement and adventure. The overall composition of the image is dynamic, blending comedy, suspense, and old-fashioned intrigue—perfectly capturing the energetic, fast-paced nature of the production. The bold colors and vintage aesthetic reflect the classic spy-thriller style, while the actors’ expressions and body language hint at the humorous and theatrical tone of the show.

Neverland Comes To Colchester! Accessibility Review Of ‘The New Adventure’s Of Peter Pan’

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Hi everyone! The festive season is upon us, and you know what that means—it’s Panto Season!

I was thrilled to be invited to The Mercury Theatre to see their latest production, The New Adventures of Peter Pan, directed by and starring the incomparable Anthony Stuart-Hicks. This is a show brimming with laughter, joy, and plenty of heart, making it the perfect family outing this Christmas.

The story picks up after the original Peter Pan tale, but peace doesn’t last long. Captain Hook, burped back up by the crocodile, is out for revenge! The chaos and comedy that follow are nothing short of spectacular.

From the very beginning, the stage bursts with vibrant colour and energy. The set design, the most elaborate The Mercury Theatre has ever created, is a visual feast. Bright, bold hues and dramatic lighting make every moment pop. For those with some sight, the clever contrast between costumes and backgrounds ensures key characters like Peter Pan, Wendy, and Captain Hook are easy to spot. It’s a thoughtful touch that highlights the production’s commitment to accessibility.

The cast is phenomenal. Alexandra Barredo as Wendy and Sasha Latoya as Tinkerbell deliver outstanding vocal performances that will leave you in awe. Jazz Evans as Captain Hook is a delightfully evil presence, clearly relishing every moment on stage. His charisma adds depth and charm to the role, making him a memorable villain.

The image depicts an individual dressed in an elaborate pirate costume, complete with a large black, wide-brimmed hat adorned with golden epaulettes and a red, ornate jacket. They are holding a silver hook in place of a hand, suggesting they are portraying a character like Captain Hook. The background is filled with dramatic red lighting and various signs, creating an intense and adventurous atmosphere. The intricate details of the costume, such as the lace cuffs and the sash around the waist, add richness to the scene, indicating a possible theatrical performance or themed event.

Of course, no Mercury Theatre panto would be complete without Anthony Stuart-Hicks and Dale Superville, playing Sherry Smee and Smee, respectively. These two are comedic geniuses, effortlessly bringing the audience to tears of laughter. Whether it’s your first panto or your fiftieth, they make you feel at home, ensuring an unforgettable experience. Their chemistry and humor are the beating heart of this show, and they’re a big reason why audiences return year after year. I strongly believe that the one year they are not there and the theatre brings someone else in, it will not be the same. I, for one, will be completely gutted when that happens because they are truly beloved by me and the whole of Colchester and Essex!

The image depicts a vibrant, colorful stage scene from a circus or amusement-themed performance titled 'Neverland Amusements.' In the center, under a bright purple and pink sign, stand two performers dressed in elaborate, whimsical costumes. The performer on the left, possibly female, wears a yellow, red, and green striped outfit with a puffy skirt, while the performer on the right, possibly male, is in a multicolored outfit with blue pants. They are surrounded by a variety of props, including a decorated cart filled with playful objects. The background is adorned with bright lights, creating an atmosphere of excitement and wonder.
This image depicts a vibrant stage performance with a fantastical theme. Centered on the stage, a group of performers, including men and women dressed in elaborate costumes with floral and nature-inspired designs, are frozen in a celebratory pose with their arms raised. The background features a dramatic and colorful scenery of an enchanted forest, illuminated with bright, shimmering lights resembling stars, and a radiant burst of light or fireworks at the top center, adding a magical atmosphere. The mood conveyed is joyous and festive, enhanced by the rich colors and dynamic arrangement of the performers.

Accessibility Recommendations:

If you have some useful sight, aim for Row E or closer for a great view of the action. For limited vision, rows A-C offer a closer perspective, but be prepared—you might find yourself part of the show, especially if Sherry Smee is nearby!

For blind or visually impaired patrons, there are two Audio Described performances: on 7th December at 2 pm and 18th January at 7 pm. These include a Touch Tour before the show, allowing you to explore the set, costumes, and props hands-on. The Mercury Theatre’s dedication to accessibility is clear, and these features make the magic of panto truly inclusive.

Running from 23rd November 2024 to 19th January 2025, The New Adventures of Peter Pan is a laugh-out-loud adventure filled with festive cheer. Whether you’re young or young at heart, it’s a magical experience not to be missed. Tickets can be purchased along with more information about the accessibility performances can be found here on The Mercury Theatre website!

Merry Christmas and a Happy New Year to all!

Until next time,
The VI Critic

Sherry Smee & Smee (Anthony-Stuart-Hicks & Dale Superville) Play Some Crazy Golf!

Accessibility Review Of ‘Abigail’s Party’

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Welcome back, everyone, to another review!
I was kindly invited by The Mercury Theatre to attend their latest production of Abigail’s Party.

The story takes place over the course of one evening, during a get-together between friends and neighbours, while someone’s daughter hosts a party across the street.

Set in the 1970s, the show truly captures the era through the furniture, appliances, and general atmosphere. The plot centers around the strained marriage of Beverly, a stay-at-home wife, and Laurence, an estate agent juggling the pressures of both his marriage and his business. Beverly loves to entertain, often paying little attention to Laurence, who struggles to hold everything together.

One of the striking visual elements is Beverly’s bright and vibrant costume. While the other characters wear more muted, dull outfits, Beverly’s colorful dress immediately draws attention to her, visually reinforcing her role as the center of the evening’s events. In contrast, Laurence’s costume is the most subdued, further highlighting the tension between them—his bland, dull attire reflects the weight he feels from both his personal and professional life.

The image depicts an indoor scene with a woman standing behind a tan leather sofa, which is covered with a zebra-print blanket. She is wearing a colorful, flowing dress and appears to be adjusting the blanket. In front of the sofa, there is a coffee table with a gold-colored ornament that looks like a fountain, spraying water upwards. Behind the woman, there is a kitchen setup with a white refrigerator, a microwave, and a stove. The floor is covered with a fluffy, white carpet, and the background is dark, suggesting the image might be part of a performance or artistic setup.
Photo Credit: Amy Rockson

The show also weaves in the lives of the other guests, who each bring their own stories and dynamics into the mix. Since the show is intimate, focusing on a small gathering of adults, much of the story unfolds through dialogue. This makes it easy to follow, even if you’re relying mostly on the conversations rather than visual elements. Leander Denny, who plays Laurence, adds moments of physical comedy that break up the verbal exchanges nicely, making the show more engaging and enjoyable.

The set design uses muted, somewhat plain colours, which helps the characters’ costumes stand out. Beverly’s bold attire, in particular, contrasts with the duller palette around her, adding to her commanding presence. However, this sometimes made it harder to visually distinguish between certain scenes. There were moments where the bright lighting, especially against the floor’s white cotton-wool-like material, made some scenes a bit too intense for a few seconds.

The image shows a man standing next to a vintage green car with its driver's door open. He is dressed in a dark suit and tie, and his right hand is resting on his hip while his left hand holds the car door. The background is dark, emphasizing the car's shiny green exterior and the man's formal attire. The car's headlights and curves suggest it is a classic model, adding a nostalgic and elegant touch to the scene. The overall atmosphere is one of sophistication and timeless style.
Photo: Amy Rockson

Since there isn’t much physical action—aside from the occasional comedic moment and the impactful ending—you won’t miss much of the plot. The tension in Beverly and Laurence’s marriage is clear, as well as the challenges faced by another couple, Susan and Tony, who are younger and newly married. You can sense Tony’s dissatisfaction, and you may find yourself wondering if their relationship will change by the end of the night. I particularly enjoyed the era-appropriate music, which added to the nostalgic atmosphere.

Accessibility-wise, the show is highly dialogue-driven, so there’s little you’d miss visually. While there are occasional bright lights and moments of visual and physical comedy, these elements are brief and don’t take away from the overall experience. The herbal cigarettes used on stage did produce a faint smell, which some people might find noticeable, though it wasn’t overwhelming.

If you’d prefer extra support, there is an Audio Described performance and a Touch Tour available, making the show even more accessible for those who might need it.

Overall, this is really a fantastic night out! The story of the show along with the comedy we have you hooked from start to finish! Whilst you can I can do nothing but recommend this show anyone and everyone! ‘Abigail’s Party’ is running at The Mercury Theatre from 5th until 12th October 2024! If you are interested in more information and where to buy tickets, you can find all that on The Mercury Theatre’s website which I will link here!

Until Next Time,

The VI Critic

Trailer:

Accessibility Review Of ‘My Mother’s Funeral: The Show

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Hi everyone, and welcome back to another review! At the time of writing this, I’ve also released another review called Art, which is well worth checking out after you finish reading this one. I’ll link it here.

This time, I went to see My Mother’s Funeral: The Show, an original production from the Mercury Theatre. Having just come from the Edinburgh Fringe, I had high hopes, and let me tell you—it didn’t disappoint!

My Mother’s Funeral tells the story of Abigail, as she and her family come to terms with the sudden death of their mother in hospital. With very little money, Abigail has to juggle organising the funeral while trying to make a living as a young playwright. The story tackles sensitive topics like grief and loss of a loved one, which might hit close to home for some viewers. It’s a brave subject to explore, but the show handles it beautifully.

The limited space of the studio was used expertly! For most of the show, the set consisted only of lighting and sound, with a microphone at times on a hexagon shaped-like stage. Thanks to the talented cast and brilliant direction, a fancy set wasn’t needed. The final scene’s setting only added to the brilliance of everything that preceded it, enhancing the emotional depth. The intimate nature of the small space, with the front row as part of the stage setting, made the experience feel personal and engaging. I loved this aspect! You feel directly connected to the characters as they look at you during moments of joy or pain.

The image shows a person dressed in orange overalls standing on a stage with a black background, giving the impression of a theatrical performance or rehearsal. The individual is holding their right hand up, possibly adjusting their hair, as their left hand is clenched into a fist at chest level. The backdrop is dark, with minimal visible details, enhancing the focus on the person. Some red seats can be seen in the lower right corner, suggesting it might be a theater or auditorium setting. The lighting is directed towards the person, creating a spotlight effect, and there is a sense of concentration and intent in the posture and stance.
Photo Credit: Nicole Young

Being so up close and personal with the actors allows you to see everything in great detail. As someone with sight loss but still some useful vision, I found this particularly helpful. The lighting is used effectively to reflect characters’ emotions, sometimes casting the stage in very dark or very bright tones. However, this is primarily a dialogue-driven show with few physical elements to miss. Because the space is mostly dark unless lit by stage lighting, it can be challenging to distinguish characters, costumes, or props. I’d recommend getting a front-row seat in Row B at a minimum for the best view.

Row A is arranged in a catwalk-like seating format, with a few seats reserved for the actors during scenes when they’re not performing. While there is no audience participation, being so close to the action may appeal to some, but it’s optional when buying tickets.

The image depicts an indoor scene with two individuals. A male figure stands in the background, wearing a dark blue jacket, with his hands in his pockets. He stands in a relaxed posture, looking towards the foreground. In the foreground, there is a female figure seen from the back. She has dark hair, which is tied back with a large bow accessory, and is wearing an orange sleeveless top. The scene appears to be dimly lit, suggesting an intimate or dramatic setting, possibly in a theater or a similar performance space. The overall mood seems contemplative and focused, indicating a moment of interaction or confrontation between the two characters. The background is dark, with indistinct details, but it reveals hints of red seats, further reinforcing the impression of a theater environment.
Photo Credit: Nicole Young

Unfortunately, this production does not offer any accessible performances or touch tours, which is something I would’ve liked to see as an option. If you have little to no vision, you can still enjoy this show comfortably since it is largely dialogue-based. However, a touch tour could be beneficial for those who might appreciate a chance to experience the physical props and scenery before the show. I hope the Mercury Theatre considers adding this in future productions.

Overall, My Mother’s Funeral is a fantastic show that takes you on an emotional journey in just one night. I highly recommend it. With tickets ranging from as low as £4 to £16, it’s an affordable and enriching night at the theatre. The show runs only on the 20th and 21st of September 2024 at the Mercury Theatre in Colchester, so hurry and grab your tickets while you can! I’ll leave a link to the tickets and the theatre’s website here.

Until Next Time,
The VI Critic

Trailer:

Accessibility Theatre Review of ‘Art’ By Yasmina Aeza & Directed By Iqbal Khan

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Hi everyone, and welcome to a new review! Finally back after a summer break!

Today, I’m bringing you the first of two reviews. First up is Art by Yasmina Reza! This play tells the story of Serge, an aspiring art collector. One day, he buys an incredibly expensive piece of art. But sadly, his closest friends don’t see the appeal of the painting. It’s a story of friendship between three people, with some hard truths they’ve likely been avoiding for years.

Going in, I had never heard of this play, which is often the case with the shows I attend. So, I had no expectations based on previous performances. At first, I wasn’t sure if I would enjoy the show—the first ten minutes felt uncertain—but I was pleasantly surprised. It reminded me of moments when my friends and I had similar conversations or experiences, so I could really connect with the characters. Each character approached situations from their own perspectives, which provided a refreshing take on how an object—or someone else’s interest—can affect people differently.

The image depicts a person standing indoors next to a large rectangular board that is illuminated by a bright blue light. The person is dressed in a light blue shirt and pants, with hands clasped in front. The background is dark, creating a stark contrast with the illuminated elements, suggesting a presentation or performance setting. The use of blue lighting adds a modern and striking visual effect to the scene, focusing the viewer's attention on both the person and the board
CREDIT Geraint Lewis

The use of colour was brilliantly done! Everything was vibrant and stood out. I love it when shows do this, as it really helps those with some usable vision distinguish the set from the characters and even the characters from one another. The edge lighting between scenes made the transitions exciting to watch—something I actually looked forward to.

I was grateful this was a comedy, as I think I would have struggled to fully understand the story without it. Don’t get me wrong—I enjoyed the show and its story! However, there were several moments when I had little understanding of a line or point a character was making, but the comedy more than made up for it.

There was great use of contrast throughout the play, in the props, sets, and costumes. This is something I always like to praise, as it makes the show much easier to follow from a visual perspective. Each character had a distinct voice and accent, which made it easy to follow who was speaking and to whom. While a lot of colour was used throughout the show, it didn’t have much impact on the plot itself, apart from the painting. But this was described by the characters multiple times, which was helpful.

The image depicts two people standing indoors against a backdrop of vividly painted walls. There is a man on the left dressed in a colorful cardigan with blue and yellow stripes, an orange shirt, and white pants. He is holding a small cup in his right hand. To his right, another man stands wearing a patterned shirt under a gray vest with dark trousers, also holding a small cup in his hand. The background consists of a blue-painted section on the left and vertical red and white striped wallpaper on the right.
CREDIT Geraint Lewis

Unfortunately, there are no accessibility performances of any kind, which is disappointing. Would I say an Audio Described performance is necessary? On this occasion, I’d say no. But it would have been nice for audiences to have the option of an accessible performance and a Touch Tour.

Overall, I liked this show. The performances from all the actors were great—they really connected with the audience. While the story was a bit hard to follow at times, the comedy made it more understandable and enjoyable. I would have loved to see accessibility performances, especially since the show is on tour in the UK. Hopefully, other theatres on the tour will offer them.

Art by Yasmina Reza and directed by Iqbal Khan will be running at The Mercury Theatre from 18th-21st September 2024, with a full UK tour to follow! More information and ticket details can be found on The Mercury Theatre website by clicking the link here.

Until next time,
The VI Critic

Trailer:

Accessibility Theatre Review Of ‘BindWeed’ At Colchester’s Mercury Theatre

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I had the privilege of attending the production of “BindWeed” at The Mercury Theatre in Colchester, and I must say, it was a profoundly moving experience that left a lasting impression on me. The show tackles the harsh realities of domestic abuse, shedding light on the experiences of both men and women, and does so with an intensity and sensitivity that is both rare and commendable.

From the moment the play began, the acting by the entire cast was on a whole other level. Each actor brought their character to life with such depth and authenticity that you couldn’t help but feel their emotions. The pain, fear, hope, and strength of the characters were palpable, and the interactions between them were charged with raw emotion. This level of performance drew the audience into the story in a way that was both immersive and impactful.

One of the standout elements of “BindWeed” is its exploration of the session leader’s background. Her history as a former police officer with the Met Police added layers of complexity to her character. This deep dive into her past provided a nuanced perspective on her motivations and the challenges she faces, both professionally and personally. It was a brilliant narrative choice that enriched the overall storytelling and provided valuable insight into the broader context of domestic abuse support work.

The studio setting at The Mercury Theatre offered a simple yet intimate atmosphere that was perfectly suited to the show’s themes. The minimalist approach allowed the focus to remain squarely on the characters and their stories. The lighting design was equally effective, with its simplicity enhancing the mood of each scene. The darker lighting in certain scenes heightened the tension and underscored the gravity of the situations being depicted.

The image depicts a dramatic scene, from a theatrical performance. - The scene takes place in a dark room with a circular stage at the center. - Overhead, there are various objects such as chairs and props suspended, contributing to a cluttered and intense atmosphere. - The lighting is focused intensely on the person standing at the center of the stage, creating a spotlight effect. - Additional lights are pointed towards the stage, enhancing the dramatic effect and ensuring the audience focuses on the central figure. 3. **People**: - There are a total of six individuals present. - One person is prominently standing in the middle of the stage, appearing to be the central character.
Photo: Will Green

In terms of accessibility, the auditory elements of the performance were particularly significant. The dialogue was clear and well-articulated, ensuring that the story could be followed without visual cues. The emotional weight carried by the actors’ voices conveyed the necessary context and depth, allowing all audience members to fully engage with the narrative.

“BindWeed” is more than just a play; it’s an important piece of theatre that shines a light on an often-hidden issue. The Mercury Theatre’s production does justice to this difficult subject matter through exceptional performances, thoughtful storytelling, and a production design that prioritises the emotional journey of its audience.

If you have the opportunity to see “BindWeed,” I highly recommend it. It’s a powerful, intimate exploration of domestic abuse that will leave you with a deeper understanding of the issue and the people it affects. This is theatre at its most compelling and transformative.

This show is very much for all, so as a result is massively accessible. Even though there are no accessible performances for this show, which is of course a little disappointing. I feel as if you don’t really miss out on a whole lot without Audio Description as the cast do such an amazing job! But I wouldn’t be me, If I didn’t say it would have added more to make the show even more accessible.

I thoroughly enjoyed ‘BindWeed’ it is by far the best show I have seen so far this year within the local theatre circle. Tickets are quickly running out, but if you can get a ticket for this show I can highly recommend it! Everyone from cast, crew and all backstage did an amazing job!

‘BlindWeed’ is running at The Mercury Theatre in Colchester until 22nd June 2024! For more information please do check out The Mercury Theatre website by clicking here!

Content Warnings For This Show Are: This performance contains swearing, violence, blood, misogynistic conversation, reference to domestic abuse, coercive control, rape and sexual assault, reference to murder and suicide, and references to children obtaining and sharing pornography.

Until Next Time,

The VI Critic

The image appears to be a poster or cover for a written work titled 'BINDWEED' by Martha Loader. The background of the image shows a room with several empty chairs arranged in a circle. The room is old and somewhat dilapidated, with greenery and weeds growing on the floor, suggesting a sense of abandonment or neglect. The sunlight is streaming through the windows, adding a contrasting element of light to the otherwise gloomy scene. The title 'BINDWEED' is prominently displayed in large, bold letters across the center, while the author's name, Martha Loader, is written below it in a slightly smaller font. Overall, the mood of the image conveys a sense of mystery or intrigue, possibly hinting at themes of abandonment, nature reclaiming space, or group meetings in a forgotten place.

Accessibility Review of ‘MidSummer’ At The Mercury Theatre

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When you think of Midsummer, you typically associate it with warmer weather, longer days, and an extra hour of sleep. However, you don’t usually think of meeting someone in a bar, acquiring fifteen thousand pounds, and having an entire weekend to spend it before your boss discovers it!

‘MidSummer’ tells the story of Bob and Helena, both thirty-five and both feel like they are “stuck in a rut” with life and have no idea which way to turn. Bob, then comes into some money and they both have a mad weekend in Edinburgh! 

I found the show to be very elegant and simple, with an easy-to-follow storyline and impressive physical acting on stage. The phenomenal use of lighting and colour was remarkable, and I have never seen anything like it before. The set was a workable model of Edinburgh City, and the actors moved seamlessly from one scene to another by sitting on different parts of it. The set was also cleverly designed, with steps that could be pulled out to create a bed, making great use of the space. 

Photo shows a large model of Edinburgh, including a cathedral and blocks of flats with lights on in the windows. Behind the model are opened umbrellas to simulate clouds and other weather conditions.

Each scene was described by the actors or narrators either before or during most if not all of a scene which I was very grateful for, along with little hints of description if the scene needed it! Along with all this, each main plot point I found to be narrated clearly so found it easy to understand the emotion of the scene or maybe how that particular character was feeling.

The whole show from start to finish was very modern and update to date. With mentions of modern socialising through smartphone apps and internet dating which was a brilliant touch, which allowed the show to connect very easily with audiences. 

As always with any Mercury Production there was a clear distinction between each character whether it be through costumes, accent or lighting which is always recognised and very much appreciated! This made the story much easier to follow and understand. 

There were some points of the second act which I found a little difficult due to the two different moments of flashing lights! So during this moment was very difficult to see what was going on on stage. I was still able to understand the setting of the scene due to other elements like music and smoke but the flashing lights made it very difficult visually to understand what was going on. But this is mentioned in the ‘Content to Consider’ section on the shows page on The Mercury website. So please give this a read if you would like to know more about other content you might be worried about. 

Overall I enjoyed this show! There was a good amount of comedy and laughter. All the actors played musical instruments even some played multiple which I thought was amazing! As I could never do that! The acting from all the cast was outstanding and they brought the story to life! If you are looking for a great night out I would highly recommend this fantastic show!

Accessibility Recommendations: 

If you have limited or no useful vision, then I would recommend attending the ‘Audio Description & Touch Tour’ Performance of this show which is on Saturday 18th May at 2.30 pm! This will enhance your enjoyment of this show! As mentioned most of the show is highly descriptive already with very few action scenes but they are described by the actors whilst they are happening.

If you are light-sensitive then the flashing lights in the second act are something to consider, they are quite harsh and intense but are not on for no longer than a minute. If you want to see as much detail as possible I would recommend trying to get central seats in either rows B or C. The picture above was taken in Row E so by all means take that as a guide. 

    Content to Consider: A simulated sex scene, Simulated Vomiting & Flashing Lights & Smoke. 

    ‘MidSummer’ directed by Ryan McBride is running at The Mercury Theatre in Colchester from 9th May until 18th May 2024! 

    You can find more information about the show and purchase tickets on The Mercury Theatre website, along with their ‘Access Performances’ by the following link here.

    Until Next Time,

    The VI Critic   

    Accessibility Review Of Harry Potter & The Cursed Child

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    Hi everyone! Back with the third review of the month, and this one is exciting! I have been a huge Harry Potter fan since I was a child! So when I heard this show was gonna be a thing. I’ve been trying to get tickets for this show for years. But now I finally managed to get tickets for an access performance of ‘Harry Potter And The Cursed Child’!

    The show is set nineteen years after the original series and continues the story. It follows the adventures of the children of the main characters as they attend Hogwarts. Along the way, you’ll also see some familiar faces from the original series, as well as some new ones. While it’s not necessary to know the original story, it can certainly enhance your enjoyment of the show. 

    It’s important to note that the show we attended was split into two parts. Part One was performed during the afternoon or a matinee performance, while Part Two was performed in the evening. Both parts were shown on the same day, which meant we had to stay overnight in London. However, it was definitely worth it, and I’ll explain why in more detail.

    For the access performance, a touch tour was organised in the afternoon before the first part. Upon arrival, we were required to have our bags checked by security. The theatre ushers greeted us warmly and guided us to the auditorium and then onto the stage. Since the show was quite popular, there was a large group of us participating, which made it a little difficult to get around and see everything. However, the cast and crew were very knowledgeable and more than happy to answer any questions we had.

    The picture shows the front facade of the Palace Theatre, currently hosting the play "Harry Potter and the Cursed Child". The theater has a classic Victorian red brick design with ornate stone carvings and arched windows. Above the entrance, there is a large, black sign with gold lettering that reads "Harry Potter" and beneath it, in smaller letters, "and the Cursed Child". Above the sign, there is a nest-like structure with a swirl that resembles the iconic 'snitch' from Harry Potter. Below the sign, there are two sets of double doors with a semi-circular glass canopy over the entrance. There are a few people around the entrance, and promotional banners for the play are visible on the railings in front of the theater.

    After the touch tour, we checked into Premier Inn Leicester Square hotel, which was located just a five minute’s walk from the theatre. This made leaving and returning for each performance very easy. We watched Part One of the show and after it ended, we had an hour and a half break to find something to eat. However, we found this time to be insufficient and suggest bringing your own food. Unfortunately, eating inside the theatre is not allowed, but there are plenty of benches and seats nearby where you can enjoy your food. 

    After having dinner at the hotel we then went back in for Part Two. Same as above, bags got checked etc and we sat in the same seats as Part One, The theatre will put you in the same seats if you are seeing both parts the same day if possible. 

    I watched the show and both parts were amazing! As a Harry Potter enthusiast, I thoroughly enjoyed it. The lighting and colour usage was great, and the visual effects in both parts were astonishing! Some of the scenes left me puzzled as to how they pulled it off. The Dementors were my favourite, as they flew around the stage and the audience. The sound, atmosphere, and ambience were also used brilliantly, making me feel completely immersed in the show.

    The picture shows a hand holding up a program for "Harry Potter and the Cursed Child" in a theater. The program cover features a golden snitch with wings ablaze, set against a black background with a clock face. Below the snitch is the title in gold lettering. The background of the photo is blurred, but it suggests the interior of a theater with an ornate ceiling.

    In terms of accessibility, with it has been Harry Potter this show is incredibly visual, so if you have Low Vision or Useful Vision then as long as you sit slow on the stage, Row D or closer you should have no real problem, but going to the touch tour beforehand is a very helpful attention. 

    If you are totally Blind or have No Useful Vision. Then I think it goes without saying that having an Audio Description during the show is a must! You struggle to hear the Audio Description due to the loud sounds and effects of the show in parts. But overall Vocal Eyes did a very good job. It is worth turning up thirty minutes early at least to collect your headset and to make sure it’s working correctly before the show starts, along with listening to the introduction if you wish to. 

    The picture shows an ornate interior with a gothic architectural style. There are a series of arches that ascend in size from the foreground to the background. The arches are made of metal with decorative elements and are illuminated by ambient lighting, which gives a dramatic and elegant effect. The walls are dark with patterns that resemble brickwork, and there are pointed arch windows with tracery. The overall atmosphere is grand and theatrical, possibly a setting for a performance or an event. There are some people seated at the bottom of the image, suggesting this is a public space.

    I think after reading this whole review. It goes without saying, that this show is definitely a must-see! Whether you like Harry Potter or not. It truly is a brilliant show and really takes you on an emotional journey. 

    ‘Harry Potter & The Cursed Child’ is currently running at The Palace Theatre in London. To go ahead and purchase tickets, to find out more information about access performances or to find out more information about the show you can find all that by clicking the link here.

    Until Next Time,

    The VI Critic

    Trailer For The Show:

    Self Raising! – Starring Jenny Sealey

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    Hi everyone, back again with another review! This month is very much a month of theatre so there’s at least one more to come!

    If you haven’t already read my recent review ‘The Importance Of Earnest’ then I will leave a link for you here.

    Moving on to the review, I recently had the opportunity to watch ‘Self-Raising’, which starred Jenny Sealey. I must say that this is one of the best plays I’ve seen in terms of accessibility, and that’s saying something considering the amount of theatre reviews I’ve done over time.

    The story is a summary of Jenny’s life and family. She talks about the history of her family and her childhood. The story has some happy and sad moments and takes you on a full journey and rollercoaster.

    The accessibility measures provided at the performance were the best I’ve ever seen. They had everything covered, including live audio descriptions, personal and live descriptions, live captioning, sign language interpretation, and photo descriptions through audio played through speakers for the entire audience. Additionally, a free large print booklet was provided, which detailed different elements of the show and included content warnings.

    The image shows a theatrical performance with a single actress on stage. She is sitting on the floor, wearing a light blue hospital gown, with her hair up in a messy bun. Her expression is animated, and she appears to be in the middle of delivering a dialogue or monologue. In front of her, there is an open cardboard box with scattered photographs all around it on the stage floor. The audience is visible in the background, sitting in darkness, attentively watching the performance. The setting seems intimate, with the audience close to the performer.

    Before the show fully started both Jenny and her interpreter described themselves in full! What they were wearing, and how they looked. They then went on to describe the very simple set. Jenny then goes on to tell her story. To explain her story, she shows the audience different family pictures. After each picture is shown, the picture is shown on the screen in a much bigger format and then described to the whole audience in great detail. Even though I don’t often use Audio Description, as I have some useful vision I found this extremely useful which was a lovely surprise. 

    The story was very enjoyable, and at times I could not help but feel for Jenny when she would describe situations that she found herself in. Having everything described only added to the story. 

    I must say that this show is a must-see! Jenny and her team have taken into consideration all forms of disability and have made sure to accommodate as many disabilities as possible. I was highly impressed with the amount of accessibility that was available to everyone. Additionally, there was a table outside after the show that had copies of all the photos, some props, and Jenny’s costume used in the performance. They couldn’t have done anything more to make this show accessible to everyone!

    You really must go and see this show! It is running at The Mercury Theatre in Colchester from Friday 8th – Saturday 9th March, but is on a national tour of the UK! Trust me when I say, get tickets for this show! Tickets for The Mercury Theatre can be found by clicking here. If you would like more information on the national tour, however, then you find out information by clicking the link here!

    Be sure not to miss out!

    Until Next Time

    The VI Critic  

    The image shows a middle-aged woman with shoulder-length blonde hair, looking directly at the camera with a neutral expression. She has light skin and is wearing dark lipstick. Her attire includes a dark grey shirt with a large, twisted silver necklace. The background is dark grey, and there is a dynamic effect of white powder that looks like it's being thrown over her head, creating a contrast with the dark background. The powder is also lightly dusting her hair and shoulders.
    Trailer Starring Jenny Sealey

    Oscar Wilde’s ‘The Importance Of Being Earnest’

    / thevicritic / 1 Comment

    Hello everyone, and welcome to the first theatre review of the year 2024! It’s great to see another year of theatre performances starting. To kick things off, I recently watched ‘The Importance Of Being Earnest’ at The Mercury Theatre in Colchester.

    I was excited to see this play as it is based on a popular book with a worldwide reputation. The plot revolves around two men, one of whom lives a double life under a different identity. This leads to a complicated love triangle between the characters.

    I first need to say that the cast in this show was amazing and had a real passion for the material. It was also really clear from the show that the direction and style of the show wanted to stay very true to the original text, which I preferred. 

    The use of simple settings and staging, along with effective contrast, helped to make it very clear to distinguish between each character. They all had a unique sense of fashion and style that added to their individuality. The great use of colour was visually pleasing and added to the overall experience. Each character had a distinct way of speaking, making it easy to understand who was talking to whom and who was on stage at any given time.

    The image depicts a whimsical, theatrical scene. There is a woman standing on the left, dressed in a floral dress with her hair up, looking upwards. She is next to a small round table with a pink cloth and two red chairs. In the center, there is a large, ornate fireplace with a pile of red and white roses spilling out from it. Above the fireplace hangs a large, round, dark mirror with a pink frame. On the right, a man in a pink suit with a blue bow tie leans on a high counter, looking towards the woman. The backdrop is a lush wall of greenery and flowers, and there are three birds suspended in the air as if in mid-flight. The floor has a checkered pattern in light blue and white.

    The lighting used in the show was simple yet effective in illuminating the entire performance. I appreciated this as there was not a single moment where I had difficulty seeing what was happening on stage. The only instances of darkness were at the beginning and end of each act, which did not cause any significant problems.

    I have always struggled with the different types of language used in some plays for example Shakespeare’s plays, and there was a few elements in this play too. However, the comedy throughout the whole show fully made up for this. 

    The image shows a man standing in a room with a playful and confident expression. He is holding a red book in his left hand and resting his right hand on the back of a white, ornate sofa. He is dressed in a colorful outfit: a teal robe with a floral pattern, a maroon sweater, pink pants, and a brown belt. Behind him is a bookshelf filled with neatly arranged books in various bright colors. The room has a light blue wall and a grayish-blue floor.

    The story itself I had never done at school so was not aware of this play or book before seeing this show. I must say I thoroughly enjoyed this production from start to finish. The story was engaging and compelling, and the cast did nothing but add to this. It had everything you could want. A love triangle, death, comedy, betrayal, secrets. It has it all. It was great to see a predominantly female cast apart from the two male leads which I don’t see very often it was great to see and something which should happen more.

    I think in terms of accessibility then, if you have some useful version. You will love the great use of lighting, scenery and colour. Along with amazing costumes. If you would like an up-close look at this, then I would recommend sitting in the centre of row D which is pictured below. If you limited to no vision. You will still get a great deal out of this show. There are of course some visual elements you will miss but there is an audio-described performance available along with a Touch Tour, to get even more up close and personal with the cast and set of this outstanding show. 

    The image shows a stage set designed to look like an elegant room. The room has a pastel color scheme with light blue and white checkered flooring. The walls are adorned with white paneling and decorative moldings, and the backdrop features a painted sky with fluffy clouds. On the left side of the stage, there is a white bookshelf filled with colorful books. In the center of the room, there is a classic white sofa with ornate detailing. To the right, there is a small round table covered with a pink cloth, upon which rests a lamp with a fringed shade, and a single chair that matches the sofa's design. Above the table, on the wall, is an oval-shaped mirror with a pink frame. There are two wall sconces emitting a warm light on either side of the mirror. The overall atmosphere of the set is whimsical and charming, reminiscent of a fairytale interior.

    You really would not go far wrong in getting a ticket for this outstanding show. This has been put together brilliantly in the only way The Mercury Theatre can. If it can go on tour I really think it should. Let the rest of the country get to see how good this first-class show is! 

    ‘The Importance Of Earnest’ is running at The Mercury Theatre in Colchester from 7th – 16th March 2024. Go and get your tickets by clicking the link here!

    Until Next Time,

    The VI Critic  

    The image is a promotional poster for a play. It features a person dressed in a pink suit with a large pink rose for a head. The person is holding a teacup close to where their mouth would be. The background is olive green with ornate gold designs on the corners and sides. The title "THE IMPORTANCE OF BEING EARNEST" is prominently displayed in large white letters, with "by OSCAR WILDE" and "directed by RYAN McBRIDE" in smaller text below.

    A Trailer Of The Show In Animation:

    A Interview With Director Ryan McBryde: