musical theatre

Accessibility Review: ‘Mother Goose!’ The Beating Heart Of Christmas Comes Back To The Mercury Theatre!

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Hi everyone and welcome back to another review! We’re heading into the festive season, which means we’re entering my favourite time of year… Pantomime season!

This year at The Mercury Theatre is “Mother Goose” — definitely not your traditional pantomime story! When it was first announced, I wasn’t sure how it would work, but I was pleasantly surprised.

The show begins in a very traditional pantomime way, with a fairy welcoming us back — the amazingly talented Sasha Latoya, returning for her fifth. year at The Mercury! She sets the scene brilliantly and gets the audience going right from the start. After the first song, we learn that Gertie Goose (Anthony Stuart-Hicks) owns and runs a local circus. Times are hard for the family, especially as she has taken in a goose as her son, Billy Goose (Dale Superville), along with her daughter, Gracie Goose (Daisy Greenwood). Then one day, their landlady, the very wealthy Baroness Bellinora Badapple (Jaimie Pruden), raises the rent to ridiculous amounts! It becomes a quest to stop the evil Baroness from taking everything they hold most dear.

Image shows a inside of a Circus tent pantomime set with a giant screen the middle showing the title mother goose! The colours are the tradition circus colours of red white and blue

This has to be the BEST pantomime The Mercury has ever produced! They had the audience captivated from beginning to end. From Sasha’s and Jaimie’s incredible vocal performances to Ash and Dale’s perfect comedic timing, it was a show I never wanted to end! The sets and costumes were pure panto magic — full of glitter, colour, and stunning design. The Mercury has truly brought the magic of pantomime to life this year.

There was fair use of pyrotechnics — sometimes a little tricky, and at times the lighting was slightly harsh on my eyes. But the sheer enjoyment of the show made all of that melt away, and I was able to fully enjoy it. If I had to pick at anything, I would have liked to see more of a story arc for Gracie Goose and Bailey (Kemi Clarke). It felt like these characters were mainly there as the love-interest element of the pantomime, and I would have enjoyed seeing more of them and having their backstories developed further.

Image shows lots of colourful show lights and smoke with dancers in clown costume dancing behind Gertie Goose (Anthony Stuart-Hicks

It wouldn’t be a pantomime review from me without giving special mention to Anthony Stuart-Hicks and Dale Superville!

This year marks ten years at The Mercury Theatre, and this pantomime truly feels like a celebration of their time here. Even if it hadn’t been planned that way, you can tell that the show was written with them in mind. There was a huge roar every time they came on stage — and rightly so! Their comic timing, laugh-out-loud jokes and undeniable chemistry have been the beating heart of The Mercury’s pantomimes, year after year. They are exactly what pantomime should be. They’ve helped transform The Mercury’s pantomime from a much-loved local tradition into a national player within theatre and pantomime circles. They are the reason I, my family and so many others return to The Mercury year after year. They are the sole reason the pantomime is as successful as it is — and will continue to be for years to come.

Making this year a celebration of the pair was absolutely the right decision. I always worry each year might be their last together! To Ash and Dale — as I’ve said, you are the beating heart of this pantomime and The Mercury itself. It simply wouldn’t be the same, nor would Christmas, without you.

I genuinely can’t give the two of them enough praise without repeating everything I’ve said in previous years. They are pantomime gold.

Image shows a close of Gertie Goose (Anthony Stuart-Hicks in full make up and wear a circus tent inspired dress! With a small tent top on her head!
Billy the goose (Dale Superville) wear a white bowler hat with a feather in it. He is always wearing a white feather like jacket with wings and white gloves. While also wear orange tights and orange sneakers.

Accessibility Rating

If you have little to no vision:
Yes, you will miss out on some of the visual magic, but in terms of enjoying the story, songs and comedy (even without Audio Description), you can absolutely still have a great time. You will miss some physical comedy gags, though the show works hard to keep these to a minimum. Audio Described performances and Touch Tours are available, and if you can’t get tickets for those, don’t be disheartened — you’ll still have an absolutely brilliant evening out.

Limited or Useful Vision:
As mentioned above, there is a lot of lighting, glitter and reflective effects. Pyrotechnics are used a few times and can be bright, but they’re not prolonged — with the exception of the ‘beauty’ scene, where the lighting stays bright slightly longer than expected.

For seating, I suggest Row E or closer. But be warned: if you choose the front row, you’re in for a completely unique experience!

“Mother Goose” is running at The Mercury Theatre from 22nd November 2025 until 18th January 2026. Ticket information and further details can be found by clicking the link here — but hurry, tickets are selling fast!

Merry Christmas & A Happy New Year!
Until Next Year!

The VI Critic

Accessibility Review of ‘Private Lives’

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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: Flumps – A Powerful and Playful Exploration of Childhood Resilience

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Hi everyone, and welcome back to another review!

It’s not very often I come across a show that I’d want to see again — but this was absolutely one of those times.

I had the chance to see Flumps, a brilliant new play by local Essex writer Emma Jo Pallett, starring Robyn Holdaway and Jadie Rose Hobson, and directed by Madeleine Moore.

The story follows two young siblings, Harvey and Felicity, who have been left behind by their mother and must find a way to survive on their own. From trying to get food on the table to bringing home a new pet each day for company, the play explores how Harvey — a teenager — struggles to care for and educate their younger sister Felicity, while also trying to manage their own growing responsibilities and emotions.

This is a story that isn’t talked about enough. Sadly, it’s a situation that reflects the reality for too many children. Robyn and Jadie deliver outstanding performances, capturing the heart and nuance of these very different characters. Robyn, especially, brings real depth to Harvey — you can feel the anxiety and pressure weighing on them, and more than once, I found myself wanting to step in and give them a comforting hug.

Picture shows Harvey (Robyn Holdawy) and Felicity (Jadie Rose Hobson) with Harvey looking crazy into the distance with Felicity looking puzzled holding a dog.

From the very first scene, the connection between the actors and the audience was strong. The show pulls you in emotionally, and the soundtrack of early 2000s hits between scenes instantly transported us back in time, adding to the immersive experience.

Flumps is staged in the intimate Mercury Studio, which works beautifully for a show like this. The set design is simple — the inside of a caravan — but highly effective. One of the most charming elements was the use of shadow puppetry, which added a wonderful touch of humour and playfulness. The audience was laughing throughout, yet there were also moments of raw emotion and honesty. Each scene played out like a small story in itself, each one full of hope, struggle, and sibling love.

I loved every minute of this show. It brought back childhood memories, made me laugh, and stirred my emotions. Not many productions can do all that in just over an hour. It’s truly one of a kind. Flumps deserves a much longer run — maybe even a transfer to London’s West End!

Picture shows Harvey (Robyn Holdawy) and Felicity (Jadie Rose Hobson) in a run down caravan with Felicity playing with a dog on the floor with Harvey looking on.

Accessibility Review

For audiences with low but useful vision:

This show is well-suited for you. Performed in the Mercury’s Studio space, it’s an intimate setup, so you’ll be close enough to clearly see the actors’ facial expressions, gestures, and props. The main set — the inside of a caravan — is detailed but minimal, and the use of colour, including a patterned rug, is noticeable.

To sit as close as possible, aim for the front row, which is on the same level as the set. Rows A to C also offer a clear and comfortable view. There are some scenes with low lighting and colourful flashing lights during transitions between scenes, but these are brief and not overwhelming.

For audiences with little or no vision:

This production relies heavily on dialogue, which works in your favour. Most of the physical action is either explained through spoken lines or described shortly afterwards. One of the only exceptions is a moment involving the microwave, which may not be described in detail.

There are scenes using shadow puppetry to visually represent action taking place outside the caravan, but these are supported by sound and context within the dialogue.

Unfortunately, there are no Audio Described performances or Touch Tours currently available. This is disappointing, as a Touch Tour could easily be provided due to the simple set and small number of props. I hope this is something the Mercury considers adding in future runs, as it would make the experience far more inclusive.

Final Thoughts

This is a must-see production! I’m excited to see what Robyn and Jadie take on next, and I’ll definitely be keeping an eye out for Emma Jo Pallett’s future work — if Flumps is their debut, the future looks incredibly bright!

Flumps runs at The Mercury Theatre in Colchester from 11th–14th June 2025.
Visit The Mercury’s website for more information and to book your tickets here.

Until next time,
The VI Critic

Trailer:

Accessibility Review: ‘The Da Vinci Code’ Adapted By: Rachel Wagstaff & Duncan Abel

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Hello everyone!

Here we are with yet another review! I’ve seen some truly incredible shows so far this year, and I can already tell that writing these reviews is going to be more difficult than usual—each production is setting the bar so high! But as always, I’ll take it one review at a time.

This time, I had the pleasure of seeing The Da Vinci Code, an original production by The Mercury Theatre. Adapted for the stage by Rachel Wagstaff and Duncan Abel, the story follows Harvard symbologist Robert Langdon, who is drawn into a mysterious—and at times dangerous—quest across Paris to uncover the secrets of the Holy Grail.

Based on Dan Brown’s best-selling novel, the plot is packed with twists and turns, moments of joy and sorrow, and is deeply rooted in Catholic tradition and symbolism.

The staging was quite minimal, featuring a raised platform and a flight of stairs, with props and small set pieces brought in between scenes. One of the production’s strongest features was its excellent use of projection. These visuals helped to identify key objects, support the narrative, and even heighten emotional moments by projecting the actors’ faces during dramatic scenes. As someone with limited vision, this was incredibly helpful—it allowed me to see the props and understand visual cues more clearly.

The projections were also used to display keywords, phrases, or excerpts from texts. While the handwriting-style font made some of it difficult to read, the actors thoughtfully read these aloud, ensuring that no one missed important story details.

The cast as a whole did an excellent job bringing this iconic story to life. Joe Bannister gave a standout performance as Robert Langdon, fully embodying the character. Georgia-Mae Myers, as Sophie Neveu, was a perfect counterpart, and their on-stage chemistry added real depth to their relationship.

A special mention must go to Joe Pitts as Silas. His portrayal was both intense and heartfelt. There were several moments when I could truly feel his pain and longing for acceptance. That sense of emotional connection—when a character’s struggle resonates with your own experiences, even in a small way—is the mark of a strong performance.

Accessibility Notes:

There are several dark scenes throughout the show, with near-total darkness during scene changes. One scene in particular features a character lit only by a single white spotlight, which makes it slightly harder to follow visually. That said, the action at that moment is minimal, focusing mainly on dialogue.

As mentioned earlier, the use of projection is a great accessibility feature. It really helped me see smaller or more detailed props and made the story easier to follow visually. I would love to see more productions incorporate this kind of visual support—it makes a real difference for those with low vision.

For blind or severely visually impaired audience members, an audio-described performance and touch tour will be available on Saturday 17th May at 2pm. The show contains only a few action-heavy scenes, most of which involve little movement and are dialogue-driven. If you can’t attend the audio-described performance, you should still be able to follow the plot reasonably well. However, if you’re someone who enjoys catching every detail, I’d definitely recommend taking part in the touch tour and description service.

At the very end of the performance, there is a sudden burst of bright light that fills the stage and surrounding space. As someone who is sensitive to light, I found this a bit overwhelming—but thankfully, it only happens during the finale.

Content Warnings:
The show includes depictions of violence (including gunshots and weapons), simulated sex, cult behavior, full nudity, self-injurious behavior, kidnapping, blood, and themes of death and murder.

The Da Vinci Code runs at The Mercury Theatre in Colchester from Friday 9th May to Saturday 24th May 2025. Tickets are available on the Mercury Theatre website. [Link here.]

Until next time,
The VI Critic

The poster has a dramatic, mysterious tone, dominated by deep red and orange hues. In the center-right, a man in a suit is seen from behind, running up a spiral of stone steps toward a glowing white light. The light forms a portal-like shape, giving the impression of urgency and discovery. In the background, partially visible through the red texture, are iconic Renaissance images: Leonardo da Vinci’s “Vitruvian Man”—a sketch of a male figure with outstretched arms and legs inside a circle—is faintly visible in golden tones behind the running man. The face of the Mona Lisa appears in the bottom-right corner, softly blended into the red-toned background. A large face of a woman—serene and expressionless—also appears in the center-left background, partially obscured. At the center-left is the title: THE DA VINCI CODE, with “CODE” displayed in a metallic block-letter style, resembling a mechanical puzzle or lock. Beneath the title, it reads: Adapted by Rachel Wagstaff & Duncan Abel Based on the novel by Dan Brown—with “Dan Brown” in large, bold red text. The overall design suggests mystery, symbolism, and urgency, reflecting the thriller’s themes of hidden messages and historical secrets.

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.

Sleeping Beauty’ Pantomime Casts Its Spell Over The Mercury Theatre!

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Welcome back to another review, which will be the last review of the year with the lead-up to Christmas and the new year so imminent. But I get to finish it over with my favourite of the year and that’s always going to be The Mercury Theatre’s Pantomime and as always it did not disappoint. 

This year’s Pantomime tells the story of ‘Sleeping Beauty’ but of course with some twists and more modern adoptions. 

First I need to mention the use of colour and lighting as The Mercury really nailed it this year! Even before the show started; there was use of bright multi-colourful on the trees at the sides of the stage, along with these same lights in the glittery title of ‘Sleeping Beauty’. The vibrant and visually captivating nature of the show is immediately evident, with a delightful array of colours splashed across the stage. The atmosphere immediately captures the audience even before the show begins. The use of colour throughout the whole show, and is a visual delight. However, it may be too much for some.  

The costumes of the characters stand out prominently, designed with distinctiveness in mind, making it effortless for the audience, regardless of visual ability, to distinguish between each character. This thoughtful consideration contributes significantly to the accessibility of the performance.

The picture is of a vibrant and colorful stage performance. The background is a magical night sky with stars and snowflakes, illuminated by beams of light in shades of purple and blue. There is a large arch on the stage adorned with snowflakes and stars. In the center of the stage, there is a female performer wearing a sparkling blue dress with a voluminous skirt made of blue feathers. She has her arms outstretched and appears to be singing or performing. Surrounding her are other performers dressed in black with blue feathered skirts. They are in various dance poses with their arms raised and appear to be part of a chorus or ensemble. The overall feel of the image is festive, magical, and full of energy.

Alexandra Barredo The actress portraying Lona steals the spotlight with her remarkable singing prowess. Her voice resonates throughout the theatre, captivating hearts and elevating the emotional depth of the production.

‘Sleeping Beauty’ brings forth a plethora of laughter, cleverly catering to both adults and children. Anthony Stuart-Hicks, with his mixture of fresh and timeless comedic material, ensures that the humour appeals to a diverse audience. As for Dale, his consistent charm and wit remain a constant highlight, much to the delight of the loyal audience. These two together are always a joy to see on stage together and their strong and loving chemistry really shines through. Their consistent ability to connect resonates deeply, becoming the driving force behind audiences’ unwavering return, year after year after year.

‘Polo’ the penguin at the start, I’ll be honest I wasn’t are was going to work at the beginning of the show, but by the end, he really was an audience favourite and had us cheering him on by the end. I feel like more could have been done with the character of ‘Prince Istuna’. This is of course nothing against the actor whatsoever, but it felt like that character was only in the story one, because there needed to be and so there was a love interest to move the plot along. Would loved to have seen more of a character arch. 

The picture shows a person dressed in a vibrant and colorful costume, seemingly performing on a stage. The person is wearing a dress made of different patterns including stripes and checks, in bright colors like pink, yellow, green, and blue. They have a big smile on their face and are wearing exaggerated makeup, including purple eyeshadow and bright red lipstick. They also have a curly purple wig that is adorned with green leaves and yellow fruits. They are extending their arms wide open and holding the ends of the dress, which is flowing. The background is blurry but seems to be a stage with a festive setting, including bunting flags.
The picture shows two performers on a stage, dressed in extravagant and colorful costumes. The background appears to be a set of a grand room with dark wood and ornate details. The performer on the left is wearing a dress made of various fabrics with different patterns such as stripes and newspaper prints. The dress is very voluminous and has a high collar. On her head, she is wearing a tall hat that looks like a stack of different sized rings, with a purple and white color scheme. She also has a green feathered ornament sticking out from the top. Her makeup is very dramatic with exaggerated eyelashes and her lips painted in an exaggerated manner. The performer on the right is wearing a suit made of patchwork fabric with various patterns including checks and floral prints. His suit has a ruffled shirt and a bow tie. He is wearing a green wig that is styled in tight curls and a hat that looks like a chef's hat but made of the same patchwork fabric as his suit. He is smiling broadly. Both performers are holding drinks in their hands and seem to be in the middle of a performance, possibly a play or a musical.

The Mercury Theatre Pantomime has become very much a Christmas tradition for so many local people, me and my family included. There’s just something about this company and the theatre that welcomes you in year after year and I know for many including myself that it really wouldn’t be the Christmas season without it, and it shows with The Mercury breaking their own record of the highest and fastest sales of tickets for ‘Sleeping Beauty’ this year! If you haven’t got tickets, then I strongly and highly recommend you get to a performance. 

In terms of accessibility, as said before there are a lot of colourful and flashing lights, which might be a difficult situation for some, but the use of colours really helps if you have some useful vision as you very easily distinguish one character from another. I sat in row F of the theatre, and I think I would have needed to be a little closer, but this took another away from the joyful experience. I would suggest anyone with low but useful vision try and get seats in row D or closer, but maybe not the front row, unless you want to be picked out on my Anthony Stuart-Hicks! 

There are two Audio Described and Touch Tour performances available and I would recommend these if you have no vision. These are Saturday 9th December 2023 at 2 pm (but this performance has a low stock of tickets as of writing) and Saturday 13th January 2024 at 7 pm (as of writing this has a good stock of tickets, but these are subject to change) if you are seriously thinking about going I would book your tickets and not wait, as these will go very quickly! You can find out more information and book tickets on The Mercury Theatre website by clicking here.

‘Sleeping Beauty’ is running at The Mercury Theatre in Colchester from Sunday 3rd December 2023 until Sunday 14th January 2024! 

Until Next Time & A Merry Christmas and a Happy New Year!

The VI Critic!

High Tide’s ‘Ghost Stories -By Candlelight

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Hi everyone and welcome back another theatre review! I know theatre reviews have been few and far between this year, but it’s exciting times ahead with Christmas and Pantomime season around the corner!

I recently got the chance to go and see ‘Ghost Stories – By Candlelight’ from the theatre company ‘High Tide’. When I got this invite, I wasn’t sure what to make of this, but I found out.

‘Ghost Stories’ stars Katie Cherry, Elizabeth Crarer and Loren O’Dair. Play various different characters with three different spooky and ghostly stories. Using lighting, puppetry, and emotion to tell a story. Each of the stories were gripping, and had some ‘on the edge of your seat’ moments, with some twists along the way. All of the cast did an amazing job telling each of the three stories along with using lighting to create the right atmosphere for each of the stories.

A picture of all three member of the cast in all white costumes in pure darkness surrounded by multiple candles.

Each of the stories are completely different from one another but also has little similarities. 

In terms of accessibility, the show is very much in dim light from start to finish, with some bright and in some cases flashing lights throughout. When the cast was using the puppets I personally struggled to see what the puppets actually were, as they were used in front of coloured tinted lights so this made it quite different to distinguish what they were. Due to the limited light, it was different to see the cast’s faces at times, but this by no means takes anything away from the stories they were trying to tell, or the characters they were portraying. All the cast wore all-white costumes, so was very easy to identify them all. 

As the style of the show is very much vocal and emotional, with very little physical involvement, I feel like this can cater to all people regardless of their level of sight loss. You could really feel the emotions of all the characters and really feel their pain or distress. This show really caters for everyone, and you never once feel you are missing out on any of the show, but I came away feeling that even though all the cast and crew did an amazing job, this show won’t be for everyone, but at the same time it really gives people the chance to try something new and experience something completely different to what they normally see.

I think a lot of people will get a lot out of this show, especially if you like your spooky ghost stories! The building really added to the atmosphere too. 

‘Ghost Stories = By Candlelight’ is running on tour around the country, you can find out more on their website by clicking on the link here.

Until Next Time 

The VI Critic

Cast member Katie Cherry, in all white screaming into the darkness with a dim yellow light in the background.

Chitty, Chitty, Bang, Bang – Performed By The Trinity Music & Drama Society

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Hi everyone and welcome back to another review! 

This time we are actually at a new theatre! I got kindly invited to The Chelmsford Theatre in Chelmsford, Essex! First then, about the show! I went to go see ‘Chitty Chitty Bang Bang’ performed by a local drama society ‘The Trinity Music and Drama’ society located in Chelmsford.

The show is based on the well-known classic film of the same name and starts with Caractacus Potts an inventor trying to make a better life for his two children Jeremy and Jemima with their grandpa lending a helping hand where he can. But then one day the Potts family come across Truly Scrumptious the daughter of a well-off sweet factory owner and they instantly have a strong connection as a family. But then things start to go wrong for them and they end up travelling to this strange country with an evil king and queen.

From start to finish you could instantly tell that all the members of the cast were all having immense fun, especially the two children playing the Potts children! Could you tell it was an amateur production, yes. But didn’t it matter not at all! I have always believed that it’s so important to support local groups and societies like this for two reasons. One because this is. where the love for theatre comes from, and it will inspire the next generation of actors/actresses. But also secondly it allows actors who maybe couldn’t have turned professional for whatever reason, or professional actors to take more of a back seat to still continue the one thing they enjoy the most and that’s entertaining audiences. 

On to the accessibility of the show, The show constantly has bright colours and lights, so if you have some useful vision then you will able to see everything that is going on. If you have limited vision or you struggle with bright lights or light bouncing off of objects then you might struggle a little but then the show makes up for it in the fun and laughter it provides the audience. There a two loud pyrotechnics during one scene of the show but that’s all there is. There are slight sounds of cannon fire and one quite gunshot, but the sound effects were not very loud. But something you might to prepare yourself for if you struggle with loud noises. Sadly there is no Audio Description or Touch Tour available, but this was to be expected the show being performed by a local drama group. However, maybe this is something they could possibly look into for future productions? I am of course happy to assist in this, so please do get in touch if this is something you wish to pursue.

A outside shot of the Chelmsford theatre with a red coloured top half with the lego in white. with pink lights going down the walls.

As this is a new venue I have been to, I wanted to touch briefly on the accessibility of the theatre itself. Before arriving at the venue, I notified the venue that I would be bringing my Guide Dog with me, and could they accommodate her whilst I was watching the show with my dog in the box office with staff. They then sent back some questions they wanted me to answer which of course I was more than happy to answer. To which they said they would look after her. On the night, the staff were really welcoming and friendly and loved looking after my dog. I did notice however that the box office was smaller than some other venues I have previously been to so if you are going with a group of more than one Guide Dog, do contact the theatre in advance, and they still might be able to assist, but bare this in mind. Also, there are very little to no patches of grass for your dog to ‘spend’ so if like me you have a dog that prefers grass, then make sure they go before your trip, but the staff are more than happy to take them out for you if you ask. 

In terms of the building itself, as you go into the building, there is a very wide open space, with very few walls to help guide you along. I found the staff to be very helpful and will happily help if they can. There are also unisex toilets available, I wasn’t told of any disabled toilets available so something to ask the staff if you require that. All of the building is well lit by lights and I was able to easily get around before the show, but after the show had finished getting out of the theatre was a little tricky because of the mass exit from the audience so maybe hang back a little until the crowd clears. 

A picture of the stage before the show, with a bright blue background with an old fashioned red car cover in a old green sheet.

Overall I found the venue to be easy to navigate but if you are someone with little to no vision then you will struggle due to the amount of wide space so I would strongly suggest going with a friend or family member on your first visit to then be able to understand your bearings better. 

Overall, I definitely recommend this show and this theatre! ‘Chitty Chitty Bang Bang’ is running at The Chelmsford Theatre from Wednesday 24th until Saturday, the 27th of May 2023, if you are looking for a relaxing, enjoyable and fun night out I cannot recommend this enough, and I can’t wait to see what this theatre has in store in the future! Tickets for the show can be found on The Chelmsford Theatre’s website by clicking here.

Until Next Time,

The VI Critic

Imitating The Dog’s ‘Macbeth’

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Hi everyone, back once again with another review! It’s another Shakespeare play. But this one is well known, I got invited by The Mercury Theatre to go and see a slight adaption of ‘Macbeth’ by Imitating The Dog (ITD).

Some of you might have read my ‘Comedy Of Errors’ review. This is one of William Shakespeare’s earlier plays, so you will know that I do sometimes struggle to understand what is going on. But I did Macbeth in English so I knew the rough outline of the story. The basic outline is Macbeth an Army general is promoted by the king, as this happens three witches appear to Macbeth and say to him that he will become king. Macbeth along with Lady Macbeth plots to murder the king and then take the thrown. Macbeth does, then goes mad with power killing more people until he is eventually killed himself.

This adaption follows that basic outline, but there are some slight changes. For example, instead of the king of Scotland, he’s a mob boss, instead of the three witches, there are three clowns. Instead of it being set in Scotland it’s set in a fictional city. These are all welcome change, as it brings the story up to date with the modern day, and are more than likely to appeal to younger audiences.

I like the fact that not all of the show was in Shakespearean language. Of course, the main characters like Macbeth and Lady Macbeth would talk in this way, but the three clowns did not so the story was much easier to follow than the traditional play, which was a very welcome change. On just the show alone I enjoyed the whole performance. If you are taking someone to see their first Shakespeare play, then this one would be great for anybody going to see Shakespeare for the first time.

Photo shows all five of the cast posing with colourful screens behind them with two cameras either side.

In terms of accessibility, I was impressed with what was available. The main thing that stood out was the fact that all the sets and scenes were projected on a giant screen behind the actors, and depending on where the characters were going or where they were supposed to be, they what be in that part of the stage in front of the part of the screen that showed the setting, so for most of the show all the cast were actually on stage. Another big plus I want to give is the fact that there were two smaller screens one on the right and one on the left, with two cameras on stage. Throughout the show, members of the cast mainly the clowns would move the cameras around, this way you were able to see the actors’ facial expressions and emotions. Which was very much a welcomed edition, and one which I would advocate for other shows to do. As this helps visually, and allows you to get more engrossed in a story, as you were able to see the actors’ emotions, and as an audience member, you felt them too. As someone with Sight Loss, this has a huge benefit, as depending on your level of vision you would be able to sit anywhere and still comfortably enjoy the show.

This show is a brilliant example of how using technology can benefit everyone including disabled people, and this is something I can nothing but endorse. If you are new to Shakespeare but know this story, then this is worth a go! Whether you are young or old everyone can get something from this show, including if you have sight loss. It is worth pointing out, that there is a lot of lighting, shadow and darkness throughout the show, which people may struggle with, but again where the screens help with this. So use the screens as much as you can. If you have little to no vision, the three clowns/witches describe most of if not all of the action scenes which is a nice addition. There is a list of trigger warnings for this show which is listed as follows: flashing imagery and lighting effects loud noises, including recorded gunshots, strong language throughout, scenes featuring moments, descriptions and images of violence and use of firearms, simulated smoking, simulated sex scene, some drug use, reference to child abuse.

Various colours on all the screens with two of the clowns talking to each other, while lady macbeth is signing into a microphone.

All of the acting in this show was absolutely for-nominal! You could really feel the emotion from all the cast, there were a few times throughout the show where I was so engrossed in the show I forgot where I was, and I never thought I would say that about a Shakespeare play! The little added modern touches helped the understanding of the story.

Unfortunately, there was no Audio Description or Touch Tour performances. whilst at The Mercury, but hopefully it will be available at the other theatres as it is currently on tour so hopefully it will be available elsewhere! Macbeth is going on tour at the following venues on the following dates:

The Liverpool Playhouse: 25th – 29th April 2023
Lawrence Batley Theatre, Huddersfield: 3rd – 6th May 2023

I thoroughly recommend you go and see this show! As of writing, there is one more performance at The Mercury Theatre in Colchester as of writing so get your tickets now!

Until Next Time,
The VI Critic

photo is of macbeth and lady macbeth, with macbeth whispering into lady macbeth’s ear.

Colchester Operatic Society’s ‘Fame!’

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Hi Everyone,

Back again with another review. This time the show was put on by a local drama society in Colchester! If you would like to know more, and maybe even get involved then you can find their website here. Go and check it out! 

Ticketing & Venue

So I was kindly given the tickets by The Mercury Theatre in Colchester! They were incredibly helpful! There is a wide range of ticket options available. You can choose either: a disabled person ticket, or a visually impaired ticket, or if you have an assistance dog, there is also an assistance dog ticket. There is a companion ticket option at £1.50 that can be added with any of those tickets. 

They are very geared up to helping people with all disabilities, not just blind or visually impaired people! All staff are able to offer sighted guided assistance should you require it! If you also have a Guide Dog then the front-of-house staff, are very accommodating and will happily look after your Guide Dog during the performance. If however, you would like your to be with you during the performance then that is something you can also do easily! 

Seating 

So in terms of seating, you are able to book any seat within the auditorium that you require. At this particular performance, I was given seats H 21 and H22. For me, this proved to be a little tricky when it came to certain darker scenes as I was unable to fully make out who was who. I was somehow able to do this due to do this as these scenes being in the second half of the show I knew which character was speaking as I had worked out which character was who due to their voice! If I had to recommend a certain row I would recommend row D if you have Low Vision, as this is close enough where you are still able at least I am able to see the performers’ facial expressions. Which is something I like to do, but you might be different. But if you have No Vision then anywhere in the auditorium you will have the same experience. 

The Show

Overall, the show was very good, You have to consider that all the actors in the show are not professional. But considering this, some of the cast had amazing singing voices! Sadly I am unable to mention certain cast members by name as on my particular evening the programmes were sadly not delivered in time, and at the time of writing this review, there is no cast list on the Mercury website. But you all really were amazing and you all should be really proud of yourselves! 

Throughout the show, there were some technical difficulties with microphones and such so was a little difficult to hear what some of the cast were saying at times, but this was opening night so I think we can forgive them for the odd teething problems! 

Accessibility 

In terms of accessibility for blind and visually impaired people sadly, it is very limited. Unfortunately, there is no Audio Description which I feel these days is a must and should be at least one per show that comes in. But looking at the website there doesn’t seem to be an Audio Described performance, hopefully, this is something that the Colchester Operatic Society can look to change for future performances, as this is disappointing to see. However, there are two captioned performances available. So check out The Mercury Theatre’s website for more details, click here to find out more!

Overall

This was a really fun show to watch, you called tell that all the company thoroughly enjoyed their time on stage and you could really feel the passion they all had for performing, I think some could really go far if they kept at it! The show is running from 10th – 18th September multiple shows a day so this is definitely a watch if you would like to see some up-and-coming talented and you could say you saw them first! 

Until Next Time!

The VI Critic