Reviews

Here are all my reviews I’ve ever done!

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 Tassa Deparis’s ‘Swallow The Lake’

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Hi everyone, and welcome back to another review!

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time,
The VI Critic

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

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 Of ‘Boys From The Blackstuff’ By Alan Bleasdale – Adapted By James Graham

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Hi everyone,

Another review in quick succession—seems like I’m on a bit of a roll at the moment! If you haven’t already, feel free to check out my review of *The Da Vinci Code* by following the link here.

Anyway, on with this review! This time, I had the wonderful opportunity to see *Boys From The Blackstuff*, adapted by James Graham and based on the hit TV series. The play tells the story of four men in 1980s Liverpool, doing whatever they can—legally or otherwise—to make ends meet. It’s a sad story at times, but also heart-warming in places. There’s grief and loss, but also some well-timed humour sprinkled throughout.

You really do get a strong sense of just how tough life was for working-class people back then, especially under the pressures of the Thatcher government. The play does a brilliant job of showing the struggle to survive while constantly being forced to stay one step ahead of the system.

I really enjoyed the use of the set and props—both on ground level and above. It was simple yet effective. Wooden boxes were cleverly used as seats and tables, and the occasional piece of real furniture was brought in when needed. One thing I did notice was that a good portion of the show was staged in quite low lighting, often with a blue tint to represent nighttime. I found those scenes a little difficult to see, but thankfully they were mostly dialogue-driven and helped move the story along. The only exception was a slow-motion action sequence at the end.

The entire cast gave fantastic performances. You couldn’t help but feel for the characters and the harsh realities they faced. Watching the show really made me reflect on how much easier many of us have it today. *Boys From The Blackstuff* easily goes down as the best play I’ve seen so far this year, and I’m thrilled to hear it’s heading out on tour.

That said, I was very disappointed to find that there were **no access performances** available—no Audio Description, no Touch Tours, nothing. I understand that this was a short three-day run at The Mercury Theatre, but I do hope that as the show goes on tour, accessible performances will be added. This is an incredibly powerful production that deserves to be experienced by everyone, including those of us with sight loss or other disabilities. Access provisions would only enhance what is already a brilliant show.

Accessibility Review

As mentioned above, this production did not include any accessible performances. So, I can only offer personal recommendations based on my experience.

If you have some useful vision, I’d recommend sitting in Rows D or E for the best view. The set does have some elevated elements, and from further forward you might find yourself craning your neck to catch key moments—though there aren’t too many of those.

If you have little to no vision, the good news is that there are only a few physical or visual fight scenes, and the slow-motion scene at the end. Otherwise, the show is mostly dialogue-driven, which means you won’t miss out on too much of the story. That said, I’d recommend attending with a sighted companion if you can, as they might help fill in some of the visual gaps.

Overall, *Boys From The Blackstuff* tells a gripping and emotional story, brought to life by a phenomenal cast. But the lack of accessible performances was a real let-down. Adding these would make a huge difference and open up the experience to even more people. If anyone from the production team is reading this and would like to discuss accessibility in more detail, please do get in touch.

*Boys From The Blackstuff* is running at The Mercury Theatre in Colchester from Friday 30th May to Saturday 31st May 2025 before heading out on tour. Tickets for the Mercury Theatre run can be found [link here]. For more information about the company and other tour dates, visit their official website [link here].

Until Next Time,

The VI Critic

“Boys From The Blackstuff’ 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.

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 ‘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