Reviews

Accessibility Review of Mercury Theatre’s ‘Jane Eyre’ Directed By Lily Dyble

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Hi everyone and welcome to another review! We’re coming into the colder months now so won’t be too long until my favourite time of year. But until then, I got the chance to see ‘Jane Eyre’ at The Mercury Theatre in Colchester.

Starring Olivia Marus as Jane Eyre. It tells the classic story of a young Victorian orphan through her difficult childhood, into become a passionate young woman in the Victorian era.

The show is very dark and simple with only a flight of stairs as the set, but with a great use of lighting and sound design each scene feels vastly different from the last. There some uses of bright lights during the show for the more dramatic moments. But they are very far and few between. I think I count three time when this actually happened.

There were some scenes where things did become more difficult to see. This was due very low lighting, or just low lighting then what I would personally need. The use of sounds really adds to the atmosphere of scene brilliant, so it really helped when I struggled to understand the scene from the visual elements.

A stepped wooden platform on a dark stage with several performers arranged across its levels. The platform rises like a wide staircase into the background, and each level holds one or two performers dressed in muted brown and gray clothing that suggests historical peasant or servant attire, including long skirts, aprons, and headscarves. Most performers are slumped, lying, or sitting in weary poses, some leaning on boxes placed on each step as if they are workstations or beds. Metal buckets and piles of what looks like rags or mop heads sit beside some of the boxes, hinting at cleaning or labor. Bright, cool-toned stage lights shine diagonally from both sides toward the center and down from above, cutting through haze so that the light beams are clearly visible and framing the performers in a dramatic, somber atmosphere. The surrounding stage area beyond the lit platform is mostly in darkness, with only faint outlines of curtains and side lighting rigs visible, so attention is focused on the central group.
Photo Credit: Johan Persson

Olivia Marus and the rest of the cast did an outstanding job, conveying the emotion, and what was at stake in each of the scenes. Andera Gatchalian also really stood at to me as she did an awesome display of emotion and depth for both her characters. To the point where I wanted to look her up in the programme at the interval. As said before Olivia, Andera and all of the cast did a fantastic job in this show. You really did sit there watching this and really wanted things to work out for all the characters.  

This was an excellent modem take on the story in terms of set design, but keeping the known classic story. Directed by Lily Dyble, this show fully displayed her heart, passion, and knowledge within the industry and I fully can’t wait to see what she will be up to next. I will be keeping my eye out for her name in the future, and hopefully that will happen soon! A definite one for the future!  

A large, dramatic staircase on a theater stage with both sides lined in tall orange flames. The stairs form a wide pyramid shape, made of dark rectangular blocks that step upward to a flat platform at the top. A single bright spotlight from above shines down toward the top center of the structure, cutting through haze or light smoke and emphasizing the heat of the fire. On the staircase, a person in a dark dress with short sleeves is walking upward toward the top, facing away. The flames are continuous along the outer edges of the stairs, rising several inches to a foot high, with bright yellow and orange tongues and darker smoke near the top. The stage floor and background are very dark, almost entirely black, so the fire and the figures are the main visible elements. On the lower left side of the image, two people stand on the stage floor, facing the staircase; both wear dark clothing, one in a suit-style outfit with a lighter shirt. On the right side of the stage, two more people stand spaced apart, also facing the staircase; they wear sleeveless or short-sleeved dark outfits, their faces and arms lit by the orange glow. In the front right corner, nearer to the camera, a figure in a long, light, semi-transparent garment stands watching the scene, mostly in shadow except for some orange highlights from the fire. The overall atmosphere is intense and theatrical, with strong contrasts between the bright flames and the surrounding darkness, giving a sense of a climactic or ritual-like moment in a performance.
Photo Credit: Johan Persson

On to the accessibility then:

If you have some useful vision: I think here overall you will be able to follow the story with very little effort. There will be times of both bright and dark moments through the show. But these won’t be for very long. There isn’t a clear difference for each character in terms of costume. Which I think would have really helped here with a lot of blacks or dark blues. The exception to this would be the characters of Mr Rochester and Adele. But will have no problem following the storyline as whole.

If you have little to no useful vision: I think here, there will be some elements of the show you will unfortunately miss out on including some dance and minimal physical scenes accompanied by sound effects. But you will be able to follow the story no problem. Here is an Audio Described performance and Touch Tour on the 10th September 2026, should you wish to have that available to you.

‘Jane Eyre’ is running at The Mercury Theatre in Colchester from 26th September until 10th  October 2026, and then will go on a UK Tour! Information and tickets for The Mercury Theatre will be here. But do check to see if it is coming to theatre near you soon! This is one not to be missed!  

Until Next Time,

The VI Critic

Accessibility Review of ‘Jellyfish’ Written By Jess Coppen-Gardner

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Hi everyone and welcome back to another review. However this one is a little different! This time I got to head to the capital London to go and see ‘Jellyfish’ at The Omnibus Theatre in Clapham Common!

‘Jellyfish’ written by Jess Coppen-Gardner and directed by Lillith Freeman tells the story of twins Nova (played by Jess Coppen-Gardne) and T (played by Teddy Walker) who are both celebrating their one hundred birthday. Both social media influencers and believe they have found a way to live for eternity. Whilst taking part on a live streamed interview during their celebrations it is discovered that all is not quite as it seems…

As I haven’t been to this theatre before. I wanted to briefly touch on the building and the environment. This is very much a small theatre, with a small auditorium, and a small cafe/bar alongside it. When entering the theatre at the beginning. I had to walk through the outside setting of the cafe/bar. As this was in the high of the UK summer was a little problematic as it was difficult to fully see where the path was. Both during the afternoon but especially at night when leaving. The cafe/bar had some okay lighting in the afternoon with plenty of seats and tables. But unless you wanted to sit on the outer tables of the inside. Once it starts to fill up, getting around or being guided by someone might be a little tricky. I then later discovered there was a main entrance to the theatre that was separate from the cafe/bar. which I found to be easier. After speaking to the box office staff. They offered to reserve me a seat on the front row. Which I thought was a nice touch. But I’m sure if had asked they would have also have happy obliged and done this. 

The actual auditorium itself is more of a studio like space, with rows of seats leading up and a front row on the floor. Unfortunately I can’t comment on the leg room of the raised setting as I didn’t experience it. But from other experiences previously, this might be something you want to keep in mind. The lighting as a walked in was on the darker side, so I would be careful when walking up the steps also. But the staff could have not been more helpful, friendly and more than happy to accommodate.   

When I read about about this show, and read that it was a dark comedy I’ll be honest I was quite fifty fifty as to whether or not I was going to like this show. But I came out of the auditorium having thoroughly enjoyed it, both Jess and Teddy’s comedic timing was on point and the characters themselves are designed to be comedic also. The characters themselves are influencers but came across massively exaggerated for effect which I loved! 

The set itself was very simple, with a white backdrop, two white boxes for chairs, a white wooden table and a plastic flooring for practical reasons. Through the scene changes there where colourful projects of red and blue liquid, with music playing. These had very low lighting but never lasted for longer for a minute. The lighting was simple with a warm white light for most of the scenes. Aside from two karaoke scenes which the lighting is more colourful and flashing briefly for a few minutes. The story was quite easy to follow, there were a few parts of the story that I maybe didn’t get the reference of or didn’t understand, but that didn’t take away at all for this amazing story.     

On arrival, I was greeted by the director Lillith Freeman and she showed me to a table with the props from the show, even some slime which was a new one for me. She expertly explain each prop and where about it would appear in the show without giving anything way. This was great as this going in I could then sometimes recognise some of them and think “we’re at this part in the show now” so even though full audio description wasn’t available. It really helped trying to follow the show’s timeline of events. What I found amazing is that the writer Jess Coppen-Gardner had incorporated small elements of Audio Description into parts of the show which was lovely to see! I would love it if more and more shows would do this more. 

Overall then, I loved this show and it genuinely surprised me! The story was simple, but enjoyable. Was certainly dark in story but also physical space. But it was beautifully made accessible for people with sight loss! I would love to see a fully Audio Description performance in the future. The Touch Tour was also really good! I would be really nice if the cast and the set and space could be Incorporated into the Touch Tour, maybe if the cast could come out in costume within the actual space of the show  to hopefully allow people with Sight Loss to get as a full of an experience as possible! Ultimately this show was amazing, and thoroughly enjoyed my time there. I highly recommend it, and I can’t wait to see what this show, the writer, director, and the production company have coming in the future! 

Accessibly Rating: 

If you have useful or limited vision: Overall I think, you should be fine, providing you sit on the first two roles. Both actors wear very different costumes to each other, as well as having very distinctive voices from one another, so following the story should be a problem. There are dark moments, but only really during the scene changes. The karaoke scene do have some flashing colourful lighting so might be something to watch out for if that sort of thing bothers you. 

If you have little to no vision: I feel the touch tour is must here. As well as the show notes provided that go into much more detail. Physically you aren’t missing anything here in terms of story. There are a couple of loud moments. Only one I can think of. Most of the actual story is dialogue driven, so you won’t miss anything. But if you would like some description throughout the show, do take a companion with you. 

‘Jellyfish’ written by Jess Coppen-Gardner, directed by Lillith Freeman and starring Jess Coppen-Gardner and Teddy Waker is running at the Edinburgh Fringe from 5th – 31st August 2026! Go and get your tickets now so you can say ‘I was there at the start…!” All the the information of the show will be linked here. As well as the show notes, will be linked here! 

Until Next Time,

The VI Critic. 

Trailer:

Accessibility Review of Mischief’s ‘Thespians’

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Hi everyone and welcome to another review!

This time I got the chance to go and review ‘Thespians’, written by Mischief’s Jonathan Sayer (‘The Play That Goes Wrong!’, ‘Peter Pan Goes Wrong’ and ‘A Christmas Carol Goes Wrong’), with music and lyrics by Ed Zanders.

Set in 534 BC in ancient Greece on a small island with a tiny community of five, nothing ever happens… until one day it does! Thespians, his sister Poly, Adonis — the head of the guard — and the elders are forced to travel to Atlantis for a deadly prayer competition. But suddenly, everything begins to change.

Going into this show, I had medium expectations as this was from the same company behind ‘The Play That Goes Wrong’, as well as their popular TV shows. So when I got invited to this by Mercury Theatre, I was very interested to see what they would do with a musical comedy.

A colorful stage musical scene with actors dressed in ancient Greek-style costumes. In the center, a young light-skinned man with short blond hair stands on a round marble-patterned platform. He wears a white sleeveless tunic with a deep V-neck, gold trim, and a wide brown and gold belt. His arms are raised enthusiastically, mouth open in mid-song or shout, and he wears brown sandals and gold wrist bracers. On his left and right are two light-skinned performers in matching costumes: pink sleeveless jumpsuits with split skirts, gold belts, metallic gold shoulder pieces, dark purple capes, and bronze-style helmets with crests. Each holds a tall spear upright. The performer on the left poses with one arm extended and knees bent in a dance stance. The one on the right has an animated expression, mouth open, with the spear angled slightly forward. Behind them, slightly to the right, stands a person with short dark hair, glasses, and medium skin tone wearing a bronze muscle armor chest plate, red knee-length skirt panels, and an orange cape, watching the central trio. Further right is a woman with medium-brown skin and curly shoulder-length hair, dressed in a light blue, flowing, off-the-shoulder gown with layered ruffles. A bow is in her hand and a quiver of arrows hangs at her side. The set is designed like a marble Greek temple, with pale blue and pink marbled columns, arches, and a balcony rail across the back. The floor has an ornate circular design in blues and golds with stylized patterns. The background lighting is purple, giving the scene a fantastical, mythological atmosphere.

From the very start of the show, I could tell it was going to be a little tricky visually, as most of the cast’s costumes — aside from Adonis and ‘The Tyrant’ — were very similar in colour to the set. Thankfully, the lighting helped with this to a degree, but it is definitely something to consider. The same also applies to some of the moving set pieces.

With this also being a musical, I first need to say that the singing performances from everyone were phenomenal, as were the songs themselves. However, after the show I did feel that I could have done with a little more story and slightly fewer songs, as there were moments where multiple musical numbers happened one after another. They were great songs, but I personally wanted a bit more time for the story to breathe between them.

I loved the entire cast! Marc Pickering (Adonis) delivered an exciting comedy performance, and I definitely got my fix of classic Mischief humour. Claire-Marie Hall (Poly) had an excellent singing voice, and honestly I would have loved one more solo from her alongside the one she already has in the show. I also really enjoyed Rhys Taylor as ‘The Tyrant’. Their performance and comedy style reminded me a lot of Anthony Stuart-Hicks. But genuinely, the whole cast were outstanding.

Colorful stage performance with four actors standing on marble-like platforms. They are in mid-pose with arms raised, as if celebrating or singing. All four wear matching blue tunic-style costumes tied with light-colored rope belts, and theatrical half-masks with exaggerated noses and expressions, reminiscent of ancient Greek comedy masks. The center actor’s tunic is shorter, showing bare legs with sandals; the others wear longer, robe-length tunics. Behind them is a large curtain painted with a night sky: deep blue background, clouds, yellow stars, and a crescent moon framed by draped blue “fabric” along the top. On both sides of the stage are cream-colored stone-like columns and arches suggesting an ancient Greek temple or theater. Tall vertical banners hang on each side, reddish-orange with the words “THE DIONYSIA” written vertically. Warm stage lighting from above creates a golden glow on the actors and platforms, with some purple and blue light on the backdrop. At the very bottom edge, the tops of a few audience members’ heads are just visible, facing the stage.

So onto the accessibility ratings:

If you have limited to no vision:
I would say that, because there is limited physical comedy, you will likely have a lot of fun with this show. There is also a Touch Tour and an Audio Described performance on Saturday 23rd May, which is a fantastic addition and really helps give a fuller understanding of the show as a whole. However, if you cannot get tickets for the audio described performance, I still think you would have a wonderful time, and I would highly recommend this show.

If you have limited to useful vision:
As mentioned before, the colour palette of the show is made up of very pale tones, which may make parts of the production difficult visually. I would recommend sitting in Row C or closer if possible, to help get the best view of the action and facial expressions.

‘Thespians’ is running at Mercury Theatre from Saturday 9th until 23rd May 2026!

If you love anything that Mischief has done in the past, then you will absolutely love this too. It’s a great night out, full of laughs and plenty of comedy chaos! You can find information and tickets on the Mercury Theatre website.

Until next time,
The VI Critic.

Accessibility Review Of ‘All The Happy Things’ Written By Naomi Denny

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Hi everyone, and welcome to another review!

Once again we’re back at The Mercury Theatre in Colchester for ‘All The Happy Things’ By Naomi Denny! 

This show has a small cast of three starring Naomi Denny, Gavin Dunn and Michaella Moore.

With this show being staged in The Mercury’s Studio space, raw art was very simple with a purple background with two doorways lite up by LED strips which I thought was a really helpful touch as then to was more able to see the case coming through! The set it self was very simple with only a few stools and a bench, placed in various positions to determine the place that they were trying to create. Combined together with a great use of sound design, it was easy to work out where the characters weere at any given time. 

Described as dark comedy, ‘All The Happy Things’ tells the story of Sienna, a young woman who has lost her sister due to a tragic accident. A few months later in a dead end job, she’s still coming to terms with the loss of her sister Emily and struggling with mental health, whilst struggling to juggle a relationship with her partner Sam. But the one thing that Sienna is still coming to terms with is that she’s is still seeing and having conversations with her dead sister. 

A collage of childhood birthday photos. In the main central photo, two small children with medium brown skin and curly dark hair sit facing each other at a wooden table. The child on the left is leaning forward and blowing toward a small round birthday cake with several lit candles. That child wears a light-colored top and blue jeans. The child on the right is smiling, watching, and holding a fork, with a plate of cake in front of them. That child wears a light shirt and blue overalls and sits in a wooden high chair. The table is sturdy with thick turned legs, and the cake is on a white plate with a white cloth or napkin under it. The background shows a doorway and wooden cabinet doors in a home interior. This main photo appears slightly torn and taped at the top, with rough white edges on the right side, giving it a scrapbook or nostalgic effect. Faded, semi-transparent photos are layered behind it, showing more images of the same children at different moments: smiling close-ups, another angle of the birthday cake, and casual candid shots. The overall color tone is warm and slightly faded, evoking older printed family photographs.
A minimalist theater stage set with cool blue lighting. There are three large, slightly angled translucent wall panels across the back of the stage; the left and right panels each have a tall rounded-rectangle doorway outlined with vertical LED strip lights that glow white with a hint of warm color. The center panel is solid and leans slightly, giving the whole wall a stylized, off-kilter look. On the floor in front of the wall is a pale blue oval or rounded shape that contrasts with the surrounding light gray stage floor. At the center of this blue area stands a simple rectangular wooden coffee table with dark legs; on top of it are a couple of sheets of white paper. Under the table, near the middle, is a black object that looks like a small bag or case. To the far left, just in front of the wall, is a small side table with a dark metal frame and wooden top. On this side table are a folded light-colored towel or cloth and some colorful rectangular items, possibly books or props, along with two small bottles or containers. The background beyond the set is all black curtains, and the lighting on the set is primarily blue from above, giving the panels and floor a soft, cool glow while the surrounding stage remains darker.

This show is simple, and dialog driven with very little to no physical scenes aside from a sexual suggested scene and a dancing scene. It also had a good level of jokes and comedy sprinkled throughout which was very good and had the audience laughing out loud. The story demonstrates how a sibling might act after losing another sibling, but also how grief can effect each person differently, but then also you can come out at the other end of the tunnel. 

Naomi and Michaella do an amazing job conveying the almost imparting relationship that Sienna and Emily have, alongside Gavin Dunn who plays Sienna’s partner Sam and also her work boss, and what other family and partners do to support their partners during this difficult time! But they all did an excellent job!

Unfortunately I didn’t see an Audio Described or Touch Tour available, which would have only added to the enjoyment of the show. Even though yes, the set is simple, and simple props, something like Audio Description should always be available for people with Sight Loss. A Touch Tour would have been very simple and easy to put on for audience members and allowed the cast to let them know of their character more deeply and maybe little secrets about them. Hopefully this is something this production can look into for future shows?

But overall, please don’t miss understand me that this show was an absolute joy to see and would happily see it again, with its amazing cast and story. The story is great, and comedy timing was top tier! If you do get a chance to see this show, you’ll be missing out if you don’t spend an evening out watching this. 

‘All The Happy Things’ has unfortunately ended at The Mercury. So I would definitely look up this show online and see if its coming to a theatre near you soon! 

Until Next Time,

The VI Critic

Accessibility Review of Ava Pickett‘s ‘The Manningtree Witches’

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Hi everyone and welcome to another review! The first one of 2026! Which means we are back at the Mercury Theatre in Colchester for The Manningtree Witches, their first original production of the year!

The show takes place in the 1640s, when the prosecution of witches and witchcraft was widespread, headed by the ‘Witchfinder General’, Matthew Hopkins.

Set in Essex in 1643, in Manningtree, Matthew Hopkins comes into the town after buying a local inn. But rumours start circulating about a certain group of women and their families. Filled with nothing but speculation, these women and their families have to fight for their lives. But has their fate already been sealed?

This local play, written by local playwright Ava Pickett and adapted from the book of the same name by A. K. Blakemore, becomes a gripping story from start to finish, filled with backstabbing, malicious prosecution, but also love and a hint of comedy.

All the cast gave absolutely fabulous performances! However, I felt Lucy Mangan (Rebecca West), Gina Isaac (Anne West) and Sam Mitchell (Matthew Hopkins) really stood out for me. Lucy did a phenomenal job conveying emotion and feeling within the character of Rebecca, as well as alongside Gina, as they both portrayed a strong mother–daughter relationship.

Sam Mitchell also did a great job as Matthew Hopkins, brilliantly demonstrating that even well-meaning and deeply focused people—especially those who believe they are acting according to “God’s will”—are not always right.

A theater stage scene with a group of people seated in chairs facing a standing speaker under dramatic lighting and fog. The setting looks like a period play: many people wear old-fashioned clothing such as bonnets, shawls, long dresses, and wide-brimmed hats. The speaker stands slightly elevated near the center-left, wearing a long dark coat and light shirt, with long hair, as if addressing the seated group. A strong spotlight shines down from above onto the speaker, and additional bright stage lights from the right create heavy haze and smoke across the scene. The floor is wooden planks, and the audience on stage sits in several rows of mismatched wooden chairs. A large textured element hangs overhead, resembling a thatched or straw ceiling piece, adding to the rustic atmosphere.

This production has a strong sense of local heritage. Being from the Essex area myself, it really touched a part of me. You could truly feel the emotion that these women went through during this time, but you could also feel the strong community spirit that, deep down, they all had for one another.

This is a very dark show, both in theme and lighting. The simple lighting and set design made you, as the audience, really focus on the story the company were successfully trying to tell. However, this did mean I struggled to see certain parts of the show, especially when the lighting became harsher than it already was. There were also moments of very harsh flashes of bright lighting, which were clearly designed to shock the audience. Sadly, as a result, this made it difficult to understand the scene that was happening, as I had to let my eyes readjust each time this occurred.

As a result, this might be a show that some people struggle with. I was sitting in Row E of the theatre, so I was directly in the eyeline of these bright lights. If this is something that might bother you, I would suggest sitting a few rows further back. However, if you need to be as close as possible in order to see, this is something worth bearing in mind.

Don’t let this completely put you off, however, as there are a range of accessible performances available, from Audio Description with a Touch Tour to a relaxed performance too.

A theater stage scene with a man standing in the center foreground under warm spotlighting, and several women seated on tiered wooden steps behind him. The man has light skin and long dark wavy hair, and wears a long dark coat with a wide white collar and tall dark boots. He is facing forward with a serious expression and holding a small object in both hands at waist level. Behind him, women in muted, old-fashioned dresses and head coverings sit or lean on the steps, spaced across the background. The stage floor is wooden, and the back of the stage is dark with haze or smoke catching the light.

If you have no useful vision: I would of course recommend the Audio Described performance with the Touch Tour, as this gives a better understanding of what you might miss visually from the show. However, as the set and stage lighting are very minimal and the story is very dialogue-driven from beginning to end, I feel that even without the Audio Description you would still be able to follow the play very well. The only scene you might miss visually is a very realistic death scene towards the latter end of the show.

If you have some useful vision: There is not much more I can add here that I haven’t already said above.

The Manningtree Witches is a play that is both engrossing and riveting, and is definitely a must-see!

The Manningtree Witches, adapted and written by Ava Pickett, is running at the Mercury Theatre in Colchester from 5th March until 14th March 2026. Unfortunately, tickets for this particular run are sold out. However, I have been assured by the theatre that if you would like to check whether any returns become available and be added to the waiting list, you can get in touch with them directly. Details can be found on the Mercury Theatre website by clicking the link here.

Until Next Time,

The VI Critic

Trailer (With Audio Description):

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.