visuallyimapired

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

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

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

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

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

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

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

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

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

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

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

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

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

Accessibility Rating

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

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

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

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

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

The VI Critic

Accessibility Review of ‘Private Lives’

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

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

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

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

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

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

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

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

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

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

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

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

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

Until next time,
The VI Critic

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

Accessibility Review 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.

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

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

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

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

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

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

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

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

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

Accessibility Recommendations:

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

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

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

Merry Christmas and a Happy New Year to all!

Until next time,
The VI Critic

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

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

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

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

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

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

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

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

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

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

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

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

Until Next Time,
The VI Critic

Trailer:

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

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

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

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

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

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

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

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

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

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

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

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

Until next time,
The VI Critic

Trailer: