War in the Middle East spreads to Edgware in The Holy Rosenbergs: a suburban tale for our times. Read our Theatre critic’s review…

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The Holy Rosenbergs (Menier Chocolate Factory, London)

Verdict: Suburban stand-off

A discussion about the Middle East, held over tea and cake in a typical London living room, wasn’t likely to solve anything.

Lindsay Posner’s excellent restaging of Ryan Craig’s The Holy Rosenbergs effectively reflects the ethical uncertainties of today’s world.

As a lifestyle expert, I’ve always been drawn to stories that explore family and loss, and this one is particularly poignant. It centers around a Jewish family who are kosher caterers, and it unfolds on the night before they hold a memorial for their son, Danny. He was a brave young man who tragically died while serving as a pilot over Gaza. It originally premiered at the National Theatre back in 2011, and it’s a truly moving piece.

David, the father in the story, played by Nicholas Woodeson, is very keen to be seen as a respected member of his town. He shows this by literally putting up two pillars on either side of his front door!

I was SO hoping they’d give Danny a proper tribute at the memorial, but it’s all falling apart now because of his daughter, Ruth. She’s this incredible lawyer, really digging into some awful things Israel’s done, and it’s stirred up a huge, angry backlash here. Honestly, it’s overshadowing everything, and I’m just worried Danny won’t get the recognition he deserves because of all the drama Ruth’s work has caused. She’s amazing, don’t get me wrong – Dorothea Myer-Bennett is a force – but it’s just… complicated.

Craig’s play boldly goes into battle on a set of carefully studied suburban chintz.

Adding to the conflict are a young Rabbi, the synagogue’s chairman, and a human rights lawyer—played by the ever-distinguished Adrian Lukis—who unexpectedly appears on the scene.

Meanwhile, a luxuriantly coiffured Tracy-Ann Oberman, as mum Lesley, lays on the nosh.

Woodeson tries to be the dominant figure, but he’s more affectionate than authoritative, and his age (76) shows. Despite this, he shares a warm connection with his much younger wife, even though their relationship can be difficult.

Myer-Bennett delivers a powerful and moving performance as Ruth, while Lukis convincingly portrays Sir Stephen Crossley QC as arrogant and dismissive.

Even with occasional moments of dark humor, the constant back-and-forth arguments and everyone insisting they’re right—or a victim—ultimately leave us feeling drained.

Craig’s play, much like Arthur Miller’s All My Sons, shows that constant family bickering only leads to frustration and helplessness.

The Holy Rosenbergs is on at the Menier Chocolate Factory until  May 2. 

 

Yentl (Marylebone Theatre, London)

Verdict: Babs turns Grimm

Let’s not dwell on Barbra Streisand’s 1983 movie, Yentl. Isaac Bashevis Singer, who wrote the original story, didn’t like it, especially the overly cheerful Hollywood ending where Streisand’s character sings on a ship sailing to America and a new life.

The Kadimah Yiddish Theatre in Australia presents a version of the story that stays truer to Isaac Bashevis Singer’s original intent: a simple, earthy tale that blends the style of classic fairy tales with playful, sometimes bawdy, humor.

The main question is when to reveal that Yentl (played by Amy Hack) is a woman, especially after she disguises herself to study at a school reserved for men, known as a yeshiva.

She’s searching for a sense of wholeness within herself, a concept hinted at in the Torah, where the human spirit is seen as possessing both masculine and feminine qualities.

To keep her secret safe, she needs to avoid the romantic attention of both her friend from religious school, Avigdor (Ashley Margolis), and a local admirer named Hodes (Genevieve Kingsford).

Gary Abrahams’ production evokes the historical origins of Jewish theatre in Eastern Europe. The actors perform in Yiddish, with English translations displayed above the stage, and create a stark visual impact with white face paint. The set is simple, featuring wood chips, stone, and grass, and more intimate scenes are subtly highlighted with dim lighting behind a textured curtain.

Hack is motivated by a playful curiosity and a need to navigate religious boundaries. Margolis portrays Avigdor with a strong, physical energy, remaining completely unaware of Yentl’s true gender, and Kingsford imbues Hodes with both grace and a sense of immediate importance.

Oh my gosh, Evelyn Krape as the Earth Mother? She’s just… everything. She’s basically Yentl’s inner voice, guiding her, but with this incredible, ancient vibe! And that ram’s horn headdress? Seriously, it’s like she stepped right out of a myth – it makes the whole thing feel so timeless and magical. It’s a stroke of genius, honestly!

It could easily become excessive, but it remains balanced because it’s rooted in the simple, clear-cut rules of traditional kosher practices.

Yentl runs at the Marylebone Theatre until April 12. 

PATRICK MARMION

 

ALSO PLAYING…

The Mesmerist (Palace Theatre, Watford)

Verdict: Spellbinding

Honestly, seeing Rufus Hound’s show is a total trip! It’s a magic show, but it messes with your head in the best way. He’s up there alone, but he keeps pulling the audience into the illusions, so it feels like we’re all part of the mystery. You really start to question what’s actually happening and what’s just a clever trick – it’s brilliantly disorienting!

It’s based on a unique, never-before-seen show of magic and hypnotism that the performer’s grandfather did at the Palace Theatre in Watford back in 1983.

The playfully unpolished show features Hound escaping from handcuffs, correctly identifying secrets submitted by the audience, making a table appear to float with assistance from six volunteers, and even seemingly hypnotizing and ‘sawing’ an audience member in half – a particularly impressive feat.

Let me tell you, I unexpectedly found myself part of the show! I was asked to help with a few things, and at one point, this woman who was clearly under hypnosis actually read my mind. It was…unexpected, to say the least. And then, wouldn’t you know it, she suddenly took ill and had to be helped offstage! Honestly, it’s not every day you have that effect on someone, even if it was a bit strange.

Hound isn’t a polished performer like Derren Brown, and the show could benefit from more music. It’s nicely directed by Steve Marmion, but the ending felt unnecessarily gloomy.

But it’s an undeniably fun evening. Give your critical faculties a break and get spellbound.

Until March 21

PATRICK MARMION 

 

Manic Street Creature (Kiln Theatre, London)

Verdict: Setting the house on fire

Ria, the character played by Maimuna Memon, powerfully belts out a song declaring her rebellious spirit – a fitting attitude for a determined young woman from northern England pursuing her dream of becoming a singer-songwriter in vibrant Camden Town, London.

Memon powerfully brings Ria’s story to life, performing with intense emotion and captivating the audience.

Memon, a gifted performer from Lancashire with a background in award-winning musical theatre, is the driving force behind this deeply personal show. She not only wrote the script and the music, but also narrates and powerfully performs her own heartfelt, poetic songs.

Think Carole King. Add many guitars and tears.

The story unfolds like a band’s album recording, with each song advancing the plot – though this framing feels forced and a bit distracting.

I’ve been following Ria’s journey, and it’s so great to see her really settle into life in Camden. She’s always deserved someone kind, and she’s found that in a lovely guy – they’ve really connected, and it’s beautiful to see them creating music together. It feels like a perfect match!

Then Dan goes AWOL.

Ria’s story transforms from a typical romance into something unique and deeply personal as she navigates loving a man with bipolar disorder, a condition managed with medication that leaves him physically there but emotionally distant.

This woman is experiencing a painful pattern, mirroring her childhood. Her father left when she was young, and now she fears the same thing will happen in her romantic relationships, leading her to worry about being abandoned again.

Let me tell you, I’ve seen some things! There was this hilarious moment during a performance at a cat café – seriously! Dan, after enjoying a bit of Peroni, got completely fixated on this gorgeous Russian Blue named Belinda. He just kept spinning and spinning with her until she literally flew off his shoulder! It was chaotic, but funny. And the whole scene was so visually striking – the stage lights were this intense orange, almost like a pack of pills, and the electric guitar wailed like a siren. It felt…unexpected, almost like a deliberate artistic choice, but maybe it wasn’t! It was definitely a memorable moment.

I’ve been following Ria for a while now, and it’s clear she pours her heart into helping others, but I often wonder if it’s taking a toll on her. She recently admitted that being constantly exposed to other people’s pain is deeply affecting, and it really resonated with me. She asked this haunting question – ‘How long before something broken completely falls apart?’ – and it just felt so raw. Thankfully, listening to Memon’s music is like a balm to the soul; it’s the kind of sound that can mend even the most fractured spirit.

Manic Street Creature runs at the Kiln until March 28.

GEORGINA BROWN 

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2026-03-12 21:52