Shifters review: This bittersweet romcom sizzles with chemistry

Shifters (Duke of York’s Theatre, London)

As a seasoned theatergoer with a soft spot for witty banter and insightful commentary, I must say that these performances at the Kiln Theatre and the Edinburgh Fringe Festival are truly captivating.

Verdict: Love’s labour won

In Woody Allen’s film Annie Hall, there’s a humorous scene where a man confides in his psychiatrist about his brother who believes he’s a chicken. The psychiatrist suggests they bring the brother for help, but the man hesitates… ‘I’d do that,’ he says, ‘but I need the eggs.’

In my own life, I have found that no matter how irrational or exasperating romantic entanglements may appear to be, there is a certain pull that keeps us going back. This persistent return can be likened to the instinctive urge of a bird to its nest, or a moth to the flame – it’s an innate need. In my experience, these relationships, despite their flaws and frustrations, often provide a sense of comfort, familiarity, and emotional sustenance that we crave, much like how one seeks out eggs for nourishment. This is not to say that every relationship should be clung onto blindly, but rather, it highlights the human tendency to seek solace and fulfillment in familiar places, even when logic may tell us otherwise.

The driving force behind Shifters, a poignant romantic comedy written by playwright Benedict Lombe and initially staged at the prestigious Bush Theatre in West London, is the same motivating factor. This production has since moved to the West End.

The narrative revolves around Dre and Des, two friends from their school days who have had an on-and-off relationship throughout their thirties… ‘a pair of young black individuals fated to find themselves at odds with each other’.

Eight years since their separation, they encounter each other once more, following the funeral of Dre’s grandmother. Now, she thrives as an artist residing in New York City, while he manages a restaurant in London. “Shifters” – a lament for a relationship that never came to be – resonates deeply, capturing the essence of complexity and emotional depth.

As an over-the-moon fan, I can’t help but sing praises about the standout aspect of this show – the mesmerizing duo of Tosin Cole and Heather Agyepong, who breathe life into their characters Dre and Des. Tosin’s Dre is a delightful mix of mischievous charm and hidden depth, while Heather’s Des is a sharp, straightforward woman with an intriguing enigma wrapped within. Simply put, they’re the heart and soul of this series that keeps me coming back for more.

As a devoted admirer, I can’t help but notice the enigmatic air that surrounds them both. They seem to carry hidden wounds from their past, carefully concealing their childhood scars. Yet, their electrifying dynamic is simply intoxicating, a spark that threatens to ignite and consume me with its irresistible allure.

My only real complaint here is that Lombe’s play doesn’t demand that they risk more for each other.

As a devoted admirer, I must express that the dialogue brims with wit and charm, triggering hearty bouts of laughter. Yet, there are moments when it seems we’re waiting for something, much like a pair in a prolonged rendition of ‘Waiting for Godot.’ They tenderly make allowances, share nostalgic anecdotes, and dance around the core issues.

Even so, Lynette Linton’s simple and warm-hearted production, under a neon shower of shooting stars, casts a lovely, dreamy 100-minute spell.

 Go to the Charing Cross Theatre site HERE and the Duke of York Theatre HERE.

The Fabulist (Charing Cross Theatre, London)

Verdict: Love’s labour sings

The Fabulist represents a comedic adventure in the style of Gilbert and Sullivan, drawing inspiration from Giovanni Paisiello’s 18th-century opera The Deceptive Astrologer. This contemporary adaptation is penned by American cyber war expert, James P. Farwell.

As I step onto the picturesque film set nestled in the heart of Tuscany, 1929, I find myself immersed in an intriguing tale. I am a film director, a sister, and a daughter to a brilliant astronomer-scientist. In this story, my family and I are on a mission to safeguard a mysterious magician, known as the Fabulist, who has captured the heart of my younger sibling. However, we must keep him hidden from a powerful Cardinal intent on hunting down anyone suspected of practicing magic, for fear that his influence may taint the Church’s teachings.

The Gordian knot of a plot is not worth trying to unpick.

As a devoted admirer, I must say that while Farwell’s lyrics for Paisiello’s magnificent score have brought laughter, they are also interwoven with poignant scenes – one of which features the elusive storyteller uttering proverbs in bird-like squawks. In these instances, I can’t help but feel that life is simply too brief.

In a different vein, Paisiello’s music stands out. A lively, five-member chamber orchestra brings it to life. Sopranos Lily De La Haye and Reka Jonas bring delight to the audience.

Stuart Pendred plays the lively character, Cardinal Bandini, who has single-handedly started an investigation into witchcraft.

John Walton’s work exudes a charming old-fashioned feel, featuring tiny pillars, silhouetted trees, and fluffy cloud shapes, while also showcasing advanced illusion techniques.

Shifters runs until October 12.

Antony & Cleopatra (Shakespeare’s Globe, London)

Verdict: Love’s labour dims

It’s great that Shakespeare’s Globe has made the thoughtful choice to incorporate British Sign Language (BSL) into their upcoming production of Antony & Cleopatra. However, it’s important to remember that this play was originally intended for an audience to hear, so whether or not we find this new version enjoyable may still vary.

As an ardent admirer, I can’t help but exclaim that the language in this production is sizzling, sensuous, and fiery! In a unique twist, Nadia Nadarajah’s portrayal of Cleopatra is beautifully expressed through British Sign Language (BSL). Some of Shakespeare’s most exquisite verses are thus transformed into expressive mimes.

Next to her, John Hollingworth portrays a solid, mid-level officer in the mold of Mark Antony – a legendary Roman figure known for both love and war. However, Blanche McIntyre’s production fails to convey the intense, passion-fueled intensity that defines this classic tale of love and destruction, instead appearing somewhat lethargic and using denim-toned materials in its design.

As a devoted follower, I find myself regrettably reminiscing about a comedy sketch that would hardly qualify for Carry On Cleo, should Nadeem Islam ever deliver unfortunate news from Rome.

Fortunately, Daniel Millar, portraying Antony’s friend Enobarbus, lends some verses from the play an appealing brilliance. I suspect it would be more effective in a more intimate performance space.

Tender yet powerful portrayal of life as a British Muslim

Peanut Butter & Blueberries (Kiln Theatre, London)

Verdict: Love at first bite

1. Bilal adorned himself with a kingfisher-blue headscarf and an old Raleigh bicycle; Hafsah found him off-putting because he allows white people to call him Billy, yet she was still (unwillingly) impressed by his appearance after spending a year in Kashmir.

As a fellow student at SOAS, hailing from Birmingham and Bradford respectively, we’re the duo who require captions to fully grasp the charm of an old Bollywood film.

Hafsah, the bookworm, isn’t seeking a romantic relationship. Similarly, Bilal, with his deep concern for his mother and her inability to pay the mortgage, isn’t looking for love either.

Sharing the same beliefs as Muslims, having a similar sense of humor, and enjoying the same unique combination of peanut butter and blueberry sandwiches forges an incredibly strong bond between them.

In a silent understanding shaped by their religious differences, there’s an unbridgeable gap between them as they stroll together or share a bench. Yet, when Bilal gently cleans Haf’s glasses with his shirt, wiping off the raindrops, the atmosphere crackles with an undeniable energy. They never breach this untouchable boundary.

As a devoted admirer, I find an authentic blend of gentleness, levity, and profound insight pervading Suhaiymah Manzoor-Khan’s humorous, poignant debut drama that sheds light on the contemporary Muslim experience in Britain.

Humera Syed offers Hafsah a tranquil confidence that appears rooted in both her religious beliefs and her commitment to feminism, as well as her keen mind.

Instead of being calm and composed, Usaamah Ibraheem Hussain’s character Bilal is often found in a defensive position due to his short temper and volatile nature.

Whenever someone, particularly a white individual, orders me to be quiet in a library, I instantly feel targeted due to my faith, interpreting it as Islamophobia. On public transportation, if I momentarily step away and leave my belongings behind, I unwillingly become the focus of a ‘See it, Speak up, Sorted’ incident.

Director Sameena Hussain draws winning performances from the pair, who have a lovely chemistry.

However, there are certain awkward dance steps where the pair appear to move towards each other before pulling away. This creates a palpable sense of tension that lingers until the very end.

Show until August 31. Go to the Kiln Theatre site HERE.

What is on at Edinburgh Fringe?

Tommy Cooper, Bob Monkhouse and Eric Morecambe walk into a dressing room

Indeed, it’s not the introduction to a jest, but rather the concept behind Paul Hendy’s heartwarming play “The Last Laugh,” staged at Assembly on George Square (★★★★✩). This piece envisions an intriguing meeting among three influential figures in 20th-century humor.

Comedians often reflect on past legends and a comedian’s most dreaded scenario – bombing on stage, where a joke falls flat.

However, it’s important to note that Cooper (Damian Williams) tragically passed away on stage, whereas Morecambe (Bob Golding) suffered a collapse backstage and subsequently lost his life.

The friendly banter between these comedians often involves one-upping each other. Yet, despite their competitive nature, the reflective comic Simon Cartwright (Monkhouse) is quick to acknowledge and give credit to the joke writers.

An affectionate study of the nature of comedy — and the perils of fame.

In a different phrasing: Ivo Graham, who’s well-known for his stand-up comedy, is actually listed in the theatre section of the Fringe program (Carousel at Assembly, George Square, ★★★★✩). Perhaps he assumed that discussing themes like death, regret, and poor decisions wouldn’t be funny, but this performance turns out to be a skillfully constructed hour where he shares his journey towards self-acceptance.

Previously, a participant on the show “Taskmaster,” Graham, shares treasured possessions like a tiger-patterned onesie and artwork created by his little girl, while reflecting thoughtfully on the important individuals in his existence.

He’s quite self-critical when discussing topics like fatherhood, the challenging separation from his partner, and the losses of his grandmother and a friend, all of which fall under the competitive category of being an “advanced narcissist” at the Edinburgh Fringe.

Although Carousel seems melancholic and poignant, it manages to elicit hearty chuckles as well. It’s worthy of existence beyond the Fringe.

VERONICA LEE

Sidi is whip smart with audience banter and surreal 

Emma Sidi’s performance as Sue Gray at Pleasance Courtyard (★★★★✩) is a hilariously excessive satire of Keir Starmer’s Chief of Staff, also known as the author of the Partygate report.

Transforming dramatically from his original image, Sidi gives the political advisor a vibrant makeover, turning her into a charmingly thick-accented woman hailing from Essex. Simon Case is widely admired as an exceptional figure, Philip Hammond is found attractive, and Starmer is described as exuding charm that’s almost dripping with charisma. Sidi is known for his quick wit, audience engagement, and a touch of the surreal in his interactions.

PATRICK MARMION 

Go to the Edinburgh Fringe website HERE.  

All three shows end on Sunday. 

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2024-08-23 03:24