Review: Emma Smith 'Doing It My Way'

Watford Palace Theatre was once again abuzz with anticipation as the Watford Jazz Junction festival presented its gala evening for 2026.

The night commenced with Parmiter's School Big Band, conducted by Stuart Bates. Introduced by Chair of Watford Jazz Junction Orphy Robinson, it was made clear how important music education and supporting the next generation of jazz musicians is to the festival team. As they walked onto the stage beaming and gleaming, there was a duly enthusiastic round of applause to welcome them. But after they knocked us out with a 30 minute set of standards delivered with a laid-back confidence, virtuosic solos and a strong, characterful sound, the closing applause was of rapturous delight. It’s such a privilege to be able to watch young performers blossom in front of your eyes and genuinely feel you are at the beginning of what may well be incredible musical journeys for them. These are the stars of the next generation and Watford Jazz Junction has always made space to highlight and celebrate them. Particular standout moments were the cheeky rocky rhythms of Route 66, a surprisingly smooth and relaxed version of Mac the Knife, and a sharp and swinging rendition of Perdido.

After the interval came the main event: Emma Smith 'Doing It My Way'. And boy, did she! Not only is she a consummate vocalist, delivering pin point precision on her melodies before bending and contouring them into a plethora of inventive and unexpected lines, but she is also unparalleled when it comes to humour and building rapport with the audience. A local girl from Radlett and trained at the nearby Purcell School of Music, she was able to fill the auditorium with not only music but also a sense of homecoming. It really felt as if she had a special affection and love for the Palace Theatre and the Watford audience, and the sentiment clearly flowed both ways.

She regaled us with anecdotes and stories of her own family's musical background, including her grandfather, a trombonist who played on the James Bond soundtracks. Then it turned out Daniel Higham, the trombonist in her line up, was not only a dear friend from childhood, but had been gifted her grandfather's mouthpiece, the mouth piece he used when accompanying Frank Sinatra at the Royal Albert Hall... and which Higham was using tonight! Cue a uniquely delightful rendition of I've Got You Under My Skin. Such beautiful moments mixing memory, family and friendship kept popping throughout the evening, making it feel like a truly once in a lifetime event.

Smith took to the stage resplendent in a dazzling red gown, giving her the hour glass silhouette of a 1950s bombshell. If you picture a raven-haired Jessica Rabbit, you wouldn't go too far wrong. And indeed there is something flirtatiously seductive and playful in her banter, and more than a hint of burlesque in the swing of her waist, the sway of her arm and the tilt of her wrist. Utterly bewitching to watch as well as listen to. A good example would be her opening song, a swinging version of The Lady is a Tramp, with wittily updated lyrics that kept to the spirit of the original but made the comedy feel fresh.

She added Stormy Weather to her set, assuming her return to the UK would be met with rain, but in fact it was a lovely sunny day! So much so that more than a couple of summer flies took up residency on stage, almost scuppering her gorgeous rendition of the ballad Midnight Sun. She smartly put the interference down to the spirit of Ella Fitzgerald jealously guarding her riffs! There was a blink and you miss it quote from the theme tune of Bewitched in her version of Witchcraft, among a catalogue of other quotes, and Alexander's Ragtime Band was somehow Dixie and sultry in equal measure, a feat I would previously have considered impossible. She closed, as the title would encourage you to predict, with a brand new arrangement of My Way, and treated us to One More For the Road as an encore.

Her exceptional line up consisted of Rob Barron on piano, Tom Farmer on double bass (whose introduction to Honeysuckle Rose was mesmeric), Luke Tomlinson on drums, Graeme Blevins on alto, Tom Walsh on trumpet and Daniel Higham on trombone. Alex Garnett (as Emma Smith called him, the 'uncle' of the group) was on tenor, and doubled up not only as a vocalist on Moody's Mood for Love, but as serial gag man, bringing a glorious sense of the old style improvisational jazz jams to this polished and pristine performance.

Smith's astounding success (Parliamentary Jazz Vocalist of the Year 2024, collaborations with Buble, Quincy Jones Orchestra, Jeff Goldblum, four year stint on BBC Radio 3, touring with the Ronnie Scott's All Stars) secures her place as one of the great vocalists of her age. This performance reminded us she's also one of it's greatest entertainers.

Review: A View From The Bridge

A View From The Bridge, Arthur Miller’s compelling story of a man torn between a repressed lust for his niece and loyalty to his close knit Italian community feels incredibly relevant to the current times. Directed by Joe Emery, this production does not shy away from the worrying political questions around immigration and border control in the world today, and indeed with a slightly updated setting places the frightening reality of the fearsome (and deadly) ICE immigration force slap bang in the middle of the stage. 

Nonetheless, in this production the challenges of illegal immigration status prove to be only one thematic strand of many explored in this layered story. Mark Maguire as Eddie offered a powerhouse performance in which he pulled apart the conflicts within marriage, family and masculinity with gusto. His central dilemma is the dynamic thrust which pushes the story forward and he manages to ride the intense emotional rollercoaster with conviction. His paternal love for his ward, his niece Catherine (played with youthful innocence by a poised and elegant Meg Reynolds), is contrasted with his hidden desire for her, a desire which gradually comes bubbling to the surface as he feels her slipping away from him when a romance blossoms between her and the immigrant cousin they're housing, Rodolpho.

Trapped between his attraction to Catherine and his cautious requirement to be a good guest, Kieran Welsh as Rodolpho moved superbly between his playful, extroverted and charismatic persona, and the muted version of himself demanded by his circumstance. He was full of smiles and humour, making it clear why Catherine would be so drawn to him. Yet at the same time this exuberance and his bevy of feminine pastimes, from singing to dress making, offered up sufficient provocation to Eddie to make his rage plausible, rather than just an obvious projection of his own incestuous desire.

The role of long-suffering wife Beatrice was played with calmness and grace by Aruna Clinch, offering sympathy, patience and maternal warmth in a household that you felt would otherwise rip apart at the seams.

The whole family drama is watched over by the lawyer Alfieri, played with affable understatement by Chris Robby. Alfieri, as Emery's programme notes point out, is a Greek chorus figure standing on the sidelines watching the action and commenting on it with very little influence on the drama. Interestingly, however, it’s his role which ultimately gives the piece its tragic depth as he reminds the audience how desperately inevitable Eddie‘s ultimate downfall will be. Given this set of characters, this context and this forbidden desire, there is really no other outcome possible. His doom is written, fated, and no amount of good advice can avert it. 

Review: First Gig of the Summer

There’s always a worry that rain stops play when it comes to live events. But Aggy Events had no need to worry about the persistent drizzle as they launched their First Gig of the Summer at the Watford Palace Theatre. This premiere event from the first time producing troupe sold out in stupendous fashion. Forget ticket sales of 95% or above. They were actively turning people away at the door having reached full capacity. 

And you could see why the night was such a draw. From the excellent promotion and marketing which made it clear this was an inclusive indie rock event for everyone and anyone, to the top notch organisation which ensured a smoothly run evening with great sound quality, a punctual start and swift turn arounds between the acts, the whole event felt slick and professional.

The Nevers opened processing with a bang. Heavy percussion and captivating guitar supporting a charismatic lead vocal. They were followed by Bedfordshire based indie rock band Matty Ram who got the crowd jumping with a high energy set involving thumping percussion, heavy bass and some soaringly impressive guitar work. They are apparently known for their hit single ‘Pelly’ and with over a hundred thousand streams to their name, they're a band clearly on the ascent.

Next up were headline act The Lime Stones, a four-piece indie rock band from Bedfordshire, whose electrifying performance kept the crowd's momentum in full swing. Although I had to duck out at that point, I have it on good authority that the party continued on with a fantastic DJ set.

The night's success is testament to the fact that Watford has been crying out for a regular live music venue of medium scale to provide a space which is welcoming to eager audiences, and supportive of up-and-coming bands. The Watford Palace Theatre have done themselves and the town proud in providing such a space and proving the versatility of their building. The 1908 Cabaret bar upstairs was perfect for the shoulder to shoulder jumping and jostling of a music loving crowd up for a party, while the café downstairs offered a lovely chill-out zone for those who wanted to continue their conversations or to escape the throng.

It was especially pleasing to notice the diversity of the crowd, from traditional rockers and emos to queer kids and punks, everyone was included and respected. It was a space in which everyone could be their authentic selves safely and openly, and despite it being the first event there was already a real sense of community. I felt. the multi-generational nature of the crowd played a large role in that, with under 18s to OAPs and everyone in between bopping, bouncing, clapping and cheering together. Everything from the thoughtfully positioned bowl of earplugs on the bar (which wouldn’t have been there when I was younger that’s for sure) to the carefully considered wristbands which made it clear who was entitled to what at the bar, indicated this was an inclusive, open armed event in which everyone found a place and everyone belonged.

I had a chat with the Aggy Events organising team before the show and they spelt their mission out to me: To create live music events primarily at the Watford Palace Theatre but ultimately moving out to venues across Watford and beyond, which unified people in the love of live music in friendly, welcoming, tolerance spaces. If tonight is anything to go by they'll not only succeed in this endeavour, but they’ll do so in stupendous fashion.

Review: Bugsy Malone

Bugsy Malone is one of those musicals which is perennially popular. A gangster story with lots of comedy, drama, and silliness, it’s a guaranteed auditorium filler. Add in a spate of splurge guns and some truly stupendous music, and you know you’re in for a theatrical treat.

The Pump House Children and Youth Theatre production somehow managed to elevate this sure fire hit to a new level of entertainment and joy. The cast were clearly having a whale of a time hamming up the jokes, playing up the larger than life characters, and revelling in the sumptuous jazz age setting.

The whole show was held together stupendously by Lily Ridout as Bugsy Malone. She had a magnificent confidence in talking directly to the audience and led us through the story with clarity and charm. She imbued Bugsy with just enough swagger to be convincing as the streetwise chancer, and just enough humility to make the romance fizz. Bugsy's love interest Blousy was played with an uncompromising waspishness by India Tearle, which made the gentle dreaminess of her songs all the more effective by contrast. The gaggle of gangsters led by the sophisticated Playton Filatov as Dandy Dan and the irrepressible Jack Stevens as Fat Sam proved to be a hilarious and raffishly rag -tag ensemble.

One stand out singer was Eden Clancy as Fizzy. He had an utterly captivating voice, mixing vulnerability and melancholia with a heart wrenching sweetness and surprising strength and projection. He could be parachuted into the West End to play Oliver without a moment's hesitation. He even threw in a few tap time steps for good measure!

Zachery Makanda-Tan made the most of his cameo as Cagey Joe, once again (following his Pharaoh in Joseph) showing his star power by matching charisma with hard work, appearing faultless on every melody line and choreographic move.

The final musical number, You Give A Little Love and It All Comes Back To You proved a fitting closing anthem for a show that connected cast, crew and audience in a joyful melange of cream pies, cracking performances and good humour. The standing ovation was well deserved!

Review: The Mesmerist

The Mesmerist is more of a theatrical event than a traditional play, bringing to life the spontaneous, rough and ready atmosphere of the old music hall and vaudeville acts, but lacing that glorious entertainment with tantalising crumbs of plot and some darker, sinister themes. The story revolves around our host, the affable and charming Rufus Hound, who rediscovers his emotional connection to his recently deceased grandfather by resurrecting his old stage show. He transforms a garage full of cardboard boxes, ancient props and dusty notebooks into the show we, the audience, are witnessing. 

It's a wonderful premise, mesmerising enough in itself as it combines familial trauma, career stress, mystery and discovery into one tantalising package. But once Hound starts enacting the tricks and illusions themselves, the performance takes on a whole extra level of playfulness, surprise and invention. I particularly enjoyed how central Watford and the Palace Theatre felt to the whole narrative. It made the entire auditorium vibrate with the pulse of ghosts being summoned and history unearthed.

The most enjoyable element of the evening was Hound's effortless interaction with the audience. He builds instant rapport, and is a warm and generous host with a quick and friendly wit. Dressed in suit and waistcoat he looks every stitch the traditional stage magician, and ambles round with a casual ease that belies the inevitable and necessary precision of the illusionist's craft.

The set is very cleverly constructed. A simple V-shaped backdrop makes everything feels open and transparent, as if announcing there's nothing hidden up any metaphorical sleeves, but at the same time it's stuffed full of artefacts and memorabilia connected to the grandfather‘s show, creating an overall sense of Derren Brown bookishness mixed with the Victorian museum of curiosities. Timely projections also help guide us through the show structure and provide corroborating evidence for important story elements, building the narrative context.

Thoughtfully directed by Watford Palace Theatre Artistic Director Steve Marmion, this is a wonderful production which amuses, entertains and surprises. Although ostensibly about hypnotism and illusion, it’s also a show about humour and human connection. The magic tricks are impressive, but it's the way Hound spontaneously riffs and banters with the audience that will stay with me longest. Truly mesmerising.

Review: Heels Off, Kettle On

Proud Watford has become a hugely important cultural force in Watford, promoting inclusion and diversity through a range of artistic and cultural events, from Queer Karaoke and Quingo, to the moving play Three Proud Men.

Heels Off, Kettle On is the latest string to their bow. It follows the story of Michelle Davidson, a proud transwoman who bravely and warm-heartedly draws us into the challenges and triumphs of her own transition journey. As the title suggests, the mood is relaxed and casual. The set is reminiscent of a 70s living room with patterned wallpaper, a proper pot of tea on a table with blue checkered cloth, and a trio of flying ducks on the back projection. The phrase comes from Michelle's own experience of nights out with the girls, who once home would throw off their shoes, get the water boiling and settle in for a good gossip. The whole night felt like you were being generously invited into that inner sanctum.

Dame Tina Lake, Watford's most popular drag queen, takes on the role of host. Played by Brian Timberlake, who at 92 is still as twinkling and mischievous as ever, Lake is a delightful and theatrical stage presence. With a series of thoughtful questions, Lake guides Davidson through her narrative, prompting insights and teasing out touching and often funny reflections and memories. Lake is a tour de force. Not only did she look resplendent and regal, but her comic timing and rapport with the audience is second to none. She even brought music to the show, delivering a few popular gay anthems (I Am What I Am, This Is My Life, Somewhere) with gentle lyrical twists that made them fit perfectly into the story. Her 'man' Pierre is another source of merriment, their ribald interactions becoming a running gag and Pierre's ultimate appearance on stage revealing a stellar piece of local casting that tickled the audience pink!

Davidson was utterly captivating, telling her story in a way that touched the heart and reminded us that life isn't about labels, it's about people. The Q&A session afterwards made it clear how tense and heated the public discourse around transgenderism has become in recent years, especially on social media. Davidson cut through all that debate with characteristic pragmatism and humanity, standing up for the values we should all share of kindness, respect and acceptance.

This is the second outing for Heels Off, Kettle On which premiered at Watford Fringe 2025, and though I understand director Ian Port has made a lot of improvements, there is still work to do on increasing pace, smoothing out the narrative and landing the moments of high emotion. Both performers were heavily reliant on their scripts, which caused the show to stagger and falter at times. But at all times Davidson's and Lake's personalities shone through, and I very much hope on it's third incarnation (which it utterly deserves!) a structure might be found which allows a more natural and spontaneous conversation to flow, unimpeded by the weight of the printed word. It was in the moments of genuine and unscripted connection that the story really soared.

Davidson's story is unique but also universal, and in telling it she has provided a much needed reminder that while we are each so different, we are also so alike, and at the end of it all the only thing that really matters is love. An essential message in this divided climate, and a beautiful story that resonates with sincerity, resilience and heart.

Review: Rope

Everybody loves a good detective story, but the joy of Rope is the clever way the formula is twisted round. Far from trying to figure out 'whodunit', writer Ptrick Hamilton presents the audience with the murderers at the start of the show. This is not a murder mystery but a murder certainty. It's the resulting dramatic irony that keeps us hooked, as we wonder if the reprehensible murderers will indeed get away with the perfect crime.

Kieran Walsh is brilliant as Wyndham Brandon, the ultimate vanity murder. Confident, self assured and more than a touch precious, he controls his living room as if it were a stage, and his assembled dinner guests as if they were his own cast of characters, seating them around the chest in which the body resides with macabre glee. His accomplice Charles Granillo, played with nervous and self-destructive anxiety by James Sheppard, offers a perfect mirror image of the alternative human responses: fear, dread and guilt.

There is a fine ensemble cast featuring an avuncular Guy Peskin as Sir Johnstone Kentley and a perpetually silent Sarah Howell as Mrs Debenham. Adee Woods is touchingly goofy as upperclass oddball Kenneth Raglan and Dale Carpenter is impressive as the sarcastic intellectual Rupert Cadell who becomes the play's de facto inspector. But the stand out performance for me was Danielle Gordon who brought more than a dash of dazzling panache and theatricality to the role of Leila Arden. Not only does she open the show with a terrific bit of Charleston dancing in a fabulous 20s hoofer style, but she bring such confident stage presence and assured comic timing that she frequently provides the much needed comedy relief to the grisly main action.

The set design by Robert Glass is marvellous, creating enough of a sense of naturalism and period detail to make the narrative convincing. Equally excellent is the lighting design by Eddie Stephens. The shifting yellows and reds of the fireside create a hellish atmosphere at the start, while the striking blues and whites of the storm build chilling tension.

The play itself is rather ponderous at times, with lots of weighty monologues, but as we move into the winter this deathly tale proves a paradoxically cosy entertainment.