Review: Echo House

Echo House is a really interesting concept. It tells the story of a mother who had a son at 15 who is subsequently adopted, and they are estranged from one another for 50 years. From that simple premise spin out a myriad of different trajectories and outcomes based on suggestions from the audience and inspired by a series of improvisational games.

The title Echo House perfectly evokes the sense that a house contains layered incarnations, almost ghosts, of its occupants, their lives and the different directions they could have developed. And as people return to the house, the memories of actions past echo back to them in truthful and in misremembered ways. It’s ultimately left up to the audience to decide which version of the story is most true or 'best'.

The kaleidoscope of versions of this troubled mother-son relationship is immediately intriguing as a dramatic structure. With each passing scene the you are asked to reconsider whether the son is welcoming or unwelcoming, and whether the mother is delighted or anxious at the prospect of meeting her son after half a century apart. You’re even asked to consider the drastic possibility that one or other of them may have died by (depending on your audience) suicide, fork in the toaster, car accident or Wallaby kick!

This experimental way of storytelling is in its early stages of development for The Two Jays, a writing and performing duo made up of John Harper and Julia Bolden. Harper is a towering presence whose charming smile counteracts his imposing frame. Bolden is much shorter, a contrast which they jovially play for laughs, and her laid-back demeanour brings a relaxed, chilled energy.

At present while the opening scene carries a lot of exciting dramatic potential, the following scenes lack momentum and drive. The improvisational games don’t make enough of the audience suggestions. As we enter the auditorium, the audience are asked to write down suggestions which are put into a small wooden box to be used later in the show. The box is used during two monologues, by mother and son, but the suggestions are effectively just read out as a list. They're not used to change or develop the story. Furthermore, the only person who knows their suggestion has been read out is the person who wrote it because there's no wider sharing of what those suggestions are before the monologues take place.

Similarly, when we were asked whether we want the son to be welcoming or unwelcoming to his mother when she arrives at his front door, the audience resoundingly voted for welcoming and the scene was played out. But then the unwelcoming scene was played out as well. The audience suggestion turned out not be a decisive moment in the evening's narrative, but just a decision over which narrative we'd see first.

To make this show more powerful, the audience suggestions need to be more meaningful and impactful. They need to change the shape and direction of the story as a whole. If you shout stop in a scene as instructed or present a high or low status card it really has to make a difference to the way that scene plays out. 

Overall an exciting concept in how to deliver a semi scripted, semi improvisational work, but it needs more trust in the audience suggestions to take flight.

Julia Bolden speaks eloquently about Echo House on a recent addition of my podcast What's On Watford which you can listen to here.

Review: Heart and Music

In Good Company have become an indispensable part of the Watford Fringe Festival annual lineup. But what exactly are they? As their illustrious leader, West End performer Ashleigh Fleming, pointed out in her closing remarks, they have too much choreography to be a choir, and too great a musical focus to be an amateur dramatics company. So what are they? A show choir? A musical theatre troop?

Whatever we decide to call them, what's certain is that they are a hugely talented, uber-enthusiastic group of dancing, quick-changing vocalists who know how to deliver a jam-packed celebration of musical theatre full of charisma, buoyancy and charm.

This is In Good Company's most ambitious show to date, not only in the diverse song selection but also in the challenging choreography, quick fire costume changes, rapid attack of repertoire and intense emotional layers presented with each number. They don't just sing the tunes, they invest each moment with character, mood and drama.

For a musical theatre fan like me it was a joy to hear a plethora of well-known songs brought alongside more obscure and newer melodies. The projections overhead clearly but unobtrusively pointed out which particular musicals the songs belonged to, which was a helpful and thoughtful addition. Standout favourites included the anthemic 'I Am What I Am' from La Cage Aux Folles, delivered by the five gentlemen singers with not only a sweet sense of comedy camp but also a genuine and sincere integrity. Similarly focused on the theme of equality, diversity and inclusion was the hilarious fairy tale fantasy 'Let Your Freak Flag Fly' from Shrek, presented with a dizzying array of uniquely costumed characters.

Throughout, there were beautiful duets and trios which gave the cast opportunities to show careful vocal blending and close harmonies. I was really moved by the trio of ladies who sang 'I Wish I May' from The Witches of Eastwick. They imbued each overlapping line with a wave-like sense of loss and nostalgia as well as a gentle optimism for the future.

The one drawback perhaps was the venue. Saint Mary’s Church provided a beautiful backdrop and the religious setting actually made many of the secular songs feel dangerous and risky again, as they would have been when first performed. However, it did sometimes mean that sound was compromised. While the brilliant Jon Ben on piano could be heard clearly all night, often the vocals when not amplified were lost. But that never meant we lost the track of the stories, characters or intentions. They were delivered with such confidence and scale that they came across to the very back row of the well attended space.

July promises a stupendous lineup of fringe performances for Watford. This was my first and I couldn’t have hoped for a more rousing start!

Review: Priscilla Queen of the Desert

If you’re looking for a brilliant night out in Watford this week you could not do better than booking tickets to go and see Cassio Productions version of Priscilla Queen of the Desert. It's a fast paced, energetic, laugh a minute show which also has tender, touching moments, razor sharp wit and a story about inclusion, acceptance and love that feels essential vieiwng in today's divisive climate.

If you haven't seen the film, the story is essentially a road trip in which we follow three drag queens across the Australian outback in a dodgy old bus named Priscilla. The journey is initiated by Mitzi, played with a cuddly, disarming sweetness by John Montgomery, who has been invited by his wife to come and perform in Alice Springs so he can finally meet his son.

The star performance comes from Joseph Lucas as Felicia, who is quite frankly just an astounding performer in every respect. A true triple threat, he was belting out disco classics, throwing out catty one liners and high kicking in heels all in the same breath and looking fabulous doing it! I have not seen choreography executed with such sharp and perfection precision on the Watford Palace Theatre stage in a long time. He's an absolute firebrand, a pleasure to watch, and I can’t wait to see him in more productions in the future.

Although Mitzi is the spine of the show, giving it the necessary narrative drive, the character in this production who pulls most forcefully on the heart strings is Bernadette, sensitively and convincingly portrayed by a regal Richard Sellek. The dignity and humanity with which he imbues the character is, as the Australians say, 'knock out'. This was a woman who knew all about the challenges and set backs of life, but was still filled with an iron optimism. Her banter with Felicia creates many of the evening's funniest moments, but her gentle observations about life and love produce many of the most philosophical and inspirational. A deftly handled balance.

There are also several cameo roles for the company to get their teeth into. The three divas (Sarah Clampton, Sam Keyte and Georgia Tomlinson) astound in a staggering array of costumes from glittering angels to green cakes, and tackle some difficult disco harmonies with confidence and aplomb. Charlotte Silvey opens the show with fizz and frenzy as drag queen Miss Understanding, building a camp rapport with the audience that sets the right tone for the night. And Judi Campion is comedy gold as the backwater bogan Shirley, dressed in ripped denim and scratching her armpits as she shows a radically different side to what femininity can be. And of course the scene which everybody waits for with bated breath is played by a dazzling Debbie Day, whose charm and restraint make what could be a challenging role for many reasons fit comfortably within the show. Again, if you haven't seen the film, be warned: you may never see table tennis the same way again.

With costume and staging of professional quality, this is a brilliant night of disco madness, infused with sequins, towering wigs, superb choreography and generous humour. Definitely one not to be missed!

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!