Walking into the Belgrade Theatre on a gloomy Friday evening after a week of relentless rain, I had no idea my spirits were about to be lifted. Fast forward two and a half hours, and I found myself practically skipping out of the theatre, marvelling at the talent I’d just witnessed and itching to put together a Duke Ellington playlist. You need to see this show, and you need to see it now.
Play On! is a vibrant musical twist on Shakespeare’s Twelfth Night, created by Sheldon Epps, with a book by Cheryl L. West, direction from Michael Buffong and performed by the remarkable Talawa Theatre Company. The show is also co-produced with Birmingham Hippodrome, Bristol Old Vic, Liverpool Everyman and Playhouse, Lyric Hammersmith Theatre, and Wiltshire Creative.
Set in 1940s Harlem, a world far removed from Shakespeare’s Illyria, Vy (Tsemaye Bob-Egbe) is an ambitious songwriter determined to make her mark. Her uncle Jester (Llewellyn Jamal) warns her that as a woman, the music industry won’t take her seriously, so she takes his advice and disguises herself as a man. Cue a whirlwind of romance, mistaken identities, and tangled relationships when Vy meets The Duke (Earl Gregory), a famous nightclub owner, and the stunning singer Lady Liv (Koko Alexandra).
What truly blew me away was how seamlessly an original tale from 1601, the jazz genius of Duke Ellington, and the electric street dance choreography of Kendrick ‘H20’ Sandy merged into a show that felt completely fresh. But honestly, the biggest revelation of the night was the sheer talent on that stage. This cast can sing. Every principal actor sang straight from their soul, and I don’t think I’ve ever seen such a powerhouse of vocal talent in one production. Standout moments included the Act 1 finale, (In My) Solitude, performed by Gregory, Alexandra, Bob-Egbe, and Cameron Bernard Jones as Rev, and the spine-tingling Rocks in My Bed, delivered by Jester (Llewellyn Jamal) and Sweets (Lifford Shillingford).
In Twelfth Night, Malvolio’s infamous yellow stockings are a source of humiliation, but in this version, Rev struts onto the stage in a fabulous yellow suit—reminiscent of Jim Carrey in The Mask. And yet, when Jones launches into I’m Beginning to See the Light with Sandy’s iconic choreography, it’s anything but embarrassing. He owned the stage.
The set design was simple but effective, with a bar positioned stage right and Lady Liv’s dressing room stage left. Production designer ULTZ used blocks of primary colours, giving the stage a contemporary vibe. The 5-piece band was a fixture throughout, placed on a raised platform that cleverly moved in and out, adding a dynamic layer to the performance.
This show is an absolute knockout and more than deserved the standing ovation it received at the end. Trust me, you don’t want to miss out on this one—grab your tickets before it’s too late!
Play On! is running at the Belgrade Theatre until 5th October. Get your tickets here.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Ellie Kurttz