Play On!

Play On!

Play On! is a vibrant musical reimagining of Shakespeare’s Twelfth Night, transporting the classic tale to the lively world of 1940s Harlem and its thriving jazz scene. This fresh adaptation follows Viola, reimagined as Vyman (played by the talented Tsemaye Bob-Edge), who arrives in Harlem with dreams of becoming a songwriter. While the plot remains similar to Shakespeare’s original, the infusion of jazz and the Harlem setting breathe new life into the story, creating a dynamic and engaging experience. There are more than a few Shakespeare jokes throughout the show too.

The talent on stage is nothing short of phenomenal. Every musical number is a standout, with no filler in sight, and each performance meets world-class standards. The songs, from the catalogue of Duke Ellington, offer a delightful variety, ranging from soulful ballads to upbeat jazz numbers. One particularly memorable moment comes after the interval, when Sweets (Lifford Shillingford) and Jester (Llewellyn Jamal) perform a hilarious and increasingly intoxicated duet. The addition of a barman, played by an ensemble member, adds just the right touch of humour without overshadowing the scene. The audience was visibly thrilled, erupting into cheers as the scene unfolded.

Koko Alexandra, as Lady Liv, commands attention from her very first entrance, adorned in a stunning sequin gown. Her presence is magnetic, and she delivers her numbers with both power and finesse. Earl Gregory, who plays the Duke, shines in his tender ballads, but it’s his nuanced character work, enhanced by subtle facial expressions and enhanced by a pencil moustache, truly sets his performance apart.

The stage design is relatively modest, with a set of steps leading upstage to where the band is positioned. The band remains on stage throughout the performance, occasionally participating in the action. As someone who loves seeing musicians integrated into the production, I found this to be a delightful touch. Not all band members are comfortable in the spotlight, so their willingness to contribute to the big band atmosphere added an extra layer of authenticity and charm.

That said, there are areas where the production could improve, some of which may stem from budget constraints. The overall design concept feels inconsistent, as if the creative team couldn’t decide between sleek, Chicago-style jazz and the grittier, speakeasy aesthetic. This divide is evident in the costumes, designed by Associate Costume Designer and Supervisor Mabell Laye. While the named characters are dressed in striking, well-thought-out outfits, the ensemble wears form-fitting black attire that feels more like rehearsal wear. The variety in their footwear, ranging from split-sole jazz shoes to trainers was particularly distracting. Additionally, while the yellow zoot suit worn by one character is undeniably striking and a nod to Shakespeare’s yellow stockings, it evoked memories of ‘The Mask’, which pulled me out of the story.

The choreography, led by Nicey Belgrave and Olivia Francis, also reflects this inconsistency. Some moments are truly breath-taking, with audible gasps and cheers from the audience, while others feel more like freestyle social media content, lacking the polish and precision of the more structured routines.

Despite these flaws, Play On! is an exceptional production that deserves no less than five stars. The talent of the cast, the infectious energy of the music, and the creative reimagining of a Shakespearean classic make it a must-see. With a bit more cohesion in its design and choreography, this show could easily become a timeless masterpiece. For now, it remains a dazzling celebration of jazz, Shakespeare, and the magic of live theatre.

This show was reviewed on the 31st January 2025 at the Lyric Hammersmith, London where it runs until the 22nd February 2025.  Full tour dates and tickets can be found here: Play On! – Lyric Hammersmith

Review written by Valentine Gale-Sides

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Photo credit: Ciara Hillyer

Play On!