Spectacular production of Golden Boy at the Almeida

Golden Boy Almeida Theatre Josh O'Connor puts in a towering performance as Joe Bonaparte in this latest revival of the 1937 play about the American dream. Written by Cliff Odets during the depression years, the play focuses on a character torn between his passion and talent for the violin and prize fighting. His father, Mr Bonaparte (Stanley Townsend) wants his son to pursue music but once Joe gets caught up with boxing manager Tom Moody (Daniel Mays) he sees a way to attain wealth and fame. Joe rejects the violin getting more focused and violent in the ring. All ofcourse ends in tragedy but there are fascinating twists and turns along the way. The torn character of Lorna Moon (Hayley Squires), girlfriend of Moody but in love with Joe. Mr Bonaparte heartbroken at his son's rejection of the violin but never giving up on him Nor, his brother, union activist, Frank (Richard Fleeshman). Boxing is never an easy sport to depict in a dramatic context, and this Almeida production is no exception. Fight scenes centre around a large punch bag centre stage, with videos screened on the back walls. Never totally convincing. Bonaparte's opponents trot on and off. That said O'Connor does a great job of bringing out the physicality of the fight scene. He wrestles with the punch bag - the ongoing physical damage on his body reminiscent of Robert De Niro as Jake LaMotta in the film Raging Bull. The young Joe is played by Oscar Prout, who appears, almost ghost like in many scenes. The often sleazy fight scene is well depicted with a lot of high octane masculinity on show, from managers, fighters and gangsters. The character of gangster, Eddie Fuseli, is well played by Zubin Carla - a role that could easily tip over into farce. The slightly cramped set is well used, moving between house, manager's office and fights. The trademark crucifix of the Italian family on the wall. The music ensemble are situated at the back of the stage - in what at times can appear like a cupboard. This is opened and shut by different characters. The effect being to help illustrate the passing nature of music in Joe's life. Symbolically, at one point, young Joe gets chased up into the musicians section. There are a number of excellent performances, such as Mays as Moody, Squires as Moon but it is O'Connor as Joe, who holds it all together with a strong physical and emotional performance. The play is well directed by Sam Yates, ensuring plot lines are clear amid what could become confusing in the space. The return of Golden Boy to the stage is timely, with the world today increasingly coming to resemble much of what occurred in the 1930s. Odets himself was rather drawn between his passion for social justice and material well being. Briefly, a communist, he supported many left wing causes. Odets reputation, though, suffered, after his 1952 appearance at Senator Joseph McCarthy's House Committee on Un-American activities. This Sam Yates version of Golden Boy is most welcome at this time of tumult in an uncertain world. It also underlines the futility if the American dream! Runs till 31 October

Triple lock debate should not ignite intergenerational conflict - the issue is levelling up and inroduction of Universal Basic Income

The debate about whether the triple lock on pensions can be afforded has once again stirred amid budget speculation. Predictably, the mainstream media sets the debate in terms of intergenerational conflict, namely the elderly have it all, whilst younger generations are denied. So, let's impoverish the elderly. The fifth richest economy in the world cannot afford a decent pension (the one we have compares unfavourably with other European and Scandinavian countries). The whole debate is a false construct. The pension is affordable - the National Insurance fund has been billions in credit for years. It only reduced when the last Tory government made crazy cuts to National Insurance contributions. What is more life expectancy is no longer rising - there are also huge disparities in life expectancy depending on where you live and the circumstances. Population worldwide is in decline. The state pension is a right, not a welfare benefit or a privilege. People have paid 35 years plus to earn that pension. There is also little mention made of benefits, like the billions saved in free care provided by grandparents for their children and grandchildren, the voluntary work undertaken and increasing numbers of the elderly who continue to work. On the wider issues, there is AI - if it does wipe us all out the whole argument is a bit academic. If many jobs become redundant, the question will be what happens to the people? How will they earn a living? The obvious answer in a Universal Basic Income, levelling things up for young and old. This is where the debate should be not on trying to impoverish the elderly and drive a wedge between young and old on pensions. The final point is that any politician who attacks pensions and pensioners benefits is very unwise. Remember the winter fuel allowance debacle. The bottom line is that pensioners register highest amongst the cohort of citizens who vote. Alienate them at your electoral peril. published on Labour List - 21/10/2026

Intriguing tale of resentment and revenge

Wasp, Wanstead Fringe An intriguing tale of abuse, bullying, revenge and long held grudges unveils in this two handed Morgan Lloyd Malcolm play. The Wasp twists through a number of scenarios, centering on two former school mates, meeting up after 20 years. One, Heather (Chloe Orrock) initially appears settled in a middle class lifestyle, married, with a career. The layers of insecurity, though, driving vengeance, quickly peel back. The other, Carla (Kylie Ann Ford), is having a far rougher ride in life, pregnant, working as a prostitute. She, though, is the cause of many of Heathers problems, though, it is not a one way street. But the tables turn and turn again, with scars from the past brought up to devastating effect on both protagonists. An indecent proposal sits at the centre of the plot. This East London Theatre production sees the play presented in the round. This provides an intimacy to the two handed production, bringing the audience into the action. Orrock and Ann Ford do well in holding the attention for the whole 90 minute duration of what is a challenging play. Though the first half zips along, a little of the momentum is lost in the second half. The Lloyd Malcolm play though is intriguing, moving from one scenario to another before the explosive conclusion. This Wanstead Fringe production is well directed by Jon Fentiman, using the small space well, with a simple set. The confined nature of the setting also demands much of the two performers, who rise to the challenge. An excellent tale, well worth seeing. On at the Wanstead Curtain from 23 to 26 September - Wansteadfringe.org / Eastlondontheatre.org.uk

Special Wanstead Heron beer to launch at beer festival

The 4th Wanstead Beer Festival is all set to take place at Christchurch on 10 October. There will be more than 50 beers and ciders this time, with gin, rum, wine and soft drinks all available. So hopefully all tastes will be catered for. There is also some great food on offer. This year there will be a special festival beer, brewed by Sambrook brewery. The beer, Wanstead Heron is a braggot, with a 6.3% strength. Sambrook head brewer, John Hatch explains: "Unlike mead, braggot is beer made with both malted barley and honey. Records of fermenting honey go back thousands of years and, before the days of processed and cultivated sugar, honey would have been the easiest way to boost the gravity of the beer to create a stronger beverage, without the complication of doing double mashes. Honey also adds distinct flavour and aroma." Wanstead Heron will be in plentiful supply at the beer festival. Other beers to look out for include the ever popular Pride of Prague - a chance for West Ham fans to reminisce about when the club won the European Conference League. Other returning popular beers include Cromwell bitter, Walrus of Love and Cowcatcher. There will be a lot more cider this year, with Walthamstow based Real Al providing some exciting new brands. These will be in addition to the likes of Farmer Jim's Rhubarb Bob and Perry. Funds raised go to the chosen local charities. This year these are the River Roding Trust, Grow Hope and the Wanstead War Memorial Restoration. The WBF has been well supported by many local breweries including Brentwood, Mighty Oak, East London, Pretty Decent and Signature breweries. Local businesses have once again heavily supported the event, which is testimony to its success thus far. All are welcome, including escorted children up to 6pm. Some children's entertainments will be taking place in one of the halls. Not to forget the commemorative glass, which comes as part of the £10 entry fee (£5 for children). These beautifully designed glasses are proving popular, with WBF loyalists able to boast a cupboard of three glasses. A full set will require you come and get the 4th edition on 10 October. But success only comes if people turn up. Last year more than 900 attended. It is hoped this year to go beyond that number. So, if you haven't got your ticket yet, please do so. There is the link on the website - www.wansteadbeerfestival.co.uk. See you on the 10th.

AI, climate crisis & inept leaders make for perfect storm but also offers potential future lead role for UK

The world seems to face a perfect storm, with warnings about AI wiping out humanity in 10 years, whilst climate change probably brings Armageddon that bit closer. AI also ofcourse impacts climate with its energy consuming modus operandi. Making matters worse the world leaders that we rely on to manage the situation and avoid Armageddon are some of the most dangerous and irresponsible seen in modern times. President Donald Trump gives free rein to AI companies, whilst actively opposing moves to address the climate crisis. Vladimir Putin seems wedded to war. Meanwhile, the militant right gains ground across Europe. There may though be a way forward. Properly regulated and controlled AI could improve people's lives and help address the climate crisis. Climate has to be prioritised, with resources shifted to dealing with that struggle, rather than others conjured up by crazy leaders beholden to the military industrial complex. Britain has a chance to lead in charting this new way forward, let's grab the opportunity. published - Labour List - 14/9/2026

Outstanding take on 12 Angry Men

Twelve Angry Men Theatre Royal, Windsor This excellent production of Twelve Angry men, seems as relevant today, as it was, when first staged, in the 1950s. Bitter men, driven to anger and bigotry by their own life experiences. (Women served on juries in the 1950s but could ask to be excused, which many did. It was only in later years that serving became obligatory for women.) The contemporary touch comes with a character like Juror 10, played by Tristan Gemmill, who bears more than a passing resemblance to the disempowered, angry supporters of Reform today. Though, notably even this character does find some redemption in the end. The whole idea of Twelve Angry Men sprang from writer Reginald Rose's experience of serving on a jury. A simple idea transformed into a great drama, made famous initially in the film adaptation, starring Henry Fonda. Recognised as one of Fonda's greatest performances, his role as Juror 8 is played excellently by Gray O'Brien in this production He is the lightening conductor, come defence lawyer in the jury room. Dressed in a virtuoso white suit, there is very little detail of the background of the character. Nemesis, Juror 3 (Bill Ward) makes fun, likening him at one point to renowned US defence lawyer Clarence Darrow. The whole drama takes place in the jury room, the characters circling the table, breaking off for regular visits to the water cooler. The case is the alleged murder of a father by his teenage son. It is testimony to how good the interaction and dialogue between the characters is that it keeps you engaged for the whole two hours 20 minutes. The play remains as evident today as it was 70 years ago. Those who have served on a jury will recognise many of the characters. The ones who have made up their mind from the start (11 at the beginning), then, those willing to listen and change their minds in the face of reason. Finally, those who just want it over as quickly as possible, not really bothered by the result. A nuance that could be added today would be a difference between employed and self employed jury members, the latter, often having a greater tendency to want to get away. The play is a celebration of the jury system, highlighting exactly why it is so important to maintain. It also highlights both the best and worst of human nature, with ofcourse reason and virtue coming out as the winners. In all,there are excellent performances across this production.Bill Ward is particularly outstanding as the raging Juror 3. The piece is well directed by Christopher Hayden, who brings a seamless flow to the production. He also kindles the contemporary feel to a play that is timeless in so many ways. An excellent production, raising many important issues. Well worth seeing. Runs at Theatre Royal Windsor till 12 September, Aberdeen from 15 September.Tours till 24 October.

Intriguing take on death of Marilyn Monroe

Who Killed Marilyn? Emerald Theatre, London Pixie Lott dominates this play about the life and ultimately death of Marilyn Monroe. The play comes at a timely moment, namely, the 100th anniversary of Marilyn's birth. Something, also being marked by an excellent exhibition Marilyn Monroe - a Portrait at the nearby National Portrait Gallery. A lot is packed into the two hour plus play, that runs through the life and loves of this 20th century icon. Heavy on conspiracy theories, this multi-layered depiction also addresses the insecurity of Monroe's life. Her demons, born of a troubled upbringing. Totally in control of her image when modelling, she struggles to get the recognition she feels warranted as an actress. Always the sex symbol, rather than the actress. Confident, yet vulnerable. The sense of conspiracy comes from the involvement with President John F Kennedy and his brother Robert Kennedy. Indeed, the production could arguably be perceived as a roller coaster of 60s conspiracies. The closeness of relationship between the shady worlds of politics, organised crime, law enforcement and showbiz is well captured. Mafia boss Sam Giancana, seemingly implicated in the demise of Marilyn, with J Edgar Hoover'' s FBI in the background extracting leverage, particularly on the Kennedys. Giancana and the mob were also later rumoured to have played a role in the assassination of JFK. The production is well put together by director Philip Wm McKinley. Everything , though, centres around Lott. The narrative is strong running through Marilyn's life's and loves, from baseball player Joe Di Maggio to playwright Arthur Miller and the Kennedy's. There are the cheesey moments, like when in the throws of passion Monroe asks JFK to repeat the part of his Presidential address: "ask not what your country can do for you, ask what you can do for your country.' Maybe, an ironic nod that Kennedy's multiple partners were serving their country. The whole play centres around a static set, made up of the bed, where Marilyn died. Lott is the narrator throughout, shimmering from one scene to the next. One criticism would be that maybe there is too much swapping around of characters, with all but Lott and Ryan Ellsworth (Dr Ralph Greens on) having multiple roles. So Julie Armstrong plays housekeeper Eunice and J Edgar Hoover, while Simon Bass is Arthur Jacobs, Frank Otash, Joe Kennedy and Lawrence Olivier. This can give a certain cramped feel. The lighting applied adds a sinister element. The production is narrow in that it does not stray much beyond Marilyn's sex life, there could have been more depth. Overall this is a production certainly worth seeing. An intriguing conspiracy tale, sown together by writer, Sharleen Cooper Cohen. It certainly raises questions about what really happened to Marilyn. Well directed and executed by a good cast. But it is Pixie Lott who steals the show.