This review is based on the preview run that took place at the Canal Cafe Theatre, London.

It’s 1348. The Black Death’s well on its way to wiping out London. Graveyard orgies are all the rage, but with brothels blamed for angering God, it’s not a good time to be a prostitute. Our protagonist Jules (clever, see… with the title?) learns this lesson rather abruptly when she finds herself an ‘eternal bride’ to The Lord and confined to a cell-like chamber for three days straight. This is to serve as punishment for her unforgivable fornication, but it turns out nuns can have just as much fun!

Jewels is a one-person show that demands recognition for its sheer ambition and dedication. Devised, produced, and performed by Tanwen Stokes, the piece is testament to the immense effort and passion involved in such a multifaceted endeavour. One must applaud the commitment required for such a project, as it is unparalleled by most other roles an actor undertakes, and anyone who achieves such a feat deserves recognition.  

Throughout the hour's play, we become acquainted with multiple characters, despite Stokes never actually embodying them for more than a moment. This again is testament to both the writing and execution when you consider how fully realised these personalities are - yet we don’t actually meet anyone else!

One of the standout aspects must be the evidently extensive research that has gone into Jewels creation. Stokes' energy and enthusiasm for the material shone through, creating a palpable connection with the audience. This passion project clearly holds a special place in the performer's heart, and that sincerity is conveyed effectively on stage.

With a solid script offering a compelling narrative, Miriam Botzenhardt furthers the experience with her funny and thoughtful direction. The movement and minimal set are well-conceived, making the most of the limited space. However, there are moments when even the small venue feels inadequately filled, leading to occasional awkwardness and an interruption to the overall flow. 

A notable improvement would be the inclusion of an underscore throughout the performance. The music that is included adds depth and emotional resonance of a variety of calibres, and it would be helpful to use this more constantly. Stokes regularly bursts into song, either comical or tragic, and this hugely enhances atmosphere and helps to bridge some of the gaps between scenes.

While Jewels demonstrates significant potential, it currently lacks the elements needed to elevate it to a high value production. The dedication and talent are unmistakable, but the show feels somewhat constrained in its present form. There is an undeniable sense that it wants to progress and evolve, yet it's unclear how much further it can develop within its existing framework. This can be a common barrier with fringe pieces, but it is exciting to see where this journey will go as, with some adjustments, "Jewels" could truly shine.

You can catch 'Jewels' at this years Edinburgh Fringe Festival by getting your tickets here: Jewels | Theatre | Edinburgh Festival Fringe (edfringe.com)

Review written by Katie Anna McConnell

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