When We Strike

Featuring a large cast of young performers, one of the show’s main strengths lies in its malleability. With a dynamic range of characters that could either remain as they are, with numerous featured roles providing extensive performance opportunities, or be scaled down if necessary. Regardless of its size the ensemble makes a huge impact, with Amir Shoenfeld’s tight harmonies and impressive blocking by Georgie Rankcom that beautifully highlight the group's collective power and unity. Jane Mcmurtie’s choreography is cracking (pardon the pun) and, up close, you get a real personal connection with each actor, completely drawing you into their world. Yet, from any seat in the house, the spectacle is equally breathtaking. It feels as though there would be no ‘bad view’ in any auditorium, regardless of how 'restricted' it may be advertised, which is no mean feat when there are listed buildings on every corner of the city. The Southwark Playhouse, with its intimate space, is a perfect venue for this show, but it’s easy to imagine it selling out larger venues like the Garrick or Arts Theatre, where it would appeal to a Six-like demographic.

The creative team behind the show have done a phenomenal job using every inch of the stage, although at times it felt a bit overcrowded, leading to minor mishaps with props and occasional bumps - but these are easily forgivable when you consider they only had 2 weeks to pull it all together.