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Celebrating Neurodiversity: Autism’s Got Talent Marks Its 15th Anniversary with an Unforgettable Night at the Mermaid Theatre

Pictures: Tally Nothey and Terry Scott

From breathtaking musical performances and dazzling dance routines to tears, laughter and standing ovations, Autism’s Got Talent celebrated its 15th anniversary in spectacular style. Steven Smith joined the sell-out audience for an extraordinary evening that proved talent knows no boundaries.

It was a night of extraordinary talent, heartfelt emotion and thunderous applause as Autism’s Got Talent celebrated its landmark 15th anniversary at London’s Mermaid Theatre. Playing to a sell-out audience, the spectacular event delivered what was arguably its most moving and memorable show to date, with performances that brought tears to the eyes one moment and had the audience cheering with delight the next. It was a glorious celebration of neurodiversity, individuality and the remarkable abilities of autistic performers, and an evening that will undoubtedly remain in the hearts of those fortunate enough to attend.

There are certain dates in my diary that I look forward to more than others, and Autism’s Got Talent has always been at the very top of that list. It is, quite simply, my favourite time of year. Having watched this extraordinary event grow and evolve, I thought I knew exactly what to expect. Yet this year’s anniversary extravaganza managed to surpass even my expectations. From the moment I entered the Mermaid Theatre in Blackfriars, there was an unmistakable sense of excitement. Families gathered, familiar faces exchanged hugs and performers prepared for their moment in the spotlight. By the end of the evening, the auditorium had witnessed something genuinely special.

Since its inception in 2012, Autism’s Got Talent, the brainchild of the indefatigable Dr Anna Kennedy OBE, has grown from an ambitious idea into an internationally recognised showcase celebrating the abilities, creativity and individuality of autistic children and adults. Over the years, it has attracted considerable media attention, celebrity support and performers from around the world, establishing itself as one of the most uplifting events in the charity calendar.

Unlike conventional talent competitions, however, Autism’s Got Talent has no judges, no eliminations and no disappointed contestants being sent home. Instead, every performer is encouraged, celebrated and given the opportunity to shine. There is no pressure to conform to anyone else’s expectations, only the freedom to express individuality through music, dance, theatre and performance. For some, stepping onto that stage represents the fulfilment of a lifelong dream; for others, it is an opportunity to build confidence, overcome personal challenges and demonstrate talents that might otherwise remain unseen. Above all, it is a celebration of what people can achieve when they are given encouragement, opportunity and the freedom to be themselves.

This year’s 15th-anniversary spectacular pulled out all the stops, bringing together more than 20 acts, including ten newcomers and ten returning favourites. The evening opened with Dr Anna Kennedy OBE welcoming the packed auditorium and introducing special messages from celebrity supporters, including Loose Women star Denise Welch, Blue singer Anthony Costa and former EastEnders actress Kacey Ainsworth. Their messages of encouragement set the tone for an evening that was as much about celebrating achievement as it was about entertaining the audience.

There was, naturally, a generous sprinkling of showbiz glamour. Among the familiar faces giving their time to introduce performers was much-loved ‘Allo ‘Allo! actress Vicki Michelle MBE, a longstanding supporter and patron of the charity. Joining her were Christopher Hamilton and Shimi Goodman of Tiano, alongside former EastEnders heart-throb Tony Discipline and actress Ionica Adriana. It was heartwarming to see established names from the entertainment industry so enthusiastically championing autistic talent. The celebrities may have brought an extra touch of sparkle, but there was never any doubt about who the real stars of the evening were: the performers themselves.

A huge supporter of Anna Kennedy Vicki Michelle MBE

Also joining the celebrations was acclaimed artist Piluca, whose striking mural at the Sidelings Tunnel pays tribute to the charity and its inspiring work. Some of the charity’s sponsors were equally involved in the proceedings, with Mandy Aulak of Talem Law and Ione Inness of SEND Tutoring taking to the stage to introduce acts and speak about the importance of creating opportunities for autistic individuals. Their support is a reminder that events of this scale depend upon the generosity and commitment of organisations and individuals who believe in the charity’s mission.

Award winning performers Tiano

Guiding the audience through the evening were two enthusiastic comperes, Gateway Radio DJ and charity ambassador Aston Avery, alongside former The People’s Strictly contestant and amateur theatre enthusiast Phillip Barnett. Aston, who recently received a prestigious BQF Patrons Award presented by HRH The Princess Royal, brought his customary warmth and infectious enthusiasm to the proceedings. Together, the pair kept the programme moving with humour, encouragement and genuine affection for the performers, ensuring that everyone received the welcome and recognition they deserved.

EastEnders Tony Discipline

And what a programme it was. Performers had travelled from across the United Kingdom and further afield, including Ireland and Hungary, each bringing their own personality, story and extraordinary abilities to the stage. One of the joys of Autism’s Got Talent is that you never quite know what is coming next. One moment you are listening to a beautiful ballad, the next you are watching a dazzling dance routine or cheering along to an energetic musical performance. The sheer variety is part of its magic.

The show opened with PPAS, whose founder, Maggie Paterson, has generously offered scholarships to previous Autism’s Got Talent performers, demonstrating how the opportunities created by the event can continue long after the final curtain falls.

Stevie Little Jays delighted the audience with singing accompanied by Makaton signing, while Lillie Rose Allan delivered a charming rendition of Grace VanderWaal’s I Don’t Know My Name, a song whose themes of individuality and self-discovery seemed particularly appropriate for the occasion. Holli Pandit brought a touch of elegance with her beautiful harp playing, while Macauley Elvin performed Benson Boone’s Momma Song, dedicating the moving number to his family. It was one of those performances that reminded everyone just how powerful music can be when it carries a deeply personal meaning.

The family spirit Anna Kennedy’s regulars the Elvin

Another familiar face was Rich Stevens, a tremendous supporter of the charity who has raised funds through his remarkable walking challenges, including a 50-mile effort this year. Rich stepped into the spotlight to perform The Great Pretender, adding another memorable musical moment to the celebrations.

Walking to West End fame Rich Stevens with his lovely wife Zoe

One of the evening’s most energetic and thought-provoking performances came from The Childish, who had previously joined Anna Kennedy OBE on Nana Akua’s GB News programme to discuss their charity single, This Has to Stop. Highlighting the devastating consequences of knife crime, the song carries an important message for young people and communities. Performing the complete single at the Mermaid Theatre, the group delivered a powerful and passionate performance that brought the house down. It was a reminder that music can be much more than entertainment; it can educate, raise awareness and give young people a voice on issues that matter.

Aaron Clarke delighted the audience by playing the melodeon alongside his father, Andy, in a touching example of the family spirit that runs through the entire event.

Holly and Hannah joined forces for a lively musical mash-up, while Xander Hall brought his acting and performance skills to the stage with Simply Red’s Fairground. Joshua Scott Crowley injected another burst of energy into the auditorium with an impressive drumming rendition of Uptown Funk, giving the audience every excuse to clap along.

Going Up Funk with Joshua

Sophia Naughton delivered a beautiful performance of Journey to the Past from the musical Anastasia. With its soaring melody and emotional lyrics, the song provided a wonderful opportunity for Sophia to showcase her voice. I was particularly charmed to learn that she also sings in her parents’ pub. Judging by her performance, the customers are certainly in for a treat.

Another performer whose story captured my imagination was award-winning dancer Leila Juhász, who travelled from Hungary to make her Autism’s Got Talent debut. Remarkably, it was not only her first appearance at the show but also her first time travelling by aeroplane. What an adventure, and what a debut! Leila delivered an incredible street-dance routine, bringing confidence, energy and impressive choreography to the stage. Her appearance was a wonderful example of how the event can create opportunities and experiences that extend far beyond the performance itself.

Leila Juhász

André Adams treated the audience to a selection of memorable film themes on the saxophone, bringing a touch of cinematic magic to the theatre, while Alfie Webster took us into the world of Broadway with a musical-theatre number.

André Adams saxophonist with patron Steven Smith Dr Anna Kennedy OBE competes Aston Avery and Philip Barnett

Returning favourite and YouTube sensation Andrew McMurdie had travelled from Ireland to take part in the anniversary celebrations, performing an original composition entitled Memories Are Pictures. During rehearsals, Andrew perfectly captured the spirit of the occasion when he remarked, “There were so many uniquely talented people in one room, like I have never seen before.” His words summed up what makes Autism’s Got Talent so extraordinary. It is not simply about stepping onto a stage and performing; it is about friendship, confidence, opportunity and being surrounded by people who celebrate you for exactly who you are.

Andrew McMurdie

Yvie Bent also impressed with her rendition of Quiet, a song by Jonathan Reid Gealt, adding another emotional moment to an evening that moved effortlessly between uplifting entertainment and heartfelt reflection.

Sadly, Kieron Lee was unable to attend because he was unwell, but he was certainly not forgotten. He sent a special message, and the audience was treated to footage of his much-discussed appearance on the BBC’s The Assembly, during which he performed for former Scottish First Minister Nicola Sturgeon. It was a lovely way of ensuring that Kieron remained part of the anniversary celebrations, even though he could not be there in person. Kieron also created a special 15th-anniversary compilation video celebrating the event.

https://www.youtube.com/watch?v=tDZhPfdRXm4

Another performer who demonstrated the remarkable diversity of talent on display was Daniel Docherty, who travelled from Ireland. A talented powerlifter with an impressive operatic voice, Daniel proved that physical strength and musical artistry can sit beautifully alongside one another. His appearance was yet another reminder of why we should never make assumptions about people’s abilities or place limitations on what they might achieve.

As the evening progressed, the atmosphere inside the theatre became increasingly emotional. There had been laughter, cheers, wonderful surprises and moments of genuine tenderness, but nothing could have prepared me for the extraordinary finale delivered by Atypical with Attitude. I have attended countless theatrical performances and charity events over the years, yet I can honestly say that their beautifully choreographed dance numbers were among the most moving I have witnessed.

Aston Avery and Philip Barnet compares with the rock of the show Lisa Robins .

The performance was dedicated to Kim Stygall, the late mother of dancer James, and what followed was a profoundly touching tribute filled with love, remembrance and emotion. Every movement seemed to carry meaning, and the sincerity of the dancers was almost overwhelming. It was not simply a display of technical skill but an expression of grief, affection and the enduring bond between a mother and her child. There was barely a dry eye in the house, and I certainly struggled to hold back the tears. As the final moments unfolded, the audience responded with heartfelt applause, recognising not only the artistry of the performance but also the courage and emotion behind it. For me, it was the defining moment of an extraordinary evening, and one I shall remember for a very long time.

At the heart of all this is, of course, the remarkable Dr Anna Kennedy OBE, whose tireless determination, passion and commitment have transformed Autism’s Got Talent into the much-loved celebration it is today. Over the years, Anna has become one of the most recognisable voices championing autistic individuals and their families, helping to create opportunities, challenge misconceptions and encourage greater understanding. Yet perhaps one of her greatest achievements is the extraordinary sense of family she has built around Anna Kennedy Online. It is a family that continues to grow, celebrates every achievement and understands the importance of allowing people to be accepted for who they are.

Super star voice

Reflecting on the event and her hopes for the future, Anna said: “We aim to continue to build Autism’s Got Talent year by year. We want all those involved to have fun, do what they love, make friends, be themselves, and have one night that is all about them.”

Those words beautifully capture the philosophy behind the event. It is not about fame, fortune or winning a trophy, but about having the opportunity to stand proudly on a stage, share your talents and be celebrated. For many performers and their families, the experience represents something far greater than a single evening of entertainment. It is a chance to build confidence, form lasting friendships and create memories that will remain long after the theatre lights have dimmed.

Piluca artist show her painting dedicated to Anna Kennedy online and talks on stage

Anna is also the first to acknowledge that none of this would be possible without the extraordinary dedication of her team, many of whom give their time voluntarily. Among them is Lisa Robins, one of the rocks of Anna Kennedy Online and Anna’s trusted right-hand woman, alongside the show’s stage manager, Fiona Shepherd, whose hard work helps transform months of preparation into the polished production audiences enjoy. A big shout-out also goes to Tally Nothey and Genna Nothey, who did the brilliant marketing for the event.

Anna Kennedy on line team .

In an entertainment industry so often dominated by competition, image and commercial success, Autism’s Got Talent offers something wonderfully refreshing. Here, success is not measured by television ratings, record sales or the opinions of a panel of judges. It is measured in smiles, confidence, friendships, personal achievements and the sheer joy of performing. It is about recognising what people can do rather than focusing on what others might assume they cannot.

As the evening drew to a close and the wonderful performers returned to the stage, the atmosphere inside the Mermaid Theatre was electric. There were beaming smiles, proud families, emotional embraces and applause that seemed to go on forever. Looking around the auditorium, I was reminded once again why I have such enormous affection for this event. It brings people together in a way that few other occasions manage, creating an atmosphere of authenticity, generosity and genuine celebration.

Fifteen years after Anna Kennedy first set out to create a platform for autistic talent, the event continues to grow, inspire and change perceptions. And if this spectacular anniversary celebration proved anything, it is that the future of Autism’s Got Talent is every bit as bright as the remarkable individuals who make it possible.

As I left the theatre, still thinking about that extraordinary finale and the many unforgettable performances I had witnessed, one thought stayed with me: the world would be a much kinder, more understanding place if we celebrated one another’s differences with the same enthusiasm and generosity that filled the Mermaid Theatre that night.

Because talent does not come in one shape, one size or one particular form. It comes from individuality, passion, determination and the courage to be yourself. And on this remarkable evening, every single performer was a star.

Fifteen years of talent, fifteen years of friendship and fifteen years of breaking down barriers. And judging by what I witnessed, the best may still be yet to come.

As the Anna Kennedy Online family would say, “You’re all amazing, and we all rock!”

Roll on Autism’s Got Talent 2027. Whoop, whoop!

Steven Smith is a journalist, author and patron of Anna Kennedy Online.

For further information about Anna Kennedy Online and Autism’s Got Talent, visit annakennedyonline.com.

Piluca Art donated to Anna Kennedy obe ,
Categories
Columns Culture Uncategorized

Scenes with Girls

Scenes with Girls — Sass, Spark and a Slice of London Life ⭐️⭐️⭐️⭐️

If you like your theatre sharp, stylish and just a little bit chaotic, then Scenes with Girls at the Union Theatre is one to put firmly on your cultural radar.

Presented by Two Souls Productions and penned by the brilliantly observant Miriam Battye, this deliciously modern piece throws us headfirst into the tangled web of female friendship, dating disasters and the emotional rollercoaster that is being a young woman in London. It’s witty, it’s raw, and at times it cuts a little too close to the bone — just how we like it.

Now let’s talk talent.

Imogen Peck is, quite simply, one to watch. She owns the stage with a confidence that feels entirely natural, never forced. There’s a magnetism about her — that elusive “it factor” — and you find yourself drawn in every time she speaks. Mark my words, this is a rising star in the making.

Imogen Peck

Eleanor Hague, meanwhile, brings a different flavour. With a face absolutely destined for the camera, she has that cinematic quality casting directors dream about. Her performance is a little more acting alone in places in other she commands the stage , but there’s a quiet intrigue there — the kind that suggests, given time, she could be a real force both on stage and screen.

Eleanor Hague,

The script? Oh, it’s clever. Very clever. Battye captures the rhythm of modern conversation with razor-sharp precision — the awkward pauses, the brutal honesty, the humour that masks something deeper. It’s brilliantly written and packed with moments that will have you wincing in recognition.

That said — and we keep it honest at 2Shades — acting is reacting, and in places the connection between performers doesn’t quite land. There are moments where the energy dips slightly, where you want that extra spark, that sharper exchange. But here’s the thing: this is exactly what makes the production exciting. With a little more time, a little more polish, this could be exceptional.

And let’s not forget the unsung heroes — the technical team. Slick, seamless and quietly impressive, they support the piece beautifully without ever overshadowing it.

As for the venue, the Union Theatre remains one of London’s best-kept secrets. Intimate, atmospheric and full of charm, it’s the kind of place where theatre feels alive. Pro tip: arrive early, grab a drink, and soak up the vibe — the staff are as fabulous as the performances.

All in all, Scenes with Girls is a bold, funny and promising showcase of emerging talent. It may not be perfect, but darling, it absolutely has potential — and that’s far more exciting.

Go. Watch. And say you saw them before they were stars. 

Categories
Columns People

Joe Marler Will See You Now: The Talk Show Everyone Will Want to Be On

https://www.youtube.com/@WillSeeYouNowShow

In the ever-evolving landscape of British entertainment, certain personalities burst onto the scene with such warmth and authenticity that audiences instantly connect with them. One such figure is Joe Marler, whose transition from sporting hero to television favourite has been nothing short of remarkable. From rugby pitches to reality TV, and now into the world of podcasting, Marler has carved out a unique space — and his talk show, Will See You Now, is fast becoming one of the most talked-about formats in modern media.

For many viewers, Joe truly captured hearts during his appearance on The Traitors. By the end of the series, it was almost impossible not to develop something akin to a “man crush” on him. He emerged as everyone’s favourite dad, big brother, and loyal mate rolled into one — approachable, funny, and refreshingly honest.

What made Joe stand out was not just his gameplay, but his no-nonsense approach to life. He didn’t pretend to be someone he wasn’t. His humour was natural, his reactions genuine, and his emotional intelligence quietly impressive. In a show built on deception and suspicion, Joe’s openness felt like a breath of fresh air.

When the dramatic finale arrived and Joe was eliminated just short of victory, many viewers felt he had been unfairly “robbed.” Social media lit up with disappointment, with fans lamenting the loss of one of the show’s most likeable contestants. Yet, in typical Joe fashion, he handled defeat with grace and good humour — proving once again why audiences admired him so deeply.

Thankfully, The Traitors was far from the end of Joe’s television journey. Instead, it marked the beginning of something even more personal: his own talk show and podcast, Joe Marler Will See You Now.

Available on YouTube and podcast platforms, the show takes an unconventional and delightfully playful approach to interviews. Set up as a kind of “clinic,” Joe positions himself — tongue firmly in cheek — as an unqualified therapist, ready to examine the minds, stories, and quirks of his guests. the “Clinic”: Joe is joined by his faithful assistant, Jake, as they host sessions featuring awkward small talk and probing questions.With Janet coordinating who we never see. 

But make no mistake: behind the humour lies genuine insight. Joe has an uncanny ability to make people feel relaxed, safe, and willing to open up. He doesn’t interrogate; he converses. He listens. He reacts. And in doing so, he creates moments of real connection that traditional interview formats often fail to capture.

One of the most celebrated episodes to date features Stephen Fry, a guest whose presence alone elevates any conversation. In this standout instalment, viewers are treated to a rare blend of wit, wisdom, and vulnerability. Hillarous moment when he pretends to be Joe and message the Traitors whatsapp group as him asking if he should  open and “Only fans page “ 

Johnathan Ross replys sure and do forget to include a free microscope for members. Others were more encouraging

The episode sees Fry reflecting on creativity, mental health, fame, and identity, while Joe responds not as a distant host but as an engaged, curious human being. Their chemistry is effortless — at times deeply moving, at others laugh-out-loud funny. It is a masterclass in how thoughtful conversation can still thrive in the digital age.

For many fans, the Stephen Fry episode confirmed that Will See You Now is more than just a celebrity chat show. It is a space for meaningful dialogue — where humour and heart sit side by side.

Other episodes have featured comedians, athletes, entertainers, and public figures, each bringing their own stories and struggles to the table. Whether discussing career highs, personal setbacks, or unexpected life lessons, Joe guides every conversation with empathy and authenticity.

What makes the show truly compelling is Joe himself. He never hides behind a polished persona. He is honest about his own doubts, his mistakes, and his journey. That openness invites guests — and viewers — to be open too.

In an age where many celebrity interviews feel rehearsed and formulaic, Will See You Now feels refreshingly real. It’s unpredictable, warm, occasionally chaotic, and always engaging. You never quite know where the conversation will go — and that’s exactly the point.

Joe Marler’s evolution from rugby star to beloved broadcaster has been organic and heartfelt. He hasn’t chased fame; he’s simply followed curiosity and stayed true to himself. And audiences have followed willingly.

With standout episodes like the one featuring Stephen Fry, and a growing list of fascinating guests, Joe Marler Will See You Now is quickly establishing itself as a must-watch series. It’s the talk show everyone wants to be on — and increasingly, one everyone wants to watch.

In a world hungry for authenticity, Joe Marler is delivering it, one conversation at a time. Lets have it a main stream show as it is funny orginal and what we need right now . 

https://www.youtube.com/@WillSeeYouNowShow

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Columns Culture Poetry Travel

“She’s Behind You!” “Oh No She Isn’t!”she is Anna Kennedy On Lines new Patron .

https://malthousetheatre.co.uk

The unmistakable cry of British panto rang through the air at the Malthouse Theatre this week — and what followed was nothing short of a sparkling theatrical treat. Front and centre of this dazzling afternoon was the uber-talented Vicki Michelle.

I joined Dr Anna Kennedy for what promised to be a memorable afternoon — and it delivered in spades.

Just five minutes from Canterbury West station, the Malthouse Theatre is a gem of a venue. Housed in a former 19th-century malt house, it offers a warmth and intimacy that many larger theatres lack. From the moment we took our seats, there was a buzz in the air — the kind that tells you something special is about to unfold.

Anna and I had travelled to see a true British icon — and a good friend of Anna Kennedy Online — in action. While I was there to review the show, Anna had something rather important to ask the star of the performance once the curtain came down.

Let’s be clear: if you think you’re heading to see a “regional” panto, think again. Sleeping Beauty rivals anything currently on offer in the West End — and at a far more affordable price. The cast work tirelessly, delivering an action-packed, high-energy production that never once drops the pace.

There is nothing like a Dame as Joseph Gardner Hodges leads a stellar cast in Sleeing Beauty .

The show really kicks off brilliantly with Tim Edwards, one of the freshest comedy talents I’ve seen in a long while. Playing Jangles — Sleeping Beauty’s equivalent of Buttons — he holds the production together with effortless comic timing, youthful energy, and a commanding stage presence. He is a natural, and the audience instantly warms to him.

Joining him is one of the finest Dames I have ever seen: Joseph Gardiner-Hodges as Nurse Fanny. Hilarious, fearless, and utterly fantastic, Gardiner-Hodges is the yeast in the bread of this show — without him, it simply wouldn’t rise as far. Whether flirting shamelessly with the male members of the audience, delivering razor-sharp one-liners, or fiercely protecting Princess Aurora from the Wicked Queen (or should we say the “socially challenged” queen), he had the audience in stitches. The costume changes alone deserve their own round of applause — though a shoe change for Fanny would have made it an A+.

Then there’s Prince Charming, played by Jordan Calloway. Yes, he’s a good-looking in an Australian soap star way — but more importantly, he can sing. And not just “panto sing” — his voice genuinely stands out, rivalling many performers currently gracing the West End stage.

Just when you think the show can’t possibly get any better, on comes British icon and comedy legend Vicki Michelle as the deliciously evil Carabosse. From the moment she steps on stage, she commands attention. This is stage presence that simply cannot be taught. The former Allo Allo star looks phenomenal and proves exactly why she remains such a treasured figure in British entertainment. (And yes — we absolutely need her back in EastEnders.)

Fabulous costumes as Vicki Michelle captures the audience with her spells.

Her rendition of I Put a Spell on You brought the house down. Despite — or perhaps because of — the enthusiastic boos, Michelle revelled in the “baddie” role, clearly enjoying every moment. Watching an actress with such mastery of her craft is a joy; she knows exactly how to hold an audience in the palm of her hand.

The production values throughout are outstanding. The sets are dazzling, the costumes are richly detailed, and a particularly cute dragon called Caroline steals more than a few scenes. Remarkably, this was the company’s second performance of the day — yet they were as fresh as daisies, delivering with precision, warmth, and infectious enthusiasm.

Next year’s production is Goldilocks and the Three Bears, and on the strength of this alone, I’d say: book now.

After the show, Anna and I surprised Vicki by asking her to become a Patron of Anna Kennedy Online. A long-time friend and supporter of the charity, she was genuinely thrilled to accept. Only weeks earlier, she had joined Anna on GB News to discuss the charity’s work and her ongoing commitment to the autism community.

Dr Anna Kennedy OBE back stage with Vicki Michelle .

Anna summed it up perfectly:

“Vicki is someone who, when she says she will do something, it gets done. She has inspired so many within the autistic community, and we are incredibly proud to have her as a Patron.”

What a day. Huge thanks to the Malthouse Theatre and the wonderful city of Canterbury for such a magical afternoon — proof, if ever it were needed, that great theatre thrives far beyond the West End.

What a Treat Vicki Michelle and me back stage .

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Columns Lifestyle People

Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

4stars xxxxx



Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

There are times when you arrive home after a long day, craving nothing more profound than a cosy half-hour of television fluff — something light, comforting, and easy to disappear into. On the surface, Riot Women looks like exactly that: a vibrant title card, bold artwork, and a show pitched squarely at those who love a dash of spectacle. It would be very easy to hit play expecting a breezy, perhaps even camp, comedy-drama and settle back with a cup of tea.

But Riot Women is not that show. Not remotely.

If you only watch the first ten minutes, you could be forgiven for thinking you’ve been misled. The opening is stark, intense, and packed with enough emotional punch to make even the most resilient viewer mutter, “Oh no… this is going to be depressing,” and reach for the remote.

Yet turning it off would be a terrible mistake.

Because Riot Women quickly reveals itself to be television gold — unexpected, daring, and absolutely bursting with life.

At the centre of this explosive drama-comedy hybrid are the phenomenal Rosalie Craig and Joanna Scanlan, leading an ensemble cast that delivers performances of a calibre you rarely find in mainstream television. Between them, they light up the screen with such power and honesty you can’t look away. Rosalie Craig, especially, is a revelation. Known for her formidable stage presence in musical theatre, she brings the full breadth of her talent to this role: vocally electrifying and dramatically fearless, she swings from raw vulnerability to razor-sharp humour with impossible ease. It’s the kind of performance awards are invented for — at the very least, she deserves a BAFTA nomination.

Joanna Scanlan matches her beat for beat, offering a portrayal that is quietly astonishing — subtle, grounded, and capable of landing an entire emotional narrative with one look. Together, they create a dynamic that makes the story feel not just relevant but necessary.

Of course, no great television series exists without a masterful hand guiding it from the page. Here, that hand belongs to Sally Wainwright, one of Britain’s most exceptional screenwriters. Her voice is unmistakable: sharp, deeply empathetic, and rooted in the lived truths of women who refuse to be sidelined. Wainwright balances humour and heartbreak like a tightrope walker, proving again — as she did with Happy Valley and Last Tango in Halifax — that she knows exactly how to capture complicated, flawed, brilliant female characters. And then there’s Tamsin Greig, whose incomparable screen presence adds yet another layer of brilliance. Whether she’s delivering a deadpan line or revealing quiet vulnerability beneath stoic armour, Greig commands attention every moment she’s on screen. She becomes one of the show’s beating hearts — a character you’re compelled to follow, even in her silences.

What truly distinguishes Riot Women is its emotional honesty. The series dives into the frustrations, absurdities, and injustices faced by women whose lives haven’t gone according to plan — yet it refuses to let despair take the lead. Just when the narrative feels like it’s sinking into darkness, the humour kicks in. And not just comic relief for the sake of it — we’re talking whip-smart, laugh-out-loud writing delivered with perfect timing.

The absurdity is part of the point. Life can be relentless — but it can also be ridiculous.

The tone may zigzag, but that unpredictability is what makes the experience so exhilarating. One moment you’re laughing; the next you’re wiping away tears; then suddenly you’re cheering these women on as they find their voices and reclaim their stories. It’s a celebration of community, resilience, and rebellion — the quiet kind and the loud kind.

Yes, it can be camp — gloriously so — but never cheaply. The humour always comes from a place of truth. And through the satire, the show provides a sharp commentary on how society treats women who dare to age, to feel, to be imperfect, or to speak up.

The writing is confident and bold, unafraid of pushing boundaries. Each episode leaves you with a question — and a burning curiosity for what comes next. It is a story about what happens when ordinary women decide they’re done being polite and invisible. When they realise they have power. When they riot — not violently, but vocally, musically, and emotionally.

To call Riot Women a gem feels too small. It’s a series that arrives disguised as a guilty pleasure but reveals itself to be a gutsy, heartfelt, and beautifully crafted piece of British drama. It’s television that matters — without losing its sense of fun.

So if you begin watching and feel the instinct to switch over: don’t. Give it time. Let it breathe. Stick with the journey.

Because what you find is something rare: a show that reminds you we are all allowed to feel broken — and also allowed to dance, shout, laugh, and reclaim joy, whatever age we are.

Riot Women is bold. It’s brilliant. And it’s absolutely worth your time.

https://www.bbc.co.uk/iplayer/episodes/m002hd7x/riot-women

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Columns Lifestyle People

Blessings at the Riverside Studios


⭐⭐⭐⭐⭐ Review: Blessings at Riverside Studios https://riversidestudios.co.uk/see-and-do/blessings-177622/

Blessings at Riverside Studios is a richly atmospheric and deeply human exploration of family, faith, and the moral turbulence of the 1960s. Directed with sensitivity and intelligence, the play captures a pivotal moment in British social history — a decade when traditional values clashed with the new freedoms of a changing world. It’s a thoughtful, gripping production brought vividly to life by a stellar cast, led by Gary Webster and an extraordinary debut performance by Freddie Webster.

Freddie Webster.

Set against a backdrop of shifting class structures and cultural awakening, Blessings weaves its story around a working-class family grappling with the personal consequences of societal change. The writing is sharp and heartfelt, with themes of loyalty, pride, and redemption pulsing beneath every exchange. The set design immediately evokes the texture of the 1960s — all formica kitchens, nicotine-stained wallpaper, and muted optimism — drawing the audience into a world both familiar and fading.

Rising Star Freddie Webster

At the centre of it all is Gary Webster, whose commanding presence anchors the production. Best known for his iconic turns in Minder and EastEnders, Webster once again proves he is one of the UK’s most underrated actors. His performance here is layered and magnetic: a man torn between old loyalties and the unrelenting push of modern life. He brings a bruised dignity to the role — a quiet strength mixed with a sense of defeat that feels heartbreakingly authentic. In a just world, this performance would cement his reputation as one of Britain’s finest stage actors.

Underestimated Gary Webster

Equally striking is the breakout performance of Freddie Webster, making his professional stage debut after studying at Mountview Drama School. It’s rare to see such poise, nuance, and emotional truth in a first-timer. Freddie delivers a performance that is at once raw and refined, capturing the restless energy of youth alongside the vulnerability of someone desperate to find their place in a world that doesn’t quite make sense. His natural stage presence and impeccable timing mark him as a talent to watch — a future star in the making. The chemistry between father and son, both on stage and in spirit, is palpable and moving, adding an extra layer of resonance to the drama.

Hannah Traylen, as Frances, deserves special mention. She brings warmth, wit, and quiet steel to a role that could easily have been overshadowed in lesser hands. Traylen’s Frances is a woman of her time but also ahead of it — sharp-tongued yet tender, pragmatic yet passionate. It’s a beautifully judged performance suggesting that Traylen is another rising talent with a bright future

Gary Webster and Hannah Traylen .

The supporting cast contribute solidly, creating a believable ensemble that breathes life into every corner of the story. The pacing of the piece, while deliberate, allows each emotional beat to land fully. If there is a minor quibble, it’s that the play runs a little long without an interval — at times, one finds oneself wishing for a short pause to absorb the emotional intensity before diving back in. Yet, in truth, this is a small price to pay for the richness of the experience. The continuous flow also has its advantages: it keeps the audience immersed, never breaking the spell the actors have so carefully woven.

Technically, Blessings is beautifully realised. Lighting and sound design work in quiet harmony to evoke both nostalgia and unease. The director’s attention to period detail ensures that nothing feels contrived; instead, every moment feels lived-in and real. The dialogue crackles with authenticity, alternating between humour and heartbreak in a way that mirrors real life.

Ultimately, Blessings is a triumph — a play that reminds us why live theatre matters. It challenges, it moves, and it connects. It holds a mirror up to a time not so long ago, showing us how the struggles of the past still echo in the present. Gary Webster delivers a masterclass in restrained power,

The result is an evening of theatre that feels both timeless and immediate — .

https://riversidestudios.co.uk/see-and-do/blessings-177622/

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Columns Culture Lifestyle Poetry

The Pied Piper of Rock: Matty Healy Leads The 1975 Into Glastonbury History

Matt Healy the 1975 Glastonbury

When you tune in to watch The 1975 perform live, you’re not just listening to a concert—you’re boarding an electrifying emotional rollercoaster. From the first beat to the final bow, Matty Healy doesn’t just sing; he commands, provokes, and enchants. At Glastonbury, he led his band into the annals of festival history with a performance that was nothing short of spellbinding—part protest, part performance art, and all heart.

There’s no doubt that watching The 1975 live is like being caught in a storm of sound and sentiment. Healy, a vocal advocate for mental health awareness, brings his audience on a journey that often feels bipolar in nature—veering from euphoric highs to moments of raw, painful vulnerability. One moment, you’re leaping in unison with thousands, lost in the pulse of a synth-heavy anthem; the next, you’re hushed and still, listening as he declares, “I’m bleeding for you.” Behind him, haunting visuals flash—images of human suffering, environmental destruction, animal cruelty—reminding the audience that this isn’t just music, it’s a call to consciousness.

“It’s not about politics anymore,” Healy said mid-set. “It’s about love. It’s about being kind. Only with that will we ever make a real difference.” It’s these moments of candour that transform his concerts from simple entertainment into deeply moving communal experiences. In an industry where many shy away from difficult truths, Healy walks straight into them, arms wide open.

His onstage persona oscillates between bravado and vulnerability. “I’m the greatest poet,” he quips with a grin—only to retract with a shrug in the next breath, “No, I’m an idiot.” The line between jest and confession blurs. It’s this constant tension—between confidence and self-doubt, performance and honesty—that makes him so captivating. Matty Healy was born for the stage, but it’s his disbelief in his own myth that makes the myth so powerful.

Critics often compare him to rock legends—Jagger, Iggy Pop, maybe even Bowie—but the truth is, Healy defies easy classification. He’s original, carving out a space that feels entirely his own. Perhaps the closest parallel is Marc Bolan, who stunned a generation with “Ride a White Swan,” opening the doors for glam rock and gender fluid performance styles. Bolan didn’t just sing songs—he shaped culture. Healy is doing the same, one provocative, glittering, gut-punch of a show at a time.

Musically, The 1975 occupy a unique space in modern rock. Their sound is a kaleidoscope—one moment polished pop, the next raw post-punk, with forays into jazz, soul, and experimental electronica. Healy’s songwriting is equally diverse. At times playful and catchy, at others profound and searching, he writes like someone trying to make sense of the world in real time. His voice—distinctly androgynous—is now fully formed. It’s a sound that feels both masculine and feminine, emotionally expressive without relying on the grit or aggression often associated with male rock vocalists.

Unlike performers such as Eminem or Macklemore, who often lean on female vocalists to soften or elevate their songs, Healy’s voice stands entirely on its own. There’s no need for a counterbalance. His vocal tone is rich, resonant, and complete. If a perfectly dressed salad needed no extra dressing, then Healy’s voice is that seasoned dish—balanced, flavorful, and satisfying all on its own.

And while Matty Healy is the band’s lightning rod, The 1975 is far more than just one man. The musicianship within the group is extraordinary. Drummer George Daniel is a master of rhythm—an innovator whose work deserves to be ranked alongside legends like Keith Moon and Ginger Baker. His beats are not just background; they are the spine of every song. Then there’s saxophonist John Waugh, whose solos are so expressive and vital that it’s easy to imagine David Bowie himself swooping in to steal him for a side project. Guitarist Adam Hann is no less impressive, crafting intricate textures and soaring riffs that elevate every performance.

1975 Drummer George Danielles a drummer for the hall of fame .

Together, they’re a cohesive force, a band in the truest sense. At Glastonbury, they played not like hired hands or background musicians, but like brothers—a family bound by the music they make. It was Healy, of course, who brought them all together, and it is his vision that they continue to follow. But it’s the synergy of all four that gives the band its power.

The 1975

The Glastonbury crowd, thousands strong, didn’t just watch—they listened. When Healy pleaded with them to “be kind” and to “make a difference,” they responded not with cheers but with thoughtful silence, a stillness that only true impact can elicit. Few performers have that kind of power. It’s the rare ability to hush a festival crowd, not with volume but with vulnerability.

And already, there are imitators—artists scrambling to mimic his stage presence, his fashion, his lyrical style. We won’t name names—let’s be kind, as Healy would urge—but the influence is undeniable. The 1975 are not just leading; they’re redefining the genre.

As the final chords rang out into the Glastonbury night, one thing became clear: this was a moment that would be remembered. The band could have easily played for another hour, and no one would have left. But sometimes, leaving them wanting more is the mark of a true master. And Matty Healy, for all his self-doubt and sarcasm, is exactly that—a master performer, a cultural touchstone, and yes, perhaps the Pied Piper of modern rock.

The world will keep watching. The arenas will fill. And The 1975 will continue to evolve, to provoke, and to inspire. Glastonbury may be behind them, but their story is far from over.

END

Why The 1975 and Matty Healy Support LGBTQ+ Rights and Fund Them

In an era where performative allyship is all too common in pop culture, The 1975 have carved out a reputation for genuine advocacy—particularly when it comes to LGBTQ+ rights. Fronted by the passionate and outspoken Matty Healy, the Manchester-based band not only vocalizes support but backs it with real action and funding.

Healy and his bandmates—George Daniels, Adam Hann, and Ross MacDonald—aren’t just a group with a large LGBTQ+ following; they’ve actively embraced and empowered the community. Their hit “Loving Someone” has become something of a modern gay anthem, resonating deeply with queer fans for its themes of identity, love, and resistance to conformity.

But their commitment goes well beyond lyrics. In a tangible display of support, The 1975 donated £16,000 to help create an LGBTQ+ centre in London—a meaningful contribution aimed at fostering safe spaces and community resources. As Healy himself said, “You might wonder why this is needed and ask what exactly everyone is still scared of, but sadly stigma still exists.” It’s clear he understands the ongoing challenges faced by LGBTQ+ individuals and refuses to remain silent.

Healy’s activism isn’t just about charity—it’s also about calling out injustices. At the BRIT Awards, he used his platform to highlight misogyny in the music industry, quoting journalist Laura Snapes to critique the double standards applied to male and female artists. This kind of intersectional awareness is why his advocacy rings true.

Part of Healy’s inclusive worldview stems from his upbringing. With a gay icon for a mother—actress Denise Welch—and a father known for playing drag characters on TV, he grew up immersed in queer culture. Labels never mattered in his household, and that open-mindedness clearly carries into both his personal life and public platform.

What truly sets The 1975 apart, though, is how authentic and accessible they remain despite global fame. Backstage at a packed O2 concert, Healy was more concerned about making sure a guest had a drink than what he was going to wear on stage. That sincerity, that desire to connect rather than dominate, defines their relationship with fans—especially LGBTQ+ fans who have long searched for artists that don’t just exploit queer culture but stand alongside it.

In short, The 1975 aren’t just the band everyone’s talking about because of their catchy songs or chart success. They matter because they’re using their platform with genuine purpose—offering representation, safe spaces, and support for those who need it most.

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Columns Health and Fitness Lifestyle People Uncategorized

Steven’s Viewz: Four Must-Have New Beauty Products

Having been a creator in the beauty industry before becoming a writer, my eagle eye is always on the latest hot products to keep us looking our very best.

As spring approaches, I thought it was the perfect time to share my top four picks that will bring out the best in you.

1. Enough Wellness Collagen – Created by Women for Women (But Men Can Use It Too!)

“Beauty comes from within.”

Enough Wellness Collagen is a highly effective supplement that combines 10,000mg of two types of high-quality bovine collagen with vitamins C and D to enhance absorption and maximize benefits. This targeted formula nourishes from within, making it an excellent addition to any beauty routine.

Why Collagen Matters

Collagen is a vital structural protein essential for maintaining the health and integrity of our skin, hair, nails, joints, and connective tissues. As we age, collagen production declines, leading to visible signs of aging such as sagging skin, weakened joints, and brittle hair and nails.

Adding a collagen supplement to your daily routine helps replenish these levels, promoting a youthful glow and overall well-being.

Premium-Quality Ingredients

Enough Wellness sources its hydrolyzed Swiss Bovine Collagen Peptides from grass-fed cows in Switzerland, ensuring purity and sustainability.

The formula is free from gluten, GMOs, artificial colors, flavors, fats, sugars, and carbs, providing essential support for:
✔ Radiant skin
✔ Strong hair and nails
✔ Flexible joints
✔ A healthy metabolism

Its neutral taste makes it incredibly versatile—you can add it to smoothies, water, juice, or even use it in baking. We loved it at 2SHADES!

🔗 Check it out here

2 Re[Sens] – A Game Changer for Redness-Prone Skin

It’s not often that I get truly excited about a new skincare range—after all, I’ve seen just about every potion and lotion on the market. But when leading skincare expert Iryna Stewart suggested that my Celtic skin redness could be tamed and calmed, I was all ears.

And she was right. Re[Sens] is a game-changer for those of us prone to redness or flushed-looking skin.

The Philosophy Behind Re[Sens]

Made in Ukraine, this brand is deeply rooted in ancient Ukrainian traditions, bringing them into the modern world through the symbolism of the circle—a concept inspired by Trypillian culture. This symbol represents the eternal cycle of time, regeneration, harmony, and the connection between nature and cosmic rhythms.

But Re[Sens] is more than just skincare. It’s about rethinking beauty—where high-quality, effective products are created with sustainability in mind.

Breaking Down the Name: Re[Sens]

🔹 RE – Represents a moment of rethinking skincare, where both the product and its packaging are designed without harming the planet. The brand emphasizes that the earth needs care just as much as our skin, and failing to consider this leads to a loss for everyone.

🔹 SENS – Derived from “senses” and “sensitivity”, reflecting both the needs of delicate skin and the emotional sensitivity of an individual. Re[Sens] acknowledges that every element of life affects our well-being, offering a 360° approach to skincare.

A New Standard in Beauty: Slow, Thoughtful, and Effective

Re[Sens] embraces the philosophy of Slow Beauty, which is built on the idea that more is not always better. Just as multitasking can lead to burnout, overwhelming the skin with too many ingredients can cause stress and irritation. Instead, Re[Sens] focuses on:

✔ Mindful consumption
✔ Achieving results without compromising skin health
✔ Ethical and sustainable skincare

Rather than overloading the skin, Re[Sens] provides a balanced blend of anti-inflammatory, moisturizing, and soothing ingredients, ensuring effective care without overstimulation.

For those looking to adopt a conscious, holistic approach to skincare—one that nurtures both the skin and the planet—Re[Sens] is a must-try.

🔗 Learn more here 15 percent discount with the code STEVEN2025

Creator of the pillow Tracey Wooley with aesthetic and beauty expert Clare McSweeney

3 The Fresh Face Pillow – The Ultimate Beauty Sleep Essential SS15 will give your audience 15% off

If there’s one beauty product I can’t stop raving about, it’s the Fresh Face Pillow—even Contessa Sharrock loves it! This clinically proven pillow is a game-changer in the fight against sleep-induced wrinkles and creases—something even the best creams can’t fix. And the best part? You only need to buy it once!

What Makes the Fresh Face Pillow So Special?

✔️ Clinically Proven – Backed by science to prevent sleep wrinkles
✔️ Silk Pillowcase – Gentle on skin and hair, reducing dryness, bedhead, and breakage
✔️ Memory Foam with Cooling Gel – Supports neck posture while keeping you cool all night

Why Silk Matters

Silk pillowcases offer more than just luxury—they actively protect your skin and hair. Unlike cotton, silk reduces friction and irritation, helping to prevent wrinkles, dryness, and breakage. It’s also hypoallergenic and temperature-regulating, ensuring a comfortable and restorative sleep.

Your Best Defense Against Aging

Did you know that most aging happens while you sleep? The Fresh Face Pillow is designed to protect your skin overnight, ensuring you wake up looking refreshed and youthful.

If you’re serious about skincare, beauty, and better sleep, this pillow is a must-have!

SS15 will give your audience 15% o

🔗 Get yours here ☁️✨

https://watermanshair.com/products/watermans-mini-massager-care-comb

4 Watermans Red Light Mini Scalp Massager – A Game Changer for Hair Care

At 63 years young, I still get compliments on my hair, thanks to top colorist Heidi Gammon and my barber Mike Edde. While some of my mates are jetting off to Turkey for hair transplants, I have a secret weapon—Watermans shampoo and conditioners.

Now, they’ve introduced something even better—the Red Light Mini Scalp Massager. As someone who already swears by scalp massagers, I can confidently say that this new red light mini comb is an absolute game-changer.

Why You Need the Watermans Red Light Mini Scalp Massager

✔️ Boosts Hair Growth – Uses high-frequency vibrations and red light therapy to rejuvenate the scalp and encourage hair regrowth.
✔️ Enhances Serum & Oil Absorption – Designed to work with Watermans hair oil or serum, ensuring deeper penetration of nutrients for stronger, healthier hair.
✔️ Scientifically Proven – Red light therapy has been shown to combat hair loss and promote thicker, fuller hair.
✔️ Easy to Use – Simply squeeze the side pads to release oil or serum while the massager glides smoothly over the scalp.
✔️ Portable & USB-C Rechargeable – Take it anywhere—ideal for travel or home use.

How to Use for Maximum Hair Growth

1️⃣ Charge the Device – Ensure it’s fully charged for consistent performance.
2️⃣ Load with Oil or Serum – Use Watermans hair oil or serum for maximum benefits.
3️⃣ Activate Oil Release – Gently squeeze the pads to dispense product evenly.
4️⃣ Turn On & Massage – Select your desired setting and let the high-frequency vibrations & infrared light do the work.
5️⃣ Glide Over the Scalp – Use small, circular motions, focusing on thinning areas.
6️⃣ Relax & Enjoy – Feel the soothing effects as it stimulates blood circulation and nourishes the scalp.
7️⃣ Use Regularly – For the best results, use several times a week to see noticeable hair growth improvements.

Final Verdict

If you’re serious about scalp health and hair growth, this powerful yet easy-to-use device is a must-have. With its red light therapy, vibration technology, and precise serum application, it provides professional-level scalp rejuvenationat home. Plus, its compact, rechargeable design makes it perfect for on-the-go use.

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Me with my incredible agent Jane Compton both of us are addicted to Waterman’s ,
Categories
Columns Lifestyle People Uncategorized

2shades” Smoggie Queens.” Is bullying ever funny ?

Steven Smith takes a look at BBC’s Smoggie Queens . https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

There is no doubt that “Smoggie Queens” has moments of comedic brilliance. However, the constant bullying by Dickie (played by Phil Dunning, whose drag persona is Tuna Baguette) of the younger queen Stewart ( Elijah Young ) makes for uncomfortable viewing.at times This theme runs throughout the entire series, becoming repetitive and embodying everything we do not want to see in contemporary LGBTQ+ storytelling or comedy .

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

Having been a young teenager treated similarly by an older gay man when I was simply seeking advice and desperate for acceptance, I could relate to the discomfort the series evokes. I recall being humiliated when the most attractive man at the bar approached me at 16, bypassing my own “Dickie.” Outside, I was punched and accused of making myself look cheap—pure jealousy. Sadly, the gay scene isn’t always the “We Are Family” utopia it’s often portrayed to be. Mean queens are a reality, and most cases, they’re not particularly funny.

Dickie, unfortunately, is where the show falters. Phil Dunning, the writer and creator, fails to bring much depth to the character, leaving him unlikeable. As Dickie’s former boyfriend Harrison aptly states, “I have really tried to love you, but you’re selfish, egotistical prick .” This sentiment defines how Dunning plays Dickie throughout the series, both in and out of drag. While Dunning’s screen presence is undeniable, it’s disappointing that he didn’t explore more dimensions of Dickie’s character. Even in the end, when Dickie shows a glimmer of empathy for his victim, it feels like too little, too late.

Dickie (played by Phil Dunning, whose drag persona is Tuna Baguette)

Where “Smoggie Queens” truly shines is in its brilliant supporting cast. Mark Benton as Mam is nothing short of phenomenal. Channeling the charm of greats like the legendary Marc Fleming, Benton delivers an award-worthy performance that leaves you in stitches from the moment Mam appears. While it would have been easy to play Mam solely for laughs, Benson’s portrayal is a masterclass in combining comedy with humanity, making Mam a character you simply can’t get enough of.

Alexandra Mardell as Lucinda, the ultimate “fag hag” on the lookout for love, teams up with Patsy Lowe as Sal to deliver comedy gold. Their beautifully understated performances result in side-splitting humor that elevates the show.

There are some notable guest appearances: RuPaul’s Drag Race star Michelle Visage plays the office spinster (and who doesn’t love her?). Plus, there’s a brilliant cameo by Steph McGovern. Notably, Michael Hodgson’s Nan is both menacing and camp.

While the series does have its merits, it also reinforces certain stereotypes about the LGBTQ+ community. Instead of challenging these clichés or providing fresh perspectives, “Smoggie Queens” sometimes leans into them, which feels like a missed opportunity in an otherwise promising show.

This is a show that will for sure be recommissioned. It is no “Will and Grace ” or “Gimmie, Gimmie . But it does a firm Mark Benton as comic genius and open the gates to a new talent in Elijah Young .

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

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Culture Lifestyle People

2Shades reviews “The Business of Murder ” and get to chat to one of it’s stars Gary Webster

The Business of Murder by Richard Harris at the Theatre at The Tabard
Can a murder play be both funny and tense at the same time? Well, The Business of Murder delivers just that.
https://tabard.org.uk/whats-on/the-business-of-murder/

Set in the 1980s, even the set design conveys that you’re dealing with true professionals, setting the mood even before the show begins. (The Tabard Theatre is wonderfully intimate, though the sight of a modern-day Marlboro Light did make me itch to replace it with a Rothmans.)

The set, designed by Lily Minores and Rob McKinley, effectively transports you to an era when the TV was always on, often showing the horse racing.

Stone (played by Miles Gallant) invites local police detective Hallett (Gary Webster) over to discuss his troublesome son, who is nowhere to be found.

After Hallett leaves, promising to return later, Stone then invites true crime writer Dee (Charlotte Hunter) to meet his wife. Yet the audience knows that Stone’s wife is dead. So why the invitation?

Gary Webster as Hallet.
r Miles Gallant as Stone and Charlotte Hunter as Dee https://tabard.org.uk/whats-on/the-business-of-murder/

You need to let your imagination run wild in the first half and simply enjoy the craft on display—it’s a rare treat to see an actor like Gary Webster perform on such an intimate stage. His portrayal of Hallett blends humor and drama seamlessly, making his character’s self-righteousness both entertaining and believable.

The drama student sitting next to me was in awe, and for good reason. If you’re studying acting, this performance is practically a masterclass. Webster’s ability to deliver witty quips while guiding the audience through the twists and turns is exceptional.

His character is not only charming and funny but also unflinchingly unapologetic, with an underlying ugliness that adds depth.

Gary Webster as Hallet https://tabard.org.uk/whats-on/the-business-of-murder/

Charlotte Hunter (Dee) also brings incredible depth to her character, avoiding the trap of one-dimensionality. Similarly, Miles Gallant delivers a strong performance, holding his own alongside the other two leads.

The only minor flaw in my opinion is the pacing in the second half. While it’s never dull, it does feel longer than necessary, leaving you wishing it would get to the point a little quicker. Even with such talented actors, some trimming would have benefited the production.

Here Steven Smith gets to chat to acting legend Gary Webster.

Tell us about The Business of Murder and why you chose to appear in it.


The Business of Murder is a great whodunnit—or rather, a great whydunnit! It is written by the legendary film, TV, and theatrical writer Richard Harris, so when the chance came along to audition for the role of grizzled cop John Hallett, I jumped at it.

Fortunately, the director liked what I could bring to the role, and I was cast. It’s one of the best roles I’ve ever had the chance to play, and I’m very thankful the show has been such a success.

One of your sons, Freddie, has gone into acting. What advice did you give him?

Enjoy, enjoy, enjoy. Take the work very seriously, but try to keep all the outside noise about what is deemed as success or failure at a distance. In the end, we are here to entertain and, hopefully, in some small way, make people’s lives better. I encourage both my sons to find something in life they love doing, whatever it may be and wherever it may take them.

Would you like to see Minder come back?

It would be great fun to bring it back, with me in more of an Arthur role and a new Minder looking after Ray Daley. There are always rumors that plans are underway because it was, and still is, so loved. However, as with the Shane Richie version, I’m not sure the powers that be would include me in their thinking—which has always seemed a little strange to me—but nothing surprises me in our beloved profession!

You recently judged the Autism Hero Awards. What was that like?

As always, I am honored to be asked, and it is an inspiration to be part of the process. It really brings everything into sharp focus and perspective as to what is truly important in life. It’s lovely to be able, in a very small way, to honor those who do such fantastic and life-changing work.

Gary Webster with fellow judges Samantha Lee Howe 2Shades very own Steven Smith The man of the moment Heartstopper Bradley Richies and Dr Anna Kennedy OBE.

2Shades thinks you should run as an MP. Is that on the horizon?

I’m open to anything at my age! If I could change the country and the world for the better, and the only way to do that was by being an MP, I’d like to think I could give a voice to people who are struggling. Having gone through so much in my own life, I feel I can relate to their fight just to get through the day.

Your look in The Business of Murder is channeling either a ’70s football manager or the quintessential gay clone. We had quite a few gay men message us when your picture went online. Do you think attitudes have changed toward the LGBTQ+ community, and would you like to play a gay role?

I’d certainly like to think attitudes have changed. However, I’m also very aware that the fight for full equality for everyone is still not over. Given recent events in America, with a new administration bringing such archaic views towards the LGBTQ+ community, we must never be complacent. Everyone in the world has the right to identify as they wish and to demand the rights afforded to all without exception.

I can’t believe that in 2024 this is still a battle, but it is, and it will continue until full equality is achieved. I have no problem playing a character who is gay, straight, or bi. In fact, I’ve played characters such as William Tallon in A Princess Undone opposite Stephanie Beacham, where I portrayed the iconic “Backstairs Billy,” who worked for the Queen Mother for many years.

Stephanie Beacham in A princess undone .

A character’s sexuality—whether gay, straight, or bi—is just one aspect of them. In the end, we all experience love, heartbreak, passion, sadness, and joy in the same way. These are universal human experiences, regardless of sexual orientation, and it’s time the world fully recognized that.

What are you and your wife, Wendy, doing for Christmas?

Usually, we’d just stay at home, but as Wendy’s dad is now nearby in London, we’ll be at his flat, cooking a vegan Christmas dinner for us, the boys, and Brian. I adore Christmas—my dad did too. His legacy to me was huge in terms of the joy and magic of Christmas, so it’s a time of year I always try to enjoy. That said, I’m very much aware that, for many, Christmas is a difficult time. My thoughts are always with those who are struggling mentally, physically, or simply trying to find a place to live during this season.

Gary Webster and his wife Wendy Turner Webster .

What would you like for Christmas?

Good health for those I love, the coming together of people around the world to make it a safer place, and 9 points for Arsenal over the Christmas fixtures!

What does 2025 hold for you?

Good health, hopefully, happiness for my sons and wife in all they do, and maybe a lead role in a Marvel TV series. That way, when I’m old and infirm, I can still turn up to Sci-Fi and Comic-Con conferences as my character, earn a ton of money, and have a nice two-day getaway in Vegas—all expenses paid!

2Shades Steven Smith with Gary Webster . https://tabard.ticketsolve.com/ticketbooth/shows/1173651533/events/428615519