Acting is reacting. It is one of the fundamental principles of the craft, and something the legendary acting coach Lee Strasberg, one of the leading figures in bringing Method acting to America, understood better than most.
Marilyn Monroe, arguably one of the greatest screen icons of all time, studied under Strasberg in New York at the Actors Studio. He once spoke movingly about her ambition:
“Marilyn always dreamt of being an actress. She didn’t, by the way, dream of being just a star. She dreamt of being an actress.”
He went on to explain that despite becoming one of the most extraordinary stars in Hollywood history, Marilyn was never entirely satisfied. She wanted to be taken seriously as an actress, to explore her craft and to be recognised for something beyond her extraordinary beauty and magnetic screen presence.
Many of the great actors of that generation also studied with the formidable Stella Adler, adding another string to their theatrical bows. Between them, these influential teachers helped shape some of the finest acting talent of the twentieth century.
In Who Killed Marilyn?, Strasberg is referenced several times, although his wife, Paula Strasberg, also played a significant role in Marilyn’s development as an actress and became one of her closest professional confidantes.
All of which makes the central performance in this production rather important.
The show stars Pixie Lott, although the Saturday matinee I attended featured an understudy in the role of Marilyn Monroe.
Now, I couldn’t help feeling that had either Lee Strasberg or Marilyn herself witnessed this particular performance, they might well have been turning in their graves. And not simply because of the dreadful wig and unfortunate costume.
Let me be clear: Who Killed Marilyn? is a terrific theatrical concept. In fact, there is a great deal to admire here. The script is imaginative, the set is superb, and the supporting cast delivers some tremendous performances. Much of the costume design is also impressive,.
There is clearly talent, imagination and considerable hard work behind this production.
But there is one rather substantial problem.
Without a convincing Marilyn Monroe, the entire production loses its heart.
Marilyn was never simply a blonde bombshell with a breathless voice and a collection of seductive poses. She was an extraordinarily complicated woman. Beneath the carefully constructed Hollywood image was someone of great intelligence, humour, sensitivity and vulnerability. She could be fragile yet fiercely determined, insecure yet remarkably strong.
That contradiction was part of her magic.
To portray Marilyn successfully requires far more than copying her mannerisms. An actress must find the woman behind the legend, bringing light and shade, emotional depth and genuine humanity to the role.
Unfortunately, that was precisely what I felt was missing.
What should have been a fascinating portrayal of one of the world’s most misunderstood women became, at times, little more than a camp impersonation. The exaggerated delivery, the mannerisms and the overall presentation occasionally made the performance feel more suited to an episode of RuPaul’s Drag Race than a serious theatrical exploration of Marilyn Monroe.
And I can almost guarantee that the wig and costume would have been better on Drag Race.
There were moments when the performance simply fell flat, while others veered uncomfortably close to cringe-inducing caricature.
This is particularly frustrating because the material offers so much potential. Marilyn’s life was filled with extraordinary contradictions: fame and loneliness, glamour and insecurity, ambition and exploitation. Her relationships with powerful men, her determination to be respected as an actress and her tragic early death provide enough dramatic material to fill several productions.
The audience needs to believe, even if only for a fleeting moment, that Marilyn is standing before them.
For me, that moment never arrived.
I must, however, give credit to the understudy for taking on such a demanding role and remembering what is clearly a substantial amount of dialogue. Stepping into the shoes of one of the most recognisable women in history is no small undertaking, particularly when audiences arrive with such strong expectations.
My criticism is of the performance I witnessed, not of the actress’s dedication or effort. Nevertheless, I felt the characterisation was a considerable distance from the standard one would expect of a polished West End production.
It is also important to point out that I did not see Pixie Lott in the role, so my observations should not be taken as a judgement of her interpretation.
As for the venue, the Emerald Theatre is an interesting space with a past life as a club. It certainly has atmosphere and character, although prospective theatregoers should be warned that I found the seating extremely uncomfortable. Theatre is meant to challenge the mind and stir the emotions, not leave the audience desperate to stand up simply to relieve their backsides.
Ultimately, Who Killed Marilyn? is a production with considerable promise. There is an excellent concept, an engaging script, an impressive set and a supporting company that deserves recognition.
But when your entire story revolves around one of the most iconic women of the twentieth century, getting Marilyn right is not merely important. It is essential.
Marilyn Monroe spent much of her life fighting to be recognised as a serious actress rather than simply a beautiful movie star.
How ironic, then, that a production exploring her life should, in the performance I witnessed, reduce her to the very caricature she spent so many years trying to escape.
The question may be Who Killed Marilyn?, but on this particular afternoon, I was left wondering: where on earth was Marilyn?
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.
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.
As the 50th anniversary tour of The Rocky Horror Show sets off across the UK, there is only one place to begin—on bended knee to the woman who helped make it immortal: Patricia Quinn.
As a teenage boy, among the posters that adorned my bedroom—between David Bowie and Marc Bolan—was Magenta. Wild-eyed, flame-haired, and utterly unforgettable, she wasn’t just a character; she was a calling. The Rocky Horror Showwas the whispered obsession of the Northumberland Experimental Youth Theatre, a badge of honour for those lucky enough to have made the pilgrimage to London.
A year later, I found myself at the National Youth Theatre, and my father—our relationship often complicated—took me to see it on the King’s Road. The theatre is now a cinema, but back then it was a portal into another world. I remember his face vividly: the moment Dr. Frank-N-Furter appeared in suspenders and heels, his jaw dropped. Whatever he had expected, it wasn’t that. And yet, to my surprise, he loved it. It became one of the rare, shining memories we shared—proof that sometimes art bridges even the widest emotional gaps.
That night marked the beginning of a lifelong love affair with both the stage show and its cinematic counterpart, The Rocky Horror Picture Show. Like so many others, I returned again and again, drawn not just by the outrageous spectacle, but by its spirit—its rebellion, its humour, its defiant celebration of individuality.
And then, as life so often does, it delivered one of those surreal, delicious moments. At a showbiz party years later, a familiar voice tapped me on the shoulder: “Darling, do you know where the VIP area is?” I turned—and there she was. Patricia Quinn. Magenta herself.
My dear friend, the ever-fabulous Lester Middlehurst, wasted no time stepping in, guiding her with theatrical authority, and before I quite knew what was happening, we were all heading into the VIP area together. What followed was a night of laughter, stories, and that rare electricity that comes when legends reveal themselves to be wonderfully human.
Now, I have always maintained a personal rule: never meet your idols. Better to preserve the mystique, the enigma. But Patricia Quinn broke that rule beautifully. She was warm, witty, and gloriously unpretentious. Lester, of course, being the consummate showbiz journalist, made it his mission to become her best friend within minutes. And somehow, he succeeded.
We later found ourselves at events together—including Lord of the Dance with Michael Flatley—where Patricia’s presence brought a certain sparkle, a knowing wink to the absurd theatre of it all. She belonged everywhere and nowhere all at once: a true original.
Born in Belfast in 1944, Patricia Quinn’s journey to cult immortality was anything but ordinary. The daughter of a bookmaker, she showed early promise, eventually leaving Northern Ireland at just 17 to pursue her craft in London. Training at Drama Centre London while working as a Playboy Club Bunny in Mayfair, she embodied a kind of gritty determination that would later define her career.
But it was her role as Magenta that etched her into cultural history. In The Rocky Horror Picture Show, her disembodied lips open the film, delivering “Science Fiction/Double Feature” with hypnotic allure—a moment so iconic it has become part of cinematic folklore. Though the vocals were performed by Richard O’Brien, it was Quinn’s presence that made it unforgettable.
Her career, however, extends far beyond Rocky Horror. From I, Claudius to Doctor Who, from Shock Treatment to Rob Zombie’s The Lords of Salem, Quinn has consistently embraced the unconventional. She has never been an actress content to fade into the background; she commands attention, whether in horror, comedy, or cult fantasy.
And now, as the 50th anniversary tour takes to the road, the legacy of Rocky Horror is being celebrated in spectacular style. Joined by fellow original cast members including Barry Bostwick and Nell Campbell, Quinn returns to the stage—not just as a performer, but as a living piece of theatrical history.
The tour is no ordinary revival. Featuring a newly restored 4K screening of the film, accompanied by a live shadow cast, audience participation, and costume contests, it captures everything that has kept Rocky Horror alive for half a century. This is not passive viewing—it is a communal ritual, a celebration of difference, a joyful rebellion against conformity.
Quinn herself reflects on the journey with characteristic charm: recalling her first audition at the tiny Royal Court Theatre Upstairs, she laughs that her agent described it as “something to do with a circus.” He wasn’t wrong. Fifty years later, she is still part of that circus—one that has grown into a global phenomenon.
What makes Rocky Horror endure is not just its shock value, but its heart. It gave permission—long before it was fashionable—to be different, to be bold, to be unapologetically oneself. And at the centre of that message stands Patricia Quinn, a woman who brought wit, intelligence, and a sly subversion to a role that could easily have been one-dimensional.
For those of us who grew up under her spell, she is more than Magenta. She is a symbol of a moment when theatre broke free from its constraints and dared to be outrageous, inclusive, and gloriously alive.
So yes, all hail Lady Patricia Quinn.
Fifty years on, the lips still beckon, the fishnets still shimmer, and the invitation remains the same:
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.
There are nights out, and then there are nights that feel like a rite of passage. One such evening found artist Piluca and myself stepping through the doors of the legendary Royal Vauxhall Tavern, to witness the singular brilliance of David Hoyle—a figure who exists somewhere between performer, prophet, poet, and living artwork.
I once described Hoyle as the love child of Kate Bush and Lindsay Kemp, and I stand by it. He is not merely an accomplished performer—with a career spanning television, film, and theatre—but an artist who uses his entire being as medium and message. Last year alone he appeared on stage in an adaptation of Hedda Gabler, proving once again that he is as comfortable in classical reinterpretation as he is in anarchic cabaret.
Hoyle is, quite simply, a walking piece of art. He cuts a vein—metaphorical, emotional, spiritual—and allows the audience to witness everything that spills out: his fears, his hopes, his contradictions. There is no armour, no polite distance. When I interviewed him previously for FLUX magazine, it was immediately clear that what you see on stage is not an act but an extension of the man himself. His work screams originality. It declares, unapologetically: This is me. This is David.
The Royal Vauxhall Tavern functions as his church, and Hoyle its high priest. From the roof—sometimes literally—he preaches love, acceptance, beauty, and defiance. His congregation is as eclectic as it is devoted. On any given night you might find Princess Julia rubbing shoulders with City bankers, artists, drag legends, first-timers, and the gloriously undefinable. It would not be absurd to compare the atmosphere to Warhols Factory in its heyday: a collision of art, celebrity, and counterculture, bound together by a shared understanding that something special is happening in the room.
What is striking is the complete absence of age anxiety. Hoyle himself dismisses it with a wave of the hand: “Everyone is beautiful in the room.” And they are. Young and old gather as equals at the metaphorical fountain, drinking in his wisdom, his wit, and his generosity of spirit. The atmosphere is electric yet oddly intimate, like a secret shared by hundreds.
Piluca and me at The Royal Vauxhall Tavern
This is not to say the evening is solemn. Far from it. Hoyle’s humour is razor-sharp, his observations hilariously precise—particularly when directed at the audience. Sit front and centre and expect to become fodder. But crucially, he is never cruel. There is warmth beneath the provocation, and affection behind the mischief.
The man seated next to me informed me—without a hint of irony—that this was his 135th time seeing Hoyle perform. A true disciple. By contrast, my gorgeous friend Piluca—Spanish-born artist and creative force—was a virgin to the experience. I could think of no one better to introduce to what I consider a kindred artistic spirit.
Two incredible artist Piluca meets Hoyle
She was utterly blown away. The evening began with a film tribute to our shared hero, David Bowie, and Piluca leaned over to whisper, “It’s like being dipped in everything I love.” She could not wait to come back, already plotting a return before the night had even ended.
Adding to the richness of the evening, Pam—taking a brief pause from her charity work—took to the stage to read poetry. We were promised one poem and given two, a small but perfect act of generosity that felt entirely in keeping with the spirit of the night.
The show concluded with Hoyle playing cupid, creating a live portrait of two handsome men from the audience—art, flirtation, and theatre merging in real time. To be part of such an evening is to leave not only entertained, but altered. You walk out thinking differently, feeling differently, slightly braver perhaps.
This is not just a show. It is an experience—unique, communal, and deeply worthwhile. In a world increasingly starved of authenticity, David Hoyle remains gloriously, defiantly real.
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.
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 — .
On Saturday the 11 October, the spotlight shines on extraordinary talent as Autism’s Got Talent takes centre stage at the Mermaid Theatre in London. Organised by the award-winning charity Anna Kennedy Online, this uplifting and inclusive event brings together over 24 performers from around the world, including the United States, for an evening that promises inspiration, celebration, and unforgettable entertainment.
With doors opening at 6:00 PM and the show starting at 7:00 PM, this year’s event is set to be one of the biggest yet — showcasing not only incredible talent but also the power of inclusion and acceptance.
Dr Anna Kennedy OBE
A Stage That Changes Lives
Unlike traditional talent shows, Autism’s Got Talent isn’t about competition — it’s about celebration. It provides a rare and empowering platform for performers who are autistic or neurodivergent, allowing them to share their unique voices, stories, and creative gifts.
Founded by autism ambassador and campaigner Anna Kennedy OBE, the event was born out of a desire to challenge stereotypes, raise awareness, and offer meaningful opportunities for those often overlooked in mainstream media and entertainment.
“This is not just a show — it’s a movement,” says Anna Kennedy. “Autism’s Got Talent is about breaking down barriers and giving people a chance to shine. Every performer brings something special to the stage, and the audience leaves inspired and moved.”
From singers and dancers to poets, musicians, magicians and comedians, the show highlights the diverse range of talentwithin the autism community. Many of the performers have never had the chance to appear on a professional stage before — making the experience deeply personal and empowering.
Award winning presenter Aston Avery
Star-Studded Presenters & World-Class Venue
Hosting this year’s spectacular event are award wining Gateway DJ, Aston Avery, and youth theatre organiser PhilBarnett , a dynamic trio known for their charisma, warmth, and dedication to the autism community. Their presence helps create a relaxed, friendly atmosphere where performers feel supported and celebrated.
The iconic Mermaid Theatre — a central London venue known for its stunning acoustics and accessibility — is the perfect backdrop for the evening. Its state-of-the-art stage and welcoming environment make it ideal for a show of this scale and heart. Visit: www.the-mermaid.co.uk
What to Expect
With over two dozen acts from across the UK, Europe, and America, audiences can expect an exciting mix of performances filled with energy, passion, and originality. No two acts are alike, and every moment of the show is infused with authenticity and emotion.
The audience is encouraged to cheer, clap, and support every performer — creating an atmosphere of celebration rather than judgment. The focus is on ability, creativity, and joy.
Whether it’s a powerful vocal performance, an emotional poem, a jaw-dropping dance routine, or a surprise act that defies genre, every artist takes the stage with courage and pride.
Anna Kennedy and her dedicated team behind Anna Kennedy on line
More Than Just a Show
Proceeds from the event go directly to Anna Kennedy Online, a UK charity that provides vital support, resources, and advocacy for individuals and families diagnosed by autism. The charity works year-round to raise awareness, run workshops, support networks, and create opportunities like Autism’s Got Talent.
“This event shows what’s possible when we give people the space and support to thrive,” says Anna Kennedy. “It’s about changing perceptions, building confidence, and proving that being different is something to be celebrated.”
In a world where neurodiverse individuals often face barriers to expression, Autism’s Got Talent offers something truly special: a night where every voice matters, every performance is met with applause, and talent is judged not by convention — but by heart.
Whether you’re a long-time supporter of the autism community or simply looking for an evening of uplifting entertainment, this is one event you won’t want to miss.
In particular, Anna Kennedy on Line would like to thank their sponsors Mermaid Theatre, The Harley Street Skin Clinic, Orange Orchid, Talem Law, SEND Tutoring, and SEN Tutoring for their invaluable support. Without you, we simply could not continue to do what we do.
It is my favourite time of year, and the incredible Autism’s Got Talent is back.
Since its inception by Dr. Anna Kennedy OBE in 2012, Autism’s Got Talent has evolved into a legendary showcase that shines a spotlight on the unique talents of individuals living with autism. This one-of-a-kind event has captivated audiences and received high-profile media attention for over a decade, setting itself apart from other talent shows by offering an evening filled with surprises, inspiration, and diverse performances. Hosted at the renowned Mermaid Theatre in Blackfriars, the 2024 edition promises to be another unforgettable celebration of talent and inclusion
Steven Smith chats to 2Shades columnist and founder of Anna Kennedy on line
Unlike conventional talent competitions, Autism’s Got Talent is dedicated to celebrating neurodiversity and empowering autistic individuals of all ages. The show features a star-studded lineup of performers, including singers, dancers, actors, musicians, poets, magicians, and more. These gifted artists not only entertain but also challenge perceptions and break down barriers, demonstrating what people with autism can achieve. This event serves as a platform to replace stereotypes with messages of hope, fun, laughter, and inclusion, making it truly unique on the global stage.
This year proved to be a show-stopping extravaganza with over 17 acts.
The show was opened by Dr. Anna Kennedy as she introduced well-wishes from Loose Women star Denise Welch, Blue band icon Anthony Costa, EastEnders actress Kacey Ainsworth, and the legendary Carol Vorderman. Celebrities such as ‘Allo ‘Allo!’s Vicki Michelle, Pet Rescue author Wendy Turner, Taino’s Christopher Hamilton, and performer Tru Blue were among some of the showbiz names that turned out to introduce the evening’s performers.
Allo Allo Vicki Michelle and the inspirational Lisa Allen from Pink Ribbon foundation
Comperes for the evening were Gateway Radio DJ and Ambassador of the charity, Aston Avery, along with former The People’s Strictly contestant and amateur dramatic theatre enthusiast Phillip Barnett.
Christopher Hamilton
Pineapple Dance studio lead by teacher Maggie Paterson who have supported the event from the start team of 40 dancers
Gateways radio DJ Aston Avery one of the presenters of AGT “Autistic and Proud ”
This year’s acts, who travelled from far and wide, did not disappoint. It kicked off with Alba Pulido Brocklebank’s stunning rendition of Burn. There were so many outstanding acts this year, it is hard to highlight them all. From guitar supremo Caydian Evans, who described the experience as an amazing, unique opportunity, to father-and-son team Aaron and Andy Clark, who said, “This is a memory that will last a lifetime, and we are deeply grateful for the opportunity.”
Caydian Evans
Northern Ireland seemed to feature prominently this year with two singers: Andrew McMurdie, who said, “There were so many uniquely talented people in one room, like I have never seen before,” and Ty Williams, who brought the house down.
Somerset singer Lianne Vessier was blown away by the diversity of the event, and the standing ovation for her performance left us all in awe.
Lianne Vessier
Stepping in at the last minute was Swaran Hayer, who dazzled the audience with his calendar skills (even revealing Anna Kennedy’s age and date of birth!). His mum, Mandy, said, “It will forever be an unforgettable and memorable experience.”
Theatre group True Colours had the audience cheering as well.
True Colours
Anna Kennedy, founder of Anna Kennedy Online and Autism’s Got Talent, shares her hopes for the event: “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.” This ethos of inclusion and empowerment continues to drive the event’s growth and inspire its participants.
Tears of joy marked the end of the show, with all the wonderful performers on stage, proud parents, families, and friends in the audience.
They all had one message for the AKO family: “You’re all amazing, and we all rock!”
The Vauxhall Tavern, Thursday 10th August 2023 through to September
5 stars xxxxx
A David Hoyle show is a truly unique experience and it is meant to be. I once described him as Kate Bush’s and Lyndsey Kemp’s love child. His talent is undeniable, and he asks his audience, as he narrates, to think out of the box with him.
As you look around the packed room, it mirrors “Warhol’s Factory. From the lady you feel sure may have been one of Warhol’s prodigy in her hay day with the bright pink hair, Trans adorned Hoyle’s congregations long before it became a topic of conversation. But it is not just the LGBTIQQ community that worship here. Men in suits that look like they have come from the city or just people who love art or good conversation can be found at David Hoyle shows.
” Everyone is beautiful in this room” David assures us all.
The atmosphere is electric before David even enters the room. If people-watching is your thing, part of the experience is to join liked-minded people before the show gets going. The excitement is mounting as a virgin David audience member whispers to me,
“I just love drag”.
“He is not drag”, I replied, well not in the traditional form: you won’t see Hoyle entering “Ru Paul Drag Race” any day soon. Certainly, he appears in tattered stockings and a night dress that had seen better days.
I would love to hear Michelle Visage questioning Hoyle’s sewing skills (I’d pay to witness his reply!).
Hoyle is simply art. You never know which David you’re getting and it reflects how he feels about the state of the world that night. One show he will walk on stage dressed like Frank N Furter meets Bowie’s Space Oddity, oozing glamour. The next show his hair will be in bunches like Violet Elizabeth, his tooth having fallen out, talking about poverty as an artist. Or he walks on with his face bare, a few nights after the Manchester bombing (his now home town), opening his heart to the pain we are all feeling.
He moves amongst us handing out autographed prints of his actual artwork. Hoyle uses his audience as his paint brushes. He asks those at the front why they have taken prime position if they did not want him to point them out.
Hoyle does not take cheap shots at people unlike so many that humiliate audience members. Even when confronted by the more difficult patron. To this day it still makes me chuckle to think about when he asked a slightly drunk man what he did. “I do what you do”, grandly the man replied.
Hoyle retorted, “Really! I had no idea I was generic!”
Hoyle will make fun of himself, asking if anyone fancies a 61-year-old homosexual with a bridge tooth, he chats about the difficulties of dating as an older gay man. David gives sermons on not fitting in the box, or on everyday life as an artist, or those that do not want to conform or those that do. He does not ask you to agree or disagree, but merely to think. This may not sound like a form of entertainment, but it is, and he packs out venues with those wanting to hear him.
Hoyle always finishes off by doing a portrait of an audience member. Again it could be ritual humiliation but instead the chosen one is always made to feel special, but the audience is in hysterics.
David is so very special , and it is a joy to walk away having seen someone so gifted who often bares more than his soul to his audience . Please go see this icon.
