VIVA O CARNAVAL - The Lilian Baylis Theatre, Sadler's Wells, 1994

THE STAGE | Lisa Vanoli - 'A hip swaying audience rumbaed out of the Lilian Baylis Theatre after an exuberant romp through carnival time thanks to a vibrant new musical by Omar F. Okai and Simon James Collier. 'Viva O Carnaval', set in steamy Brazil, is based on the classic boy meets girl and they fall in love shoreline but is brought to life by a flamboyant selection of songs and a cracking cast. The sign of a good musical is when you can still hum the odd tune a couple of days later over breakfast and some of these lively numbers were really memorable - with musical direction by Barnaby Green and arrangements by Neil McArthur. Scott Sherrin, who has parts in 'Cats' and 'Five Guys Named Moe', played the clean cut American boy with ease, his sweet voice coping well with a range of numbers. His love interest Michele De Casanove warbled her way through moving numbers including 'Will It Be You' and 'Let's Imagine'. Pepsi Lawrie Demacque, one half of the former pop duo 'Pepsi & Shirlie', excelled herself with a strong bluesy rendition of 'Don't Let This Girl Slip Away’, which had the audience on its feet. Virginia Lowe also gave sound vocal performances, as a larger than life nightclub owner, and bar owning sisters Veronica Hart and Debra Michaels. Add a touch of humour from Nigel Thomas as a gossipy hotel receptionist, a touch of glamour George Alexander and some riotous dancing and ensemble numbers - the best of which has to be the stomping 'Welcome To Brazil' - and you have got yourself a brand new show brimming with vitality and Latin rhythm.'

RUTHLESS - Stratford Circus, London 2002

TIME OUT ★★★★ | Jane Yeh. 'Girl power was never quite like this. Okai Collier Theatre Company’s sparkling production of an award-winning New York musical features a murderous eight-year old moppet who’ll do anything for fame… … Belting in true West End style, the sensational cast sinks their teeth into Joal Paley and Marvin Laird’s numbers, backed by the lush piano arrangements of Rowland Lee. Playing Sylvia in drag, Paul L Martin shows impeccable comic flair, whether delivering one-liners or singing his heart out. But perhaps the strongest performance is that of Louise Hollamby as Judy, who goes from happy housewife to bitchy diva in the knockout first-act closer, ‘Angel Mom’. Director Omar F Okai maximises the hilarity with sprightly staging and pace, while Keith Lodwick’s colourful designs strike the perfect cartoonish note. (Tina’s bedraggled dog costume alone is a hoot.) Though Paley’s book flags in the second half, the climax - a rousing paean to ruthlessness sung by the three leads - brings down the house. Wicked fun.'

MUSICAL STAGES | Mark Barlow. 'The Okai Collier Company's last production of Elegies for Angles, Punks and Raging Queens at the Bridewell Theatre last year was outstanding. But with Ruthless they have moved into another league. I advised you not to miss Elegies. Unfortunately, by the time you read this Ruthless's month long run may be over - but there are rumours that the show may make it into the West-End in March 2003. I hope for your sakes that it does, because it should not be missed and will be a hot ticket if there is any justice in the world. What was also impressive was that for a Fringe production, the show had high production values and sound between the vocals and the two pianos were well mixed in the small space. In short, the production was a joy - and in a West-End currently full of compilation shows and revivals of worn out favourites, Ruthless is desperately needed.'

WHAT’S ON IN LONDON | Roger Foss. 'I almost died laughing at the wickedly camp gags in ‘Ruthless’ - but that’s not why it’s billed as a ‘murderous’ musical comedy. By the end of this hilarious award-winning off-Broadway spoof of ‘All About Eve’, ‘Gypsy’ and the 1950’s movie ‘The Bad Seed’ all rolled into one big barmy burlesque there’s more blood on the living room carpet than any Greek tragedy you care to name… Omar F. Okai’s staging keeps the pace spiralling towards an insane finale and a truly talented cast, including Paul L. Martin glammed up as the secretive Sylvia, are all stars for a night. Kill for a ticket.'

THE STAGE | Paul Vale. 'From what appears to be sheer indulgence on the part of the writers Joal Paley and Marvin Laird, Ruthless, billed as the ‘murderous’ musical, rises as gloriously camp, rather amusing comedy… … The cast consists of five women and one man in drag - the hysterical Paul L. Martin, whose turn as the agent Sylvia St. Croix shows a supreme gift for comedy as well as a powerful voice. Pulling the show from beneath Martin’s heels in Act II is Louise Hollamby. As the homely mother turned Broadway diva, Hollamby’s broad vocal range and expert comic timing seems the more fulfilling role and certainly the most entertaining. Lisa Baird, playing the psychopathic ingénue Tina Denmark, is deliciously obnoxious, as indeed she should be. However, it might be more rewarding to see a child in the role - off-Broadway it was a 10-year-old Britney Spears. Rachel Stanley and April Moon, with Julia Glass as Lita Encore, the fiendish theatre critic, give fine support in secondary though vital roles. Given a smaller theatre in a more central location, there is no reason why this show should not play out the year as a cult classic.'

A…MY NAME IS ALICE - Bridewell Theatre, London, 2003

MUSICAL STAGES | Barrie Jerram. 'They’ve done it again! The Bridewell Theatre, in conjunction with the Okai Collier Company, has come up with another of their little gems. Alice is a unique and highly entertaining musical revue that looks at 20 Century woman’s life. Right from the bouncy opening number, ‘All Girl Band’, the audience sensed that they were in for an evening of great entertainment and they were not wrong.'

THE STAGE | Review by Mark Shenton. 'Golda Rosheuvel is a vocal standout, bringing a fierce, crystalline passion to Steve Tesich and Lucy Simon’s ‘I Sure Like The Boys’, while Tracie Bennett brings a heartfelt compassion to Amanda McBroom’s haunting tribute to her mother, ‘The Portrait’. West End veteran Nicola Blackman - it is difficult to believe she has been on our stages for more than 30 years now - gets the comic honours with a monologue about a subway ride.'

TIME OUT. 'For the occasion, director Omar F. Okai has gathered a lively on-stage band and a cast of game girlies, each of whom has their moment. In particular Golda Rosheuvel reveals a smoky voice in ‘I Sure Like The Boys’, and Lisa Baird is a scary Betty Boo character in her cabaret spoof, ‘The French Song’.'

THE 411 – The Bottom Line On Amhurst Road, November 2005, Film documentary

‘… impressive documentary by and about the Amhurst Road estate in Hackney. Filmed in five days in August, the main priority was to allow the residents to talk about themselves rather than being spoken about. This documentary is an entertaining and unpatronising account of their lives that shows strong communities do still exist in big cities. It also shows you don’t need a big budget to make a great documentary. It’s just the kind of thing that FourDocs loves to see…’ FourDocs, CH4 Television

PREACHEROSITY Jermyn Street Theatre, London, 11 April – 6 May 2006

'Warm, funny and brilliantly performed…'

'The fresh, fearless approach to issues of faith and religion combined with the warmth and depth of the acting make this play an absolute gem. Profound and wickedly astute in its perceptions of hypocrisy and the hilarity of human folly, Preacherosity is cutting-edge theatre at its best… …Directed by Omar F. Okai, the timing is impeccable… …Larry Herold’s script is bold, witty and poignant… …Although excellently written and directed, the triumph of the play is in the performances given by the cast…' Shirley Hobson | This is Local London

'Preacherosity is a religious comedy, which surprisingly works for both atheists and fanatics. And that, it has to be said, is an achievement… …The hypocrisy of this flaw [once saved always saved] is nailed like Jesus to the cross by writer Larry Herold. And God bless him for finally saying it out loud… …The set is minimal and imaginatively designed (by Kate Bannister and Karl Swinyard) - proving yet again that less can most definitely be more… …The cast all chew up the feast of a script and spit it out with as much hell and fury as it demands... …the performances, are filled to the brim with uniqueness and colour.' Fringe Report

'…a play that transcends its rather parochial setting with a universal message, and yet does not seek to hit audiences over the head with it… …This would not be possible were it not for Preacherosity’s excellent casting – each speaks with a perfect Texan drawl, while each cast member, put simply, looks like the character they’re playing… …the confines of the Jermyn Street Theatre lend proceedings an impressively intimate feel – by the end of the play, when the audience laughs at each character’s foibles, they do so with a mark of sympathy and closeness to them that is surely the sign of any good comedy.' Daniel Grote | The Baptist Times

'That the cast is uniformly excellent is a tribute to director Omar F. Okai, who also manoeuvres the play through its shifts in tone with hardly a gear grinding. Basienka Blake is touching as the sincerely devout sexpot, Julie Rogers endearingly ditzy as the airheaded teenager, and Robert Godfrey enigmatic and charismatic as the preacher, while Michael Fitzpatrick as the chairman, Gina Rowland as a businesswoman and Glenn Wrage as the ne'er-do-well all flesh out their more-complex-than-they-seem characters engagingly.' Gerald Berkowitz | Theatreguide London

'… this fascinating play by Larry Herold… …a clever set by Kate Bannister and Karl Swinyard featuring an up-to-date take on stained glass windows was impeccably lit – as always – by Mike Robertson. But don’t think for a moment that this is a solemn piece of theatre. It is immensely funny with a precisely honed script that demands a high level of concentration and is totally rewarding. If you have ever been, even marginally, involved in any way with this type of rabid hypocrisy, you will have no trouble recognising a gem and you could even become baptised anew by the clean truth of it all.' Lynda Trapnell | Musical Stages Magazine

'A dynamic performance by Robert Godfrey… …Omar F Okai directs with a sure hand, the setting by designers Kate Bannister and Karl Swinyard is stylish, while a strong cast makes the most of its opportunities for comedy.' John Thaxter | The Stage

'Herold is a splendid phrase-smith… …if you’ve ever worried about religious groups and fundamentalism this won’t make you feel any easier… …this script is full of laughs… …Director Omar F. Okai gets wonderful teamwork from his cast with spot-on timing…' Howard Loxton | Rogues and Vagabonds

'The writing packs one hell of a punch. Larry Herold can definitely write comedy. Great casting adds to the charisma of Preacherosity. A must see!' The New York Times

'The characters in Preacherosity are well-defined thanks to some effective casting, and a confident ensemble who work extremely well together… …there’s little to fault in the acting department, and indeed much to commend. Larry Herold’s script is well written… …tight direction from Omar F. Okai…' London Theatre Guide | Peter Brown

'Strong piece of theatre, great ensemble cast, Julie Rogers as Angela shines brightly, snappy direction from Omar Okai.' What’s On Stage

'Preacherosity comes with something of a pedigree.' This Is London Magazine

'…hilarious comedy directed by Omar F. Okai.' Black Britain

'…it's relaunching Jermyn St. Theatre and what a show to do so with... had me in stitches.' Broadway.Com

THE DORCHESTER - Jermyn Street West End Studio Theatre, London, November 2007

MUSICAL STAGES MAGAZINE '…in the hands of the young(ish) American writer, J.B. Miller, it is not only beautifully constructed but also very funny… …a suitably luxurious-looking set by Kate Bannister and Karl Swinyard, neatly lit by Mike Robertson, the well-cast actors play out the plot with suavity (Matthew Phillips as Noël Coward); elegant bitchiness (Toni Kanal as Wallis); aristocratic idiocy (Tim Faulkner as David, Duke of Windsor); stuttering determination (Alec Walters as Bertie, George VI) and powerful but vulnerable dimness (Matthew Wynn as Ribbentrop)… This play deserves to go further and certainly could do so. It is a little gem in our little gem of a theatre.'

THE STAGE NEWSPAPER 'Miller’s sense of period is impeccable, dotting the ‘i’ on every bit of royal gossip including that rumoured love affair between Ribbentrop and Wallis Simpson… Tim Faulkner as a puppy-dog Duke of Windsor in thrall to Toni Kanal’s svelte duchess is excellent, while the key role proves to be Alec Walter’s ‘Bertie’ - George VI disguised as a clumsy bellhop - who sheds his stammer to deliver the best lines of the evening.'

UK THEATRE NET 'All of the actors put in a strong performance. I particularly liked the bearing and demeanour of Ribbentrop (Matthew Wynn), the dynamics in the relationship between Edward (Tim Faulkner) and Wallis (Toni Kanal), the staid George VI (Alec Walters) and Matthew Phillips for playing a hugely-plausible Noel Coward. What also works is the dialogue. It is well-paced, seldom over-written and holds our interest in the way that all good writing should.'

THE BRITISH THEATRE GUIDE 'This may be comedy but it’s no Hyde Park ‘Allo, ‘Allo. Here there are no jokes at the expense of reality. All five of Miller’s characters are historically true and his knowledge of the period and the political events leading up to our ‘defeat in September 1940’ is truly impressive. Equally impressive is Miller’s ability to write Cowardesque dialogue and lyrics for Matthew Phillips who does a brilliant turn as a look-alike Noël, a double-agent and patriot, tinkling the ivories while delivering “don’t let’s be beastly” comic songs with Teddingtonian savoir-faire. Between them and in their very different ways, they give the performances of the evening, directed with an eye for period detail by Lynda Baron.'

THE SMILIN’ STATE, HACKNEY EMPIRE, London, June 2008

'Omar F. Okai's direction of the outstanding cast, a succinct set design from Kate Bannister and Karl Swinyard, and a well thought out lighting plan from Lawrence Stromski has delivered a fringe show that is faultless. One only hopes that The Smilin' State gets the chance to tour the fringe circuit.' Dale Maitland Cartwright | North London Newspapers

‘Rob Carroll is touching and heartfelt as Bruce Huffman. Marjorie Hayward is perfect as Ethel Huffman, the off kilter and eccentric mother who never stops believing in her son, and in God. For White’s first full-length play, he truly has done an amazing job, and I’m sure the chemistry with director Omar Okai has set this play off. The interesting set design by Kate Bannister and Karl Swinyard means we get the illusion of a muddy field without overloading it with illusion. …this is the play you must see. In fact, I fail to think of a right-minded person who would not see the point and importance of this piece. I expect the Royal Court will be grabbing this with both its hands by the end of its run (and if not, more fool them). Constantly surprising, entertaining, warm, heartfelt and tugging at the right strings at the right times, I was literally moved to tears at the end. I think that says it all.’ Allan Taylor | EXTRA! EXTRA!

‘Omar F. Okai’s direction melds the different elements of this intriguing piece of writing into a whole which holds the audience for every one of its ninety-odd minutes. Its staging is simple and effective with design by Kate Bannister and Karl Swinyard, carefully lit (Lawrence Stromski – who manages to light a sky cloth without unwanted shadows even in this small space) and with skilful use of music by Alexander Rudd. It all comes together beautifully. No other dates have been announced, but this is too good not to be seen elsewhere.’ Howard Loxton | The British Theatre Guide

‘It’s a brave writer who attempts to convey static existence – the danger is that the play itself becomes static – but I think first-time dramatist Noel White has pulled it off. Here he is greatly helped by strong performances by Christopher Terry and Rob Carroll as Father and Son respectively. Also noteworthy is the stage design. There are the withered trees (Beckett again), broken fences and rubbish strewn over the layer of straw. Sound and lighting adds to the atmospheric feel to it all.’ Richard Woulfe | UK Theatre Net

'Intense, powerful & engaging. After watching Noel White's captivating first play I was completely exhausted leaving theatre having felt that I really had 'lived' every minute of it with the actors. Fine, fine acting, especially Allen Lidkey’s performance, which is incredibly energetic & focused... you truly feel every moment of his complete frustration with the situation he finds himself in. Okai's direction is so beautifully 'controlled' & precise that you simply cannot take your eyes off the stage. This truly is something special & worth taking a look at.' Catherine Woods | What’s On Stage ★★★★★

MOONSHADOW - White Bear Theatre, London, June 2009

Time Out Critic’s Choice/Show Of The Week ★★★★

'Among four really excellent actors, Michael Dylan stands out as John: fragile and maniacal, your daft hippy mate and a monster... But it’s Beverley Longhurst as Lucy who brings an extra dimension. It’s a brilliantly nuanced performance, and typical of this great production.' Time Out | Chris Weywell

‘…convincing acting, under Chris Loveless’ direction, makes us believe in the agonising tension, hope and despair of life at the margins… …secured patient John, played compellingly by a tousle-haired Michael Dylan, is full of lilting Irish charm until thwarted in his dream…’ The Stage | Barbara Lewis

‘Brilliant performances by Michael Dylan and Annabel Bates as the endearing patients and Oliver Hume and Beverley Longhurst as their equally ‘sexually disinhibited’ but better paid (and without files & labels) authority figures. Insightful direction by Chris Loveless brought out the bleak realism as well as highlighting moments of wry humour in this powerful play.’ Plays International | Crysse Morrison

‘Michael Dylan makes John so convinced by his beliefs that one can’t help wondering if it’s the secularist unbelievers in this millenialist prophecy who are going to be proved wrong… …Chris Loveless’s direction has drawn confident performances from his cast and his pared-down production, moving easily from real world to inner world’ The British Theatre Guide | Howard Loxton

BLAVATSKY'S TOWER - Jack Studio Theatre, London, 2010

RemoteGoat | Chris Sims ★★★★ 'Ultimately, the perspective of the play seems to be that lofty dreams are dangerous, and that freedom can come in the most mundane and safe of forms. Not an outlook on life with which all will identify, but Blavatsky's Tower should certainly provoke reflection on the best way to live one's life - and any piece of theatre that can do that is worth making the effort to go and see.'

Extra! Extra! | Alexandra Carey. 'In this production each of the children is given a strong and thoughtful performance by their respective actors and all shine in moments of the play, particularly Annabel Bates and Anthony Hoskyns when telling large chunks of story in individual sequences. It is a unique and interesting play with a lot going on, some strong, bold performances and certainly it implants itself in the mind after the show is over.'

British Theatre Guide Review | Sandra Giorgetti. 'The writing is packed with well-observed contradictions of family living: the compromise between duty and personal want, the changes of allegiance, the reigning in of hate and the calculated giving of affection. Here the perversities are more extreme but no less believable as Buffini reveals the savage side of this love-to-hate, hate-to-love institution. Director Chris Loveless has assembled a first class cast for this revival of Moira Buffini's 1998 play. Blavatsky's Tower is a compelling piece of writing that is both darkly comic and thought provoking. Chris Loveless' direction maintains a tight pace and delivers a gripping evening's entertainment.'

DANCE WITH ME [Feature Film] - Released: 2010

★★★★ EYE FOR FILM | Caro Ness. This is a thought provoking film that teases one’s perception of behaviour with frustrating persistence… It was clearly shot on a shoestring, with minimum set changes and a strong emphasis on dialogue, or lack of it, supported and enhanced by exceptional cinematography, as the camera sweeps across the landscape with a loving brush and softens the sharp, angular edges of the dancers with deliberation… It is a film that refuses to let itself be overlooked… Bravo Sasha Damjanovski and your dedicated cast and crew. You have conjured a gem from nowhere!

EXTRA EXTRA | Mary Couzens. In terms of acting, this film is top notch, with Johanne Murdock as translucent, alternately fierce, underlyingly fragile Alice, in charge at the start, gradually unraveling thereafter, and Adam Napier as Neil, seemingly doing the reverse, depending on which character’s viewpoint we are accessing the story from… This is as intriguing a turn of events as I’ve seen on the big screen, and an intentionally misleading one, with the viewpoint of each of these two characters guiding us through the story in turns… Do see Dance with Me, especially if you enjoy great acting. You won’t be disappointed.

THE OXFORD TIMES | David Parkinson. This is a simmering saga that piques the interest as Damjanovski archly withholds and reveals crucial information about couple’s respective conditions… Napier and Murdock do well in difficult roles… Most impressive of all, however, are Damjanovski and co-cinematographer Eloise Parfitt’s views of the house and its adjoining lake, which commendably suggest a lost paradise.

THE GUARDIAN | Catherine Shoard. Around the time someone utters the line “I think you’re going fucking mental and I think you should call the fucking shrink” you start to clock: this isn’t just low-budget bizarre, it’s completely, mesmerically insane, like listening to the Archers then realising all the voices were just in your head.

THE REMAINS OF THE DAY, The Union Theatre, London - 2010

Classical Source: 'Steven Rashbrook is excellent at creating a man with little or no soul who would rather die than experience embarrassment, who shuts people out if they are going to upset his working routine, ignoring their feelings in the process. Lucy Bradshaw as Miss Kenton tries to fight her way through the barrier that prevents Stevens from being a fallible human being. The actress gives the part a nicely honed edge and, perhaps surprisingly in the context of the plot, creates a believable relationship. A good supporting cast double-up in various roles including Alan Vicary as Lord Darlington, Christopher Bartlett as his son Reginald, and Dudley Rogers as Stevens’s father. Omar F. Okai’s choreography helps to establish the period feel of the piece and Chris Loveless’s unfussy direction lets the cast and the text get to the heart of the matter. It is in essence a charming piece, subtly and movingly played without making it at all overwrought. It is not often that new musicals are instantly successful. “The Remains of the Day” seems to be an exception that works from first word to last.'

London Theatre Reviews | Blanche Marvin MBE. 'It may be a tiny theatre but it has a giant production in this programme. It is a play with music taken from the subtle and sensitive book that was made into the most heart rendering film starring Emma Thompson and Anthony Hopkins. Does such a delicate story sustain the transition…absolutely. The set is amazingly captivating using the space to recreate rooms in the stately home of Darlington Hall that are not just a box set. The cast are all hand picked in both their acting singing and dancing. The adaptation flows sustaining the mood of the times with music that is melodic in its songs yet lively enough for the dancing and jolly enough in the music hall rendition of The End of the Pier. It is all woven together in fluid strokes. The staging is inventive, abounding with whispering servants and the lovers that never come to be… Stephen Rashbrook as Stevens, Lucy Bradshaw as Miss Kenton…could not be bettered in the West End. It is a gem…a jewel… that shines its light and lingers on.'

The Evening Standard - Critics Choice ★★★★ 'Rashbrook gives a marvellously restrained performance that hints at the unexplored depths of Stevens’s soul and he and Bradshaw, plus a top-notch ensemble, make easy work of the songs, many of which have a solemn and hymn-like feel. It’s not all gloom, though, with the frothy music hall number The End of the Pier to lighten the mood. A canny West End producer could do far worse than to tweak this fine show for a transfer.'

EXTRA! EXTRA! 'A combination of dramatic dialogue, singing, and dancing brought the characters to life with an emotional subtlety that bewitched the audience in the Union Theatre. Miss Kenton (Lucy Bradshaw) is a fine singer, and brought real depth and intensity to the part of Stevens' thwarted housekeeper. When Stevens follows Lord Darlington's directive to dismiss the two Jewish servants in the household, Miss Kenton's argument on their behalf and their leave-taking in 'Close Your Eyes' is really moving, and beautifully sung by Gemma Salter and Katia Sartini as Sarah and Ruth. However, the star is Stephen Rashbrook for his singing, dancing and at all times, utterly composed Stevens. The scenes between Stevens and his dying father, played by Dudley Rogers, were all the more affecting for the emotional reserve both actors conveyed so powerfully. I imagine this is no mean feat among a cast of incredibly professional and accomplished singers and dancers who filled the stage with all the verve and panache expected of any musical. The set, designed by David Shields, marvellously conveyed the changing scenes in Darlington Hall and the Cornish seaside town where Stevens visits Miss Kenton, now Mrs Benn. The music, composed by Alex Loveless, was divine and worthy of attendance by itself. Richard Bates deserves credit for the wonderful dance and vocal arrangements. I particularly enjoyed 'The End of the Pier' which evoked a 1950’s British 'naughty but nice' nostalgia with the girls dancing and singing in tiny sailor suits. This really was a surprise for me. I didn't expect a work of such understated quality to be rendered well in a musical but it was a true success. An all singing, all dancing Remains of the Day seemed a questionable enterprise, but I enjoyed every moment of it and left excitedly discussing new angles of a book and film I had thought it would be impossible to improve on. However, new wine in old bottles can sometimes be a very good thing.'

PROJECT SNOWFLAKE - The Jack Studio Theatre, 2011

The British Theatre Guide: '[Sasha Damjanovski] ...displays a considerable theatrical flare and that is what makes this an interesting evening. It is one of those occasions when a writer directing his own play seems absolutely right for he knows exactly what he wants and has clearly enthused his cast to give committed and powerfully played performances. His collaborators, designer David Shields, Anna Sbokou, lighting designer and Matt Hall and Nikola Kodjabashia contributing sound and music, all work together to create a level of production you rarely see on the fringe theatre circuit. There is an attention to detail which is typical of the work of its producer.'

Time Out: ★★★★ 'Desborough and Evelyn make a sweet, quirky couple, but the star of the show is Jonathan Leinmuller as their villainous boss. His laugh is alternately menacing and nervous; his eyes wide with crazed energy; and if he’s a little pantomimic, at least he doesn’t drag down the play with seriousness. Damjanovski also directs, and has choreographed even the set changes meticulously so that characters twirl around with props. And though not ignoring weightier themes of freedom and politics, he keeps the thrust refreshingly upbeat.'

Exeunt: ★★★★ 'Damjanovski brings his film background to bear with sharply paced visual action and a script, which takes sci-fi suppositions to their linguistic conclusions and provides material enough for the ensemble cast to enjoy themselves. Nikola Kodjabashia’s carnivalesque incidental music is almost a character in itself, reflecting the churn of bottled-up frustration felt by the main protagonists. David Shields’ spare though inventive set characterises the production’s flair, underscored by Matt Hall’s sound. And, crucially for an evening’s entertainment, there’s humour and humanity amongst the dystopia. Many a playwright would be pleased to achieve a production half as fulfilling after several attempts, so it’s a credit to Damjanovski that this is but his first full-length play. As both writer and director he is surely one to watch.'

Sylvie Sims: 'A fantastic, thought provoking play, in which avid attention to detail honours every aspect of its production, creates a wonderful intensity of performance from the actors, and a visually stimulating experience. There is much of beauty in the production, the music is inspiring, and the lighting is executed with sensitivity to dramatic impact and storytelling ability, as if each moment were going to reveal the ultimate truth. Even the scene changes, so carefully executed as dances, are choreographed with the finesse of a dancers feeling for rhythm, space and mood, acting as a total contrast to the drama of the story. Flowing sensuously and seamlessly and expressly hinting at the budding love that has been set in motion between the two lead actors. They also serve as contrast to the tense, constantly interrupted atmosphere of the play.'

THE LAST EVER MUSICAL - The White Bear Theatre, London, 2013

One Stop Arts ★★★★ 'Bonkers, tuneful, satirical, and very British, this captivating and frequently hilarious show by Richard Bates and Simon James Collier is ostensibly about the launch of a gritty, visceral, boundary-pushing new musical called The Life and Death of a Tampon but is actually, and surprisingly, mapping out the spiritual journey of its protagonist.' 'The talented cast sing and dance extremely well and are totally clued-in as to the deeper import of the story. The clever choreography is by Omar F. Okai, assisted by Stacey Victoria Bland. Ms Bland, wickedly channelling Julie Harris and sending up method-acting something rotten, plays Lovelace Lewis, the ditzy, new-agey director of the new show – designed to take London and Broadway by storm. And the awful thing is, we are persuaded that it's not at all implausible.' 'Leejay Townsend has several hilarious moments as Roxand Smarts, the camp director of the ground-breaking new show, and the show itself has a few suitably cringe-making but ridiculously funny songs... Each member of the cast has their moment, or moments. Some of these occur in the very funny auditions scenes, where Rick Tolley auditions with a song called "The Last Twenty Three Minutes". You have to warm to a show with songs like that and another called, improbably, "Once I was a Scientist". Jeroen Robben almost stops the show with his "Justin's Last Stand". Lauren Harvey sings a panic-stricken "The Five Minute Call" and Emma Kurij, channelling another Julie – Julie Walters – displays a natural comic gift and a powerful singing voice as Marlene Haggis. Simon James Collier, who wrote the book and directs, keeps things moving at a nifty pace. The sparkly Eurovision-like set is by David Shields and the appropriately garish lighting is by Ciaran Cunningham. The Last Ever Musical will not be to everyone's taste. It is totally bonkers, very camp, however serious the underlying theme, and, despite its professionalism, seems as if the cast are making it up as they go along. For me, this is part of its charm. It's like we are sharing in someone's very bad and unhealthy dream, full of mad twists and turns and very sharp one-liners. I can see it doing very well at the Edinburgh Festival and in Off Broadway and being, for many, a most guilty pleasure.'

The British Theatre Guide: 'You are unlikely to encounter anything stranger than a depressed producer singing a love song to a sanitary accessory (that must be nightmare surely, along with his other visiting phantoms) but Richard Bates has come up with some attractive numbers and some clever lyrics. With Jonathan Barnes as Wilts, Emma Kurij as Marlene, the stage manager who ends up in the lead, Rick Tolley as sexually predatory Ben and Lauren Harvey and Jeroen Robben as a couple of engaging hoofers, this is a company that captures works together to transmit that show business enthusiasm whatever the obstacles helped by Omar F Okai’s spirited choreography, including a sparkly show-off solo for Robben and a sequence that encapsulates in just a few bars the company’s complex erotic entanglements. When needed there are some glitzy costumes by David Shields against a simple but shiny setting, with Ciaran Cunningham’s careful lighting among the best I have seen in this venue; like Collier’s direction they keeps things simple and concentrate attention on the actors. The Last Ever Musical sets out primarily to amuse but behind some of the frothiest fun lie some home truths. I do hope that character Brian Wilts’s decision to make this his last production don’t apply to Simon James Collier for that would be a serious loss to London’s theatre.'

What's On In London: '[If] ...your world is musical theatre, and then this is absolutely the show for you. Every performing arts student will baulk at the cringe-worthy drama workshop characterising tampons (cue a cacophony of self-indulgent snickers). The film ‘Something’s Gotta Give’ centres on a play we never see, though the storyline is besotted with the characters that bring it into being. Here, the subject matter is so apart from everyday experience that making a connection is difficult. And yet! Life IS a show – “all the men and women merely players…” as the Bard reminds us. One of the loveliest and funniest numbers ‘It’s Not You’ resonates as a moment of personal reflection. Later in Act Two comes ‘The Five Minute Call’ – “and I’m not ready” – the life of an actor beginning to mirror our own, and beautifully vocalised by Lauren Harvey. The human drama continues to warm-up in the second act, a fuller picture coming into view if somewhat dissipating in the crossover with the play-within-a-play. Simon James Collier is a skilled writer and director. The second half commences with memorable scenes parodying not theatre production per se but Ingmar Bergman and Gilbert and Sullivan, in the literal frame of a producer’s nightmare. Good stuff. Laughing at failure is a guilty pleasure that always hits the mark.'

THE WHITE WITCH OF ROSE HALL, Broadway Theatre, Catford, 2013

Everything Theatre ★★★★★ 'Very well cast, very well written, and the atmosphere created is fantastic.' 'The piece is superbly cast. Gemma Rook is excellent as sociopathic plantation owner Palmer. She masters deception, and her cruelty and rage fill the walls of the dark space. Robert Pollington also impresses as Ashman - particularly when his dominance and aggression give way to fear. Millie is delightfully acted by Alicia McKenzie. Her youthful innocence, optimism and happy demeanour are an interesting paradox to Gemma Rook’s White Witch.' 'This is a wonderful production. It dances flawlessly from scene to scene. The cast glide through smoke, and utilize the lighting wonderfully. The visuals are stunning, the atmosphere is electric, and it is properly scary. Leave this on a cool autumnal night, and you’ll find yourself checking over your shoulder. Leave this on a blustery, windy, rainy, stormy night (as I did) and I very much doubt you’ll sleep easily.' 'The atmosphere is tense, muggy, and you can just about taste the burlap and smoke. It’s a beautiful setting, even amidst the horror of the subject matter. It’s intimate and convincing- the audience is in Jamaica for this show. The creative team behind this show has done an excellent job at building a haunting and convincing mid-19th century colonial world.'

British Theatre Guide: 'Omar F Okai’s direction exploits the drama with beating drums, an Obeah woman (Hawa Khan) trying to counter Annie’s spells and a joyful scene of dancing welcome for Rutherford from Millie’s people.'

Live In London ★★★★ 'Simon James Collier made a brave and skilful move rewriting this legend to directly confront such abuses of power. The Witch’s sudden and extreme overreactions are terrifying indicators of a sadistic personality that must take its toll on an actor. But Gemma Rook is so good that you can see the fire in her eyes. Terrific to witness the man with the gravitas to confront her and Tom McCarron as Rutherford delivers – unknowing that it’s the worst thing to do. A playful calypso contrasts with debauched voodoo spectacles where shadows climb the walls and death-rattles fall. Director Omar F Okai’s choreography is excellent, particularly in the fitful finale of drums and drama. Smoke lifts at the start and descends at the end. It veils the curtain-call but spellbound the myth melts into mist.'

One-Stop Arts ★★★★ 'Themes of sexual jealousy and human freedom make for great drama, as writer Simon Collier's believable characters are brought to life by a strong ensemble. Gemma Rook as Annie Palmer is a frightening figure while Tom McCarron, as the steadfastly principled Robert Rutherford, is aptly vulnerable. Alicia McKenzie's Millie is engagingly innocent – and yet maddeningly wilful.' 'What playwright Simon Collier makes brilliantly clear is that even at their apparent best, the Europeans hold on to their belief of cultural supremacy: for instance, the honourable Rutherford's treatment of Millie never once hints that he sees her as his equal. Conversely, the black slaves who are movingly characterised as dispossessed African people, show the moral compromises they are forced to make as they learn the 'benefits' of European civilization.'

Afridiziak ★★★★ 'Well written and thought provoking, you are made to relive the harsh times of slavery. What heightens the story is the eerie undertones of witch craft and voodoo. There are times when you see the irrationality of Palmer, as her sights are clearly set on Rutherford. She is no meek and mild plantation owner; in fact she is vicious practitioner of voodoo.'

Bargain Theatreland 'It is wonderful to see a play about race make so much effort to examine personality and character rather than dwell on the racial separation issue itself. We understand it’s 1830 and slavery is on the tip of abolition, but Collier’s storytelling allows no time for ideological brooding. His focus on his characters is very even, and they are believable and engrossed within their story.' 'Gemma Rook is persuasive as the mesmeric and tyrannical temptress of the legend – and a natural in summoning spirits – while Alicia McKenzie’s sweet performance as Millie carries all the necessary charm with it. Her Grandpa’s bittersweet resilience is solemnly played by Michael Stewart, who commands respect with his delivery.'

FRANKENSTEIN: The Modern Prometheus, The Lion & Unicorn Theatre, London, 2014

‘A strong ensemble cast, supported by great sound effects and unique lighting, tackle Mary Shelly’s infamous tale of horror and love… An extremely ambitious and creative production… Everything Theatre

‘…if you are a fan of the original Frankenstein story, or you are new to it, there is something in this piece for you all. Each cast member is strong, it’s a real ensemble piece where many actors portray many parts, however their performances remain individual and executed with precision and clarity.’ LondonTheatre1

‘Adam Dechanel has skillfully contracted the novel into performance time and made innovative choices with regard to material… The production decisions, nevertheless, are excellent. Jolted expressionist doorways draped with dark curtains surround the main stage, while the lighting is primarily given by a series of bare light-bulbs strung from the ceiling, fizzing with the flow of electricity to Frankenstein’s operating table. Strobe is used sparingly, and to great effect. Stalwart too is the cast. A relatively large size for both the number of characters and scale of the production, they nevertheless blend together as a model of clockwork elegance.’ The Reviews Hub.

JEKYLL & HYDE: Corpus Delicti - The Lion & Unicorn Theatre, London, 2014

London Theatre Reviews | Blanche Marvin MBE 'It’s an extremely free adaptation of Stevenson’s classic novel, reduced to suit the dramatic needs and resources of a pub theatre. This in-your-face production, so honestly performed, uses the platform stage bordered by books and open space in addition to the aisles close to the audience. The set is simple but precise in its usage. Algebraic formulas, occult symbols, Dr Jekyll’s hypotheses, and philosophical quotations are chalked over walls and floor, a chaise longue, hat stand, drapery, and picture frame encasing Mr Hyde are the embellishments of a set. The configuration of the theatre is a three sided quasi thrust. The lighting and its exact spotting are the crux of the dramatic transformations. The scenes are carefully compressed with movement guiding its continual flow. It is precisely staged and, considering its cost, amazing in its size of cast who well match the quality of the production. Simon James Collier’s direction and Omar F Okai’s movement cleverly stylise the gothic aspects that are spine tingling and fill the room with evil forebodings. Wyatt Wendels’s Hyde growls at Henry Jekyll at any disagreement and is furious at a fellow researcher trying to share the research but wanting to take all the credit. It is a frightening performance. Rory Fairbairn offers a credible Dr Jekyll as a kindly man and an eager scientist. As he becomes further involved in his struggle with Mr Hyde, finding him more and more revolting, so does the frenzy of Fairbairn’s Dr Jekyll increase. Elizabeth Bryant is an appealing Penelope distressed by the changes in her finance; Leonora Haig is supportive as Jekyll’s staid housekeeper, as is Connie Jackson’s fearful maid Mary. Rebecca Bell as the outlandish showgirl Sarafina is a delightful singer and feather dancer, to boot. Tom Hartill’s Gabriel John Utterson, the concerned lawyer of Jekyll, is convincing.'

‘The obsessed Doctor Jekyll frantically scrawling on the walls of the room looking for answers to how and what he has created – it is a very charged atmosphere, fantastically staged by Simon James Collier. The story has been given a new spin by Adam Dechanel, and is utterly absorbing. A fantastic thrill ride, not for the faint hearted!’ LondonTheatre1

‘With inventive design and staging, a speedy pace and great atmosphere, this is an enjoyable show for this time of year. The audience sits around three sides of the playing area, which is well-used by director Simon James Collier. No side of the audience is neglected in the staging and the intimate theatre made us feel included in the action. The actors have loads of energy that never lags so the pace is fantastic…’ Everything Theatre

‘It is a good decision to cast such a visually distinct actor in the role of Hyde and Wyatt Wendels makes the most of his opportunities to glower and intimidate… It does build nicely to a dramatic finale when there is only solution left, and the direction here is very interesting – rather than see the characters, a spotlight draws attention to Jekyll’s ultimate solution scribbled hastily and resignedly on the floor.’ The Reviews Hub

‘Despite the familiarity of the story, it still has a cliff-hanger quality as it unfolds and under Simon James Collier’s direction delivers several frissons of evil to make back hairs bristle. This production doesn’t shirk the violence the stems from Hyde but it is cleverly handled by Omar F Okai and, though stylised, still sends shivers down the spine. It really does deliver that presence of evil that is the tales’ essence. British Theatre Guide

MADAME X - The Jack Studio Theatre, London, 2014

★★★★ LondonTheatre1 ‘Fantastic show…’ ‘playwright Simon James Collier has put together a dark – almost film noir – version of this story of a mother’s love in “Madame X”. The first act is effective in introducing and setting up the characters and situations that really explode into action in Act II as the repercussions of Jacqueline’s actions from the end of Act I really take effect on everyone else. I am really going to single out Chloe Fontaine for her performance as Jacqueline at this point. She really brought the character to life and delivered a standout emotionally charged performance that had me hanging on her every word and action. Similarly Corbin Joss Furstenberg impassioned courtroom oratory was full of the passion and power of a man born to be an advocate and determined to win his case. The rest of the cast were equally as talented, indeed Merivel as portrayed by J B Newman still sends shivers down my spine. Director Omar F. Okai uses the stage space at the Brockley Jack beautifully and the set by Martin McLeod was wonderfully flexible as well as appropriately classical in appearance. James Corner’s sound design worked very well...’

★★★★ Female Arts ‘Pure theatre…’ 'When producing a ‘noiresque’ play, it could be argued there’s always the danger of being a slave to style over substance. It’s certainly a possibility, but in the case of Madame X, I have a two-word answer: Chloe Fontain. The way her whole body sobs, ashamed that the person she loves more than the whole world should see her in such circumstances, is so powerful. There are no words from her, but her body language says everything.' 'The play’s well-cast and it’s evident once they’re onstage why the respective actors were selected for their roles. While Swann brings to Louis an earnest, but serious disposition, Maud Madlyn’s Madame Varenne brings colour and moments of levity to the play...'

'It may be a much-reworked story, but this production makes an old warhorse seem fresh. Lovely to look at, with style way above usual fringe, its pace holds the attention, its presentation makes you want to know what will happen, even if you know that already. If you like film-noir and an element of melodrama you should especially enjoy this.’ British Theatre Guide

★★★★ The Upcoming ‘This mesmerising, artfully directed rewrite by Simon James Collier is essentially a dark tragedy, almost verging on melodrama. It captures the theatricality of the original whilst showcasing a standout, grittily realistic central performance.’ ‘… a production which feels rich in its literary and contextual history and gorgeously indulgent to watch…’

‘… enjoy a luxurious wallow in emotions that are all the more enjoyable for having no connection whatever with reality.’ ReviewsGate

'...there are some startlingly good performances – especially by Chloe Fontaine who is perfectly cast as the loving unhappy woman and gives an intense though well contained performance in the title role and Matthew Swann who is her irascible and cruel husband. Raymond is played by talented newcomer Corbin Joss Furstenburg who presents his defence of Jacqueline with intelligence and sympathy.' RemoteGoat