views from the gods

saints and sinners of the stage and screen

Whether you normally look down from the cheap seats in the gods, or sit up close in the front row, there's so much happening on the London performing arts scene and comedy circuit, it can be difficult to decide which shows you should spend your cash on and which shows should quite frankly, pay you for turning up.

At Views from the Gods, we review all the latest London talent, from West End plays to emerging comedians. We hope our site helps introduce you to some new performers.

Latest review:

It's not actually that easy to get into the underworld. I mean, it's not a case of dying and off you pop - no, no, you need to have exact change for the ferryman, or that's it, you're stuck wandering around aimlessly, unable to return to where you came from and unable to go where you had planned. It's an image that came to my head when trying to get into the one-night only performance of Zeus on the Loose. First, a mistrustful bouncer insisted on looking at my emails (since when did the Cockpit have such grumpy security on the door?) then a small, smartly-dressed child handed me a bag in which to place my phone (when has this ever been normal?), then I found myself waiting until 15 minutes after the planned curtain up time because Zeus (Darron Gifty) had apparently gone missing. The company did well to style it out by having Hades (Kyl Messios) glide through the bar area glaring and shouting at us, but next time, I'll remember to bring an obol. Probably easier.

Writer and director Emma Rollason has done an admirable job in hand-picking talent - her show features aerial silks, burlesque, dance and foot archery. These are the sort of grand acts you might expect at the Spiegeltent or Hippodrome, and the sheer anticipation of bringing them to a more traditional theatre venue creates a real buzz. Everyone is excited and everyone wants to like it. However, Rollason has taken a somewhat Mamma Mia!-esque approach to storytelling, which is to allow the desired material to dictate the plot, rather than the other way around. This lack of a strong narrative arc isn't helped by inaccuracies in the mythology - whilst not perhaps everyone will identify all of them, it is a risk to be splicing stories and characters to this degree, and there is an argument that Rollason would have been better off creating her own unique set of gods and goddesses if she wanted to employ such heavy artistic licence.

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