Review – The Holy Rosenbergs, Menier Chocolate Factory, London, 29th March 2026

Posted on April 2, 2026 by therealchrisparkle

Ryan Craig’s The Holy Rosenbergs premiered at the National Theatre in 2011, but it feels as though it could have been written yesterday, which perhaps only goes to show that we learn nothing from our mistakes. Set in 2009, the play brings two threads together – a grieving family with a failing business and reputations in the balance; and the politics of the Middle East, sharply focussed on the Israeli Defence Force which is being challenged in Geneva for war crimes. The link between the two comes in the form of Danny Rosenberg, the son who left the rest of the family in Edgware, set up home in Israel, became a member of the IDF, and was questioned under the Geneva Convention over his part in military operations in Gaza.

Flying helicopters over Gaza, Danny is now dead. He has been buried in Israel and his memorial service in Edgware is tomorrow. Danny’s human rights lawyer sister Ruth has been asked to give the eulogy by their father David; but she is assisting Sir Stephen Crossley in writing the report looking into the actions of the IDF. Conflict of interest much? With rumours of a protest at tomorrow’s memorial, specifically targeted against Ruth, should she stay away or attend? As The Holy Rosenbergs takes place over the course of the one day, that’s something we never discover.

With a few nods to Arthur Miller – the unseen Danny casts a similar shadow to the dead Larry in All My Sons and David Rosenberg has more than a whiff of Willy Loman about him – Craig’s writing is intense and compelling and creates a thoroughly believable story with totally recognisable characters. Questions of family loyalty, membership of a wider community, and adherence to one’s faith all play a vital part in this play. David Rosenberg needs someone to continue his family kosher catering business into the future, and with Danny having chosen to move to Israel, and Ruth a gifted lawyer in Geneva, it falls to layabout younger son Jonny to take up the mantle; so that’s never going to happen. The play also examines the contrast between those things which unite us and those things that divide us, especially when they’re so closely connected. For the Rosenbergs, is there a point or an attitude which will unite them all – and is truth more or less important than putting on a solid front?

The Jewish elements of the play are central to its core. Craig presents the Edgware community as having a genuine adherence to the faith, belief in the cause of Israel, and recognising the importance of family, ritual and respect. War, and the actions of war, are at odds with the kindness and generosity at the heart of the Jewish community; and the actions of the Israeli government inevitably create tensions and divisions of loyalty. The Rosenberg family are almost uniquely caught up in the fractious attitudes towards this first Gaza war; and the play does not shy away from the personal tragedy as well as the wider political issues.

One of the joys of seeing a show at the Menier is to discover how the seating configuration and staging has changed since the last time you visited. For The Holy Rosenbergs, Tim Shortall’s immaculately detailed set dominates the space and feels all-encompassing. It’s a living room we all recognise – especially if you were around during the 1980s – with its busy patterned carpeting and elegant, sophisticated G Plan furniture which you can imagine has been polished to the nth degree. Family photos and all the trappings of middle-class Judaism are everywhere – it’s a room that the family will have been so proud of about forty years ago and somehow time has stood still in the interim.

Lindsay Posner’s extraordinary cast deliver totally engrossing performances. Nicholas Woodeson and Tracy-Ann Oberman as David and Lesley Rosenberg are astounding with their perfectly observed, immaculately executed characterisations of the heart of this solid family, effortlessly delivering all the humour inherent in their characters but ruthlessly revealing the inner torture they both face. They’re mesmerising. Dorothea Myer-Bennett is also extraordinarily good as Ruth, treading a fine line between standing up for what she believes in and wanting to grieve as a family member as much as the rest of them.

Dan Fredenburgh is excellent as family friend and respected client Saul, carefully navigating a disastrous dinner party and then later vociferously championing his cause, and Nitai Levi gives us an amusing and credible portrayal of the contrary wastrel Jonny. There’s terrific support from Alex Zur as the young and well-meaning Rabbi Simon, and Adrian Lukis as Ruth’s boss Sir Stephen, awkwardly put on the spot and receiving the full blast of family criticism; his delightful coping mechanism for dealing with the discomfort put me in mind of a younger version of John Le Mesurier.

The play is at its best when fully examining the family dynamic, observing the minute interactions between the family members. Perhaps it gets a little bogged down in the second act where there are some lengthy and slightly didactic speeches – necessary for the plot development but nevertheless weighty for the audience to take in. However, it’s a memorable production which poses many difficult questions and you leave the theatre in awe of some truly first class acting.

Four They’re Jolly Good Fellows!

Review – A Christmas Carol, Crucible Theatre, Sheffield, 3rd January 2026

Posted on January 16, 2026 by therealchrisparkle

Ever the businessman, I reckon Charles Dickens today would be pretty satisfied with how his Christmas Carol franchise was performing, 183 years since it was first published. From Alastair Sim to the Muppets, from the musical Scrooge to the regular Old Vic production, old Ebenezer and those ghosts are never going to go away. One of the most influential books ever written, its legacy truly lives on. And now, Aisha Khan has adapted it with a unique Sheffield twist for the Crucible stage.

In this production, Jack – a kind of Artful Dodger, briskly played by Mel Lowe – tells three young scallywags about Scrooge’s extraordinary tale, creating a distancing framework and a setting for the story. Once the story starts to unfold, it’s told in a very traditional and straightforward manner, with the revelations of Scrooge’s humble beginnings and how he threw away his chance of happiness with Belle, how he mistreated his kindly boss Mr Fezziwig, and his encounters with those oh so important ghosts.

As an aficionado, rather than a native, of Sheffield, I wasn’t aware of the area’s carol tradition. Dickens saw his story of the redemption of Scrooge as the embodiment of a carol, hence his choice of title. What could be more relevant, then, to incorporate the local tradition of carols into this show? Every year come November, local pubs ring out with the informal singing of songs like Six Jolly Miners, Hail Smiling Morn or Sweet Chiming Bells, known by all so that everyone, unrehearsed, can join in – but totally unknown outside the local area. Aisha Khan’s adaptation includes many of these rousing numbers, helping to take Dickens’ original tale away from its traditional London setting and bring it to Sheffield. This local influence is also seen in the inspired decision to make the Ghost of Christmas Past a miner, leading Scrooge through his history with the aid of his torch-equipped helmet.

Rose Revitt and Kevin Jenkins’ alluring set combines a grim, rickety, upstairs office garret with a more comfortable room downstairs, contrasting Scrooge’s solitary workplace for one with a sociable space for the Cratchits to enjoy their meagre Christmas lunch or for Scrooge’s nephew Fred to host his Christmas party. Bob Cratchit’s desk is placed centre stage, virtually cut adrift from the rest of society, with no creature comforts; just a target for Scrooge to hurl his bundles of documents from a height above so that they come crashing down next to Cratchit to work on – a very nice touch to display the inhumanity of Scrooge’s treatment of his employee.

The costume design is perfect for its era, and the production requires over 100 costumes in all, so the Crucible’s Wardrobe department had its work cut out to recreate the times so credibly. Richard Howell’s lighting design is evocative and inventive, including an ominous creation of Scrooge’s grave, and John Bulleid’s illusion designs work very effectively, adding a touch of eerie magic to the proceedings. Trundling large and heavy elements of the set into place, however, was unfortunately noisy and distracting – just a minor quibble.

Director Elin Schofield created a superb ensemble feel to the entire production, with many cast members adopting several roles, as well as joining in with the songs and choreography. Everyone gave a great performance; stand-outs are Adam Price combining the roles of Fezziwig and the Ghost of Christmas Present, Nitai Levi as the Ghost of Christmas Past, and Ryan O’Donnell and Kimberly Blake as Mr and Mrs Cratchit, the latter’s refusal to raise a toast to their employer sending a thrill of righteous indignation in agreement with her down all our backs. The a cappella singing is electric – and put me in mind of the production of One Big Blow at the Liverpool Everyman more than forty years ago, which gave rise to the successful group The Flying Pickets.

Ian Midlane is excellent as Scrooge; this is no pantomime villain but a believably complicated and self-deluding soul who fell back on his complacency and saw no need to treat the world kindly, when he thought money was the answer to everything. His change into a charitable chap is great fun to watch and gives the audience a feelgood pickup.

A well-constructed, innovative approach to a familiar story; sadly, now closed, but it is an excellent addition to the Crucible’s ever-growing list of successful Christmas shows.

Four They’re Jolly Good Fellows!