★★★★★
_REVIEW. it’s about _THEATRE. words _KYLE PEDLEY. at _OMNIBUS THEATRE. tickets _OFFICIAL SITE. booking until 10th AUG.
images © Rob Greig.
In the current cultural climate where Richard Gadd’s Baby Reindeer has defied expectations and smashed Netflix records internationally, a keen light has been shone on the translation of toxic, unhealthy relationships into ‘entertainment’. For certain, it isn’t exactly new or original ground to cover on stage – from Prima Facie to Gaslight, the tragic commonality of abuse, assault and coercion has found itself frequent subject matter for dramatisation.
Emily Jupp’s Wormholes arrives without the sheen and fireworks of stranger-than-fiction absurdity that courses through Reindeer. So much of Gadd’s tortured tale would be deemed ridiculous, were it not autobiographical in nature. Jupp’s tale here, of a woman recounting her past as she faces rather ambiguous questioning by the police, is notably less sensationalist. Befitting of its running analogy of the parasitic guinea worm, Wormholes knows that abuse rarely storms in to your work place and unleashes itself at full throttle, but is rather a gnawing, burrowing and debilitating thing that slowly, insidiously takes its hold and makes its presence known.

Front and centre is Call the Midwife star, Victoria Yeates, who recently impressed in the RSC’s Ben & Imo. Her character, referred only to in the text as ‘Woman’, proves not so much an unreliable narrator as a deeply human one – distracted, troubled, uncertain. Her memories scattered, disjointed. She ponders of the titular channels through which she may escape her life and trauma. The weight of what she has gone through gradually builds as she guides the audience through her story, swings in mood and fortitude pointing to an impending unraveling. The frisson and excitement of those first dates. The unapologetic frankness of recalling the great sex. Sarcastic yet never sinister observations on how our lives and friendships change as we become absorbed in new love.
And then, like the aforementioned parasite, the worm slowly begins to turn.
It’s thrilling, consummately engaging and deeply human work. Yeates has spoken candidly about her own journey and experiences of being in an abusive relationship, which likely underpins the earnest, heartbreaking authenticity of her turn here.
“There are few frills and mercifully scant distractions.”
There are few frills and mercifully scant distractions. A simple stage bathed in mostly blue hues represents the arena for Jupp and Yeates’ story, with Paul Housden’s occasional sound and music creeping in at the periphery to underpin a particular beat or charged moment. A warped, discordant rendition of Chaka Khan, earlier used during a moment of elation and freedom for ‘Woman’ is particularly haunting.
Jupp’s experience in writing about mental health, and the closeness with which this ties to Yeates’ own experiences imbues Wormholes with a heady, sobering rawness. Its recollections and depictions of abuse, coercion and even physical violence are devastating often in their simplicity and relatability. As it knows and depicts all too well, malevolence will often wear a smile, and the damage isn’t always apparent until it’s sometimes too late.
Yeates’ control and instincts here are masterful. She demonstrates herself once again as a commanding presence on the stage, flitting between incredulity, devastation, frustration and even bouts of rage sometimes within a matter of seconds. It’s a heartrending, tremendous turn from a seriously capable performer.
“…a heartrending, tremendous turn from a seriously capable performer.”
Given its subject matter, Wormholes isn’t exactly an easy watch. Yet director Scott Le Crass and Yeates pitch the balance well, finding plenty of levity and relatability, particularly in ‘Woman’s’ observations of the world about her. It veers towards particularly dark territory come its conclusion, yet deftly avoids feeling exploitative or in any way lesser than the measured, absorbing hour that has come before it.
As per Gadd’s original, Olivier Award-winning stage version of Baby Reindeer, Wormholes is a stripped back, one-person affair. It presents a blisteringly authentic portrayal of domestic violence and abuse in a way that is only amplified by its normality. Jupp’s nuanced writing and Yeates’ stunning performance hauntingly remind us that the darkness that occurs behind closed doors doesn’t always involve or require Netflix-style fireworks, yet are no less heartbreaking or devastating as a result.
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It’s 5 (6, 7, 8…) stars ⭐️⭐️⭐️⭐️⭐️ from @kylebpedley for @thestepsmusical!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘relentlessly entertaining slice of new jukebox fabulousness’, which runs at @thealexbham until 30th November, ahead of its recently-announced UK tour which commences September 2025! 💓🤠✨🛒🎭
#hereandnow #hereandnowtour #musical #steps #stepsmusical #review #thestepsmusical #birmingham #thealexandra #thealex #midlands #whatson #twe #thingsweenjoy
Nov 20

TAKE FIVE (…six, seven, eight) with @thestepsmusical! 🪩🛒🕺🏽💓
‘Here & Now’ is officially OPEN at @thealexbham, and in the run-up to this STOMPing World Premiere, we bootscoot’d down to the rehearsal room, where @kylebpedley got to ‘take five’ with the show’s fabulous leading ladies, @beingbeckylock & @supashar.
Watch now as the trio chat all things musical theatre, things we’ve enjoyed, the bostin’ City of Birmingham and, of course, STEPS themselves! ✨
‘Here & Now’ runs at the Alexandra Theatre, Birmingham until Saturday 30th November - get your tickets now! 🎭🎟️
And keep an eye out for our full, official review of the show after its glittering gala opening night next week! 🤩
#steps #stepsmusical #thestepsmusical #hereandnow #theatre #musical #musicaltheatre #rebeccalock #sharlenehector #birmingham #whatson #thealexandra #alexandratheatre #sayyoullbemine #twe #thingsweenjoy
Nov 11

“Delightful, unapologetic cabaret goodness with an extra sheen of malevolence” - we had a wicked-ly good time catching the @oldjointstock theatre’s ’I Screamed A Scream’ this week! 😈🎃
Head on over to the TWE site (link in bio) for the full review of this ‘deliciously entertaining’ celebration of the best villains, rogues and rascals of stage and screen.
It truly does feel so good to be bad! 😈
#IScreamedAScream #Cabaret #Villains #Halloween #Disney #OldJointStock #Theatre #Review #TWE #ThingsWeEnjoy
Nov 3

“A moving, pensive story and beautifully crafted production both…” featuring “what should be a star-making central turn” from Ryan Kopel - it’s a glowing five stars ⭐️⭐️⭐️⭐️⭐️ for the ‘beautiful melancholy’ of @DEHWestEnd at @thealexbham from @KyleBPedley! 💙
Head on over to the TWE site (link in bio) to read Kyle’s full review of the show; which runs at the Alex until Sat 26th October, before continuing its UK Tour.
#DEHWestEnd #DearEvanHansen #UKTour #EvanHansenTour #Review #Birmingham #TheAlexandra #Theatre #Musical #TWE #ThingsWeEnjoy #Review #RyanKopel #WavingThroughAWindow
Oct 23

Mangetout, mangetout! It’s a lovely jubbly four stars ⭐️⭐️⭐️⭐️ for @ofahmusical at @wolvesgrand!
Head on over to the TWE site to read @kylebpedley’s full review of what he calls a ‘legitimately funny recapture of a classic’.
‘Only Fools and Horses the Musical’ runs at the Grand until Sat 26th October 2024, before continuing its UK Tour.
#onlyfoolsandhorses #musical #wolverhampton #review #ofah #ofahmusical #uktour #comedy #funny #whatson #twe #thingsweenjoy
Oct 22

It’s 4 ⭐️⭐️⭐️⭐️ stars from @kylebpedley for ‘Becoming Nancy’ at @therepbirmingham!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘fun, feel-good musical’ which boasts ‘a winning cast’ and a soundtrack ‘positively stuffed with catchy, jaunty earworms’.
‘Becoming Nancy’ runs at the Birmingham Rep until Sat 2nd Nov 2024.
#BecomingNancy #JerryMitchell #TerryRonald #Birmingham #BirminghamRep #New #Musical #MusicalTheatre #Review #TWE #ThingsWeEnjoy #October #LGBT #LGBTQ #Pride #FullOut
Oct 20

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