Red Bus Londinium Life

The Bush Theatre in Shepherd’s Bush places reflecting the diversity of its community at the very heart of its work and does so with remarkable success. Each visit offers something new to learn and reflect upon, making every production a meaningful experience. Since the pandemic, the theatre’s dedication to nurturing its Young Company has only deepened. Make Me Feel, the final production of the current young company, offers a vibrant glimpse into the future of London theatre and it is clear that we will be seeing much more from these energetic and enthusiastic young people.

Even before the play began, the atmosphere in the theatre was electric and a testament to the success of the Bush’s programmes came in the form of two familiar faces in the front row, alumni whom have gone on to enjoy highly successful premieres at the theatre in their own right: Coral Wylie (Lavender, Hyacinth, Violet, Yew) and Azan Ahmed (Statues).

Will Jackson, an alumnus of the Bush Theatre’s Emerging Writers Group, has written Make Me Feel as a vehicle for the Young Company. The play explores how we ask for help in a world that feels like it isn’t listening.

As Jamie (Joshua Aketse-Entsie) readies himself for marriage to Ruby (Dejuan Desiree), he circles around the act of asking for help: almost asking, nearly asking, asking but unheard, or asking but deflected with another pint. With men statistically less likely than women to access psychological therapies, one of the play’s great strengths lies in its invitation to consider whether, even when men do reach out, their voices are truly heard.

Alongside the strength of its central storyline, Make Me Feel weaves in a wide range of themes, from speeding classes and the housing crisis to toxic workplaces, first protests, early motherhood and suicide. Each of these subjects is topical and thought-provoking, and the play’s willingness to tackle them speaks to its generosity and scope. In its current form, the additional themes allow every member of the group to have a chance to shine. In a future iteration, a streamlined version of the script with a more sharpened focus on the key couple might be more compelling for the audience.

Director Katie Greenall and movement director Mateus Daniel have given seventeen young performers the confidence to bring the play’s series of vignettes to life with minimal props. Even in the round, where some moments were more challenging to see, the variety of locations and emotions they were portraying came across clearly. Through dance, flashes of flirtation and moments of despair, protest and hope, the ensemble’s physical storytelling was generally engaging and expressive.

The ensemble received a standing ovation, and the experience of presenting their work to such an enthusiastic and appreciative audience will surely empower and inspire whatever they choose to do next. I look forward to seeing where their talents take them.

[Thank you to Bush Theatre for a gifted ticket for an honest review].