Still Here at Bridewell Theatre Review
Written by Bronagh for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
What does it mean to be home? To many people, home equals safety, security and family. Sadly, in a world ravaged by war, a huge number of people don’t have this luxury as they are being displaced time and time again. In a ‘waiting room’. Still Here explores the displacement of a group of Ukrainian people and two Iranian men, two countries where normal civilian lives have been turned upside down due to war and revolution.
We enter the Bridewell Theatre, which has been transformed into a waiting room. We see the usual uncomfortable-looking seats, and books to read to pass the time… all on genocide and historical wars. We then meet the young Ukrainians, a group of young boys, perhaps no older than ten years old. This is a very sweet start to the show, with the group looking very excited and not a bit nervous to be up on the stage. We then meet the older teenagers and adults and begin to learn the story of their forced migration.
Remarkably, the whole cast, except for the character of Max, is made up of refugees, all of whom had normal lives in their home countries before war and violence forced them to flee. It is crucial to note the staggering bravery and strength from the cast, who have lived through the atrocities of war and violent regimes, yet still found the strength to perform in Still Here. The difference between the countries is stark; the Ukrainian cast appear to be proud of their heritage and display a Ukrainian flag, whereas the Iranian actors throw their flag to the ground, having been expelled for protesting and for being a journalist. To me, and I’m sure many readers, it is unthinkable that you can be expelled from your home country for engaging in such activities and Still Here does a great job at putting this across.
Something I liked about Still Here is how, although clearly political, politics were not dwelt upon, instead concentrating on the people whose lives have completely changed. No politicians or leaders are named throughout, keeping the focus on the cast and their stories. We hear from both the adults and young people on how they are affected, whether they are struggling to come to terms with the mental implications, or wanting to just live a normal life.
Back to Max (Joe Kirk). Max is a British man who has come to the waiting room to ‘help’ but then feels overwhelmed by the challenges he faces. The character is one that is written to resonate with those who do engage in activism, who may feel like their attempts are futile. It is rather beautiful seeing the cast engage with Max, grateful for his efforts and reminding both him and the audience that the waiting room is always open and welcoming.
Although overall a lovely production, there were parts that made I feel muddled the show. There are parts throughout Still Here where we have musical interludes, very much a musical theatre feel with singing, dancing and movement. This was enjoyable, however, I do feel like Still Here could have been one or the other – a play or a musical – and the message still would have gotten across. However, I must mention the particularly beautiful operatic number from Olesyia (played by Nadiia Sychuk), which completely stunned the audience. There was also a loosely insinuated romantic storyline between Iranian Noa (Amen Aram) and Mira (Sofia Kudriavtseva), which I feel could have been totally left out or expanded on.
Overall, Still Here is a good production, with lots of moving parts, lots of energy and plenty to think about. I would love to see this tightened up and performed again, ensuring the voices and stories are not forgotten. There is one thing for certain – we are one, and will not be defeated.
Still Here played at the Bridewell Theatre on the 6 and 7 August 2025
★ ★ ★
