• Review For Us
    • In London or across the UK
    • at Edinburgh Fringe
  • List Your Show
  • Advertising
  • Musicals
  • Plays
  • Ballet & Dance
  • Previews
  • First Look
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Special Offers
    • Musicals
    • Plays
    • Family Theatre
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Special Offers
    • Musicals
    • Plays
    • Family Theatre
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
No Result
View All Result
Home Reviews

Review: When Judas Met John at Online@theSpaceUK

by Magdalena Pulit
August 8, 2020
Reading Time: 3 mins read
When Judas Met John Review

When Judas Met John Review

Missing live gigs? Missing crowded Edinburgh streets, filled with musicians, artists and performers playing around every corner during Fringe Festival? Or perhaps feeling 60s and 70s nostalgia? If any of those questions is answered by a yes, When Judas met John might be worth twenty minutes of your time.

The show is a bluesy interpretation of two songs by Bob Dylan and two songs by John Lennon. It is performed by Brothers Broke – a duet of twin brothers, Tom and Hugh Adams, who follow up their successful debut at Edinburgh Fringe 2018. Before the acoustic gig starts, one of the brothers delivers a short introduction to the show; each of the songs is also preceded by a little background story, written on the screen.

The extra-musical facts aims to articulate that the song choice is not accidental. Although written in the last century, the lyrics like ‘How does it feel to be on your own’ sound accurate and current, particularly within the context of lockdown. The brothers even wrote their own verse, laced within Dylan’s “Subterranean Homesick Blues”. This is how they show the relevance of Dylan’s and Lennon’s music, especially during times of social anxiety and unrest.

       

The brothers, singing and playing both the guitars and the harmonica, accompanied by the keyboard and the drums, are charming and effortless performers. Their voices harmonise almost naturally and you can tell that they really enjoy the music they play. Unfortunately, other than that, they don’t have much more to offer. Although the show intends to become interactive and entertaining, it remains quite monotonous regardless. That’s why it resembles pub music rather than an actual gig.

When Judas met John is advertised as casual, uncomplicated and pre-recorded live with no editing, which, unfortunately, can be felt all the way through. Therefore, it seems unprofessional rather than charming and chill. As stated in the initial subtitles, it was filmed with an iPhone by someone who couldn’t even keep it upright. The frustration of technical imperfections and poor quality, which sadly, comes quite frequently with online performances, really ruins the joy of chill gig, played in a field in Surrey.

You mightalso like

Sauna Boy at thespaceuk image supplied by publicist

theSpaceUK Announces Over 100 New Shows on Sale for Edinburgh Festival Fringe 2025

What If They Ate The Baby image supplied by publicist

Xhloe and Natasha Return to Edinburgh Fringe with Triple Bill of Fringe First-Winning Shows

An interesting concept behind When Judas met John is, regrettably, realised quite poorly. Too bad because all four – Dylan, Lennon and Brother Broke deserve a bit better.

Magdalena Pulit

Magdalena Pulit

Magdalena is a London-based freelance writer, with a master's degree in Shakespeare Studies, passionate about all kinds of theatre and music.

Related Articles

Sauna Boy at thespaceuk image supplied by publicist
News

theSpaceUK Announces Over 100 New Shows on Sale for Edinburgh Festival Fringe 2025

What If They Ate The Baby image supplied by publicist
News

Xhloe and Natasha Return to Edinburgh Fringe with Triple Bill of Fringe First-Winning Shows

Some of the shows announced in theSpaceUK line up
Edinburgh Fringe 2022

theSpaceUK Announces Full Programme for Edinburgh Fringe 2022

Pleasance Edinburgh
Edinburgh Fringe 2022

Funding to support Edinburgh Festival Fringe producers in festival’s 75th anniversary year

Comments 1

  1. Lizzy Cooper says:
    6 years ago

    This gig is GOOD. I agree with Magdalena that the technical skill is lacking (lack of equipment?), but I really enjoyed the perfromance: the twins voices blend so well together, the harmonies are delicious, and the concept is unique. They kept my attention for the full 20 minutes, but then I do love Dylan, and they picked my two fave songs. I would probably book their show if they ever play at the Edfringe again.

    Reply

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

I agree to the Terms & Conditions and Privacy Policy.

ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Twitter Facebook Youtube Instagram

At Theatre Weekly we give theatre a new audience. You'll find our theatre news, theatre reviews and theatre interviews are written from an audience point of view. Our great value London theatre tickets will get you the best deal for your theatre tickets.
Theatre Weekly, 124 City Road, London EC1V 2NX
  • Join Our Community
  • Privacy Policy
  • Cookie Policy
  • Terms and Conditions
  • Contact Us
  • Advertising

Recent News

Finley Oliver (Freddie Fernandez) and Gino Ochello (Daniel LaRusso) credit Manuel Harlan

First look images released as The Karate Kid – The Musical begins UK tour performances

Love Never Dies Cast Image supplied by publicist

George Blagden, Courtney Stapleton and Mazz Murray join cast of Love Never Dies in concert at the London Palladium

© 2022 Theatre Weekly

No Result
View All Result
  • Home
  • Tickets
  • News
    • News
    • West End
    • Off West End
    • Regional & Tours
    • Digital
  • Interviews
  • Reviews
  • Digital Theatre
  • Contact Us
    • Join us as a Reviewer

© 2022 Theatre Weekly