In this science fiction double feature, Christopher Luscombe’s adaptation of Richard O’Brien’s Rocky Horror Show is a fun, mischievous celebration of the cult classic.
Everything about John Nicholson’s adaptation of Gustave Flaubert’s The Massive Tragedy of Madame Bovary! at Jermyn Street Theatre has an element of irony to it, but whether tha…
The royal affair that is Diana: The Untold and Untrue Story, is the most unhinged piece of theatre in existence.
From hand-jiving to slicked hair, Nikolai Foster’s Grease at the Dominion Theatre is a sprint down memory lane with extra twists.
Whilst the boys of G Company may be experiencing monotony in Hawaii, this word cannot be applied to the long-anticipated revival of Tim Rice’s and Stuart Brayson’s From Here to…
Mundane is not a word that could be used to describe Elf Lyons’ Raven.
With music and lyrics by Elton John and Jake Shears, Tammy Faye is as iconic as the woman it is about.
Mark Watson is one of those people who you stop and listen to when they start speaking, whether it is from the middle of an audience, or from a stage.
As far as shows set during the Regency era go, Christian Brighty’s Playboy is not only the most ambitious, but also the best representation of dramas set in this period.
Olivia Jacobs and Toby Mitchell’s adaptation of Oscar Wilde’s The Canterville Ghost gives little away to begin with, making it difficult to know what to expect.
Whilst productions do as much as they can to immerse audiences in the aesthetic of shows from the start, nothing can compare to the auditory and visual sensation of pastel that kic…
Mixing survivalism with psychoanalysis, Dave Bain’s Last Sales Conference of the Apocalypse is a fractured and confused trip that leaves us with more questions than answers.
The proverb blood is thicker than water is often used to prioritise family bonds over all else.
Helen Bauer’s Madam Good Tit is a not-so-wholesome coming-of-age set that provides a deep dive into everything from Bauer’s various high school personalities to deeply problema…
Rhys Nicholson must have been pushing down the material in Rhys! Rhys! Rhys! for a long time, for this show is certainly a diamond.
Like most dystopian stories, Simon Perrott’s Everybody Wants to Rule the World has a basis in reality which forces us to reflect on the issues of today.
There’s an upbeat charm that hangs over Grey Area Theatre’s Help! We Are Still Alive.
It’s a classic David and Goliath, if by the end, rooting for Goliath seemed like a reasonable thing to do.
Grant Black and Murray Lachlan Young’s Rehab is an entertaining musical that is full of potential.
Taking self-deprecating humour to another level, Tom Walker’s Javelin is a rather eclectic series of observations and character-based narratives, through which runs a relatively …
Few will perhaps have heard of Annie Londonderry, but after seeing Freya Catrin Smith and Jack Williams’ Ride, it will be practically impossible to forget the name.
Wow, just wow.
Damnation has never been so fun in Joe McNeice’s adaptation of Diva: Live from Hell.
Smashing Cabinets Theatre’s adaptation of Dave Malloy’s Ghost Quartet is ghost-like and haunting, confusing at times, but generally falls somewhere between the mysteriousness o…
Hailing all the way from the bright lights of New York, Sarah Sherman’s self-described horror comedy show - with the emphasis on the horror - is incredibly ghastly and overly gra…
Chevron Theatre’s A Wilde Life is absolutely hypnotic, hinting at a time of debauchery and a glamour that has long since passed.
All that glitters is not gold, a message that is incredibly clear in Em Oliver’s Beautiful Nothing.
There is a distinctly medieval feel to Ross Stephenson’s Artorigus from the start, despite its modern trappings.
Electric, animated, compelling.
Judy Seall’s Splinters is a strangely warm gothic Victorian tale, a warmth that emanates from the bonds between the members of the cast.
Combining the improvisation talents of Mischief Comedy, Austentatious, and Showstopper!, Starship Improvise is a blast out of this world, filled with moments of hilarity and creati…
Whilst it may be apt to stage John Montgomery and Derek Batchelor’s Flesh - a musical about Burke and Hare - at Surgeon’s Hall, the novelty stops there.
A Highly Suspect Murder Mystery is an interactive Shakespeare-based whodunnit where the audience (with help from the cast) is tasked with solving the murder.
Whilst mildly fun, it is odd in this day and age to have any form of pro-police art.
Jeff Ahern’s presidential campaign based on audience suggestions brings an insightful look at the current state of political affairs.
Chronic Insanity’s 52 Souls is a series of monologues that correspond to each indiviudal playing card (plus one Joker) along the subject of death and mortality, all in an hour.
Turning what we know about morality on its head, Gabrielle James and Joshua Newman’s Living With Sin is an interesting twist on the traditionally 'evil' seven deadly sins…
GOYA Theatre Company’s Don’t Say Macbeth is a fast-paced show filled with well-balanced satire that pokes fun at and spoofs the theatre and musical industry.
Lauren Brewer and Will Geraint Drake’s The Single Lady is a musical extravaganza, giving Elizabeth I the same treatment that Hamilton did to the Founding Fathers.
Children, especially toddlers are known to be tyrants.
Death is sad enough, but growing up seems worse.
Ted Hill is incredibly brave for putting on his show, All The Presidents Man, which in itself is a very clever title.
Jason Slavick’s Yellow Bird Chase shows us that the best children’s shows have something for everyone, whether it is the gibberish of the language, the compelling storyline or …
Despite the hyper atmosphere and start of Garry Starr’s Greece Lightning, there is something vaguely unsettling about the manic nature of the way that Starr approaches this show.
Despite what Catherine Bohart tells us in This Isn’t For You, she is more emotionally articulate than she gives herself credit for.
Chris Bush, Miranda Cooper and Jennifer Decilveo’s Fantastically Great Women Who Changed the World is in one word, a celebration.
Filled with classically and subtly nihilistic British humour, Milo Edwards’ Voicemail is full of intelligent and thought provoking commentary that turns Mash House into a safe sp…
From exes to golf coaches, Just a Normal Girl Who Enjoys Revenge is an eloquent, biting and well-structured analysis of situations when Hannah Fairweather was right and when she wa…
Unassuming at the start, A V Brodrenkova and Aimee Dickinson’s Foundations quickly breaks all boundaries and assumptions.
Filled with the charm of a children’s cartoon, The Song of Fergus and Kate is a quaint story about friendship and embracing differences that any child would find fascinating.
We are told from the start that America’s history is one of violence, and of wars.
As the title Charlie Russell Aims to Please suggests, the entire show is an amalgamation of various theatre techniques from musical to slapstick to the dramatic in Russell’s atte…
Brenda (Jacqueline King), a marriage counsellor, is faced with multiple challenges.
Don’t be fooled by the singing cowboys, this is an incredibly serious play, if only for the fact that the pair of Will Rowland and Eddy Hare have clearly done their research for …
Too young to be yelling at clouds, Ivo Graham decides to talk loudly at us over the course of an hour instead.
Rhum and Clay's Project Dictator is a commentary on democracy and dictatorships, utilising different theatre genres to do so.
"What happens when you combine holy water and squash? Capers," Jonathan Sayer promises us during Mischief Comedy's Mischief Movie Night.
‘They all knew the person I was when they gave me the part,’ Harry Kershaw complains, words that ring hollow and true, in a prophetic sort of manner, a common feeling that we …
There is something comforting about Angela Barnes’ Hot Mess.
Maisie Adam is Buzzed about a lot of things, and it is a nice change of pace to hear how things are going well for a comedian.
Forget everything you may know about Bloody Mary; the cocktail, the game, the queen who burned Protestants at the stake.
It’s delightful, it’s delicious, it’s de-lovely - it’s the Great Depression as you don’t know it, full of the glitz, glamour and luxury of old Broadway.
Sarah Keyworth’s Lost Boy is very difficult to fully describe.
From Gigglemug comedy duo Sam Cochrane and Alex Prescot, Runesical is an amusing, action packed quest based on the role-palying game Runescape.
Olga Koch is winning at life and she wants us to know it.
Braving the smells and humidity of the Niddry Street Hive, Alex Kealy’s The Winner Takes All explains the inner workings and purpose of Silicon Valley and tech monopolies better …
Some of our most recent experiences of yeast will most likely come from our own fervent lockdown breadmaking.
Whether it was the book or movie, C.
There is an unspoken cardinal rule that life tends to imitate art.
Don’t be fooled by the pink, as the aesthetic over comfort of Elliot Clay’s Millennials is the celebration that this generation not only deserves but needs.
William Shakespeare has been kind enough to leave behind a plethora of quotes about drinking.
‘Who had a better ending, Peter or Wendy?’ This is a question JJ Green invites us to ponder in A-Typical Rainbow, a powerful story about a boy growing up with autism and how it…
Stripping back any recognisable aspect of Russian culture, Jamie Lloyd’s adaptation of Anton Chekhov’s The Seagull presents the bare minimum of what theatre can be: a group of …
Michael Morpugo’s stories about the world wars have for a long time been the gold-standard for children’s books.
If schools want a ‘Keeping Yourself Safe’ presentation on incel culture, then they won’t have to look further than Sam Went’s Red Pill.
Provocative, crude and iconic, Fat Rascal Theatre’s production of Unfortunate is nothing short of a showstopper.
‘The play is memory’.
William Shakespeare’s Much Ado About Nothing, tucked away under the arches of Waterloo at the Network Theatre, is an incredibly feminist play.
A quintessentially London musical by Craig Adams and Ian Watson, with new arrangements by Sam Young, Dean Johnson’s Lift at the Southwark Playhouse is a complex musical experien…
Julie Atherton’s production of Ordinary Days at the Cockpit is a work of art.
One of the best things about theatre, and art in general, is the space it creates for difficult conversations and analysis.
An odd combination of nostalgia and existentialism, American Idiot continues to remain incredibly current.
Most of us will be familiar with Arthur Miller’s character Abigail; the seductress who caught John Proctor’s eye and led a group of girls that sent innocent women to their demi…
If we ever needed more proof as to why second wave or white feminism should no longer be considered relevant, here it is.
There are a few infinite things in the universe: greed, love and the elite’s ability and desire to protect the status quo.
Having a gun - albeit a fake one - pointed at my face has never been at the top of my list of fears.
Modern opera is difficult to execute well, because no matter how good it is it will always be judged against the classics.
Considering how much Anyone Can Whistle flopped in 1964, it is a bold, brave (and some may say hubristic) move on the part of Grey Area Theatre Company to revive the show at the So…
High energy, fun and witty, The Bean Spillers’ Improvised Musical showcases a wide range of talent, musical knowledge and general mischief.
After years of turmoil caused by politics and pandemic, nostalgia is exactly what Doc ordered.
Homecoming is the word that comes to mind when watching this musical.
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