An image of a mid-fifties greying women who is holding a theatre notebook and is outside the theatre. RED BUS LONDINIUM REVIEWS

Welcome to Red Bus Londinium reviews, celebrating the wonderful diversity of London’s theatre scene from the intimacy of a pub theatre to the extravagance of the West End. You will also find ideas on how to afford the theatre, so it can be enjoyed by all.

  • Review: Ancient Grease, The VAULTS ***
    Review: Ancient Grease at The Vaults cleverly merges classic American high school dynamics with Greek mythology, though its overly-bawdy script and lengthy runtime may undermine its energetic charm for some audiences.
  • Review: Mythos: Ragnarök, Alexandra Palace ****
    Review: Mythos: Ragnarök, performed at Alexandra Palace, is an exhilarating blend of Norse mythology and professional wrestling. Ed Gamester’s dynamic production captivates audiences with its original score and intense performances. While non-wrestling fans may find the combat repetitive in some parts, it is essential viewing for pro-wrestling fans.
  • Review: Children of the Night, Southwark Playhouse ****
    Review: “Children of the Night” at Southwark Playhouse is a dynamic exploration of 1990s Doncaster, blending theatre with the energy of rave culture. Written and performed by Danielle Phillips, the piece captures the joys and struggles of a community impacted by a national health crisis. Richly personal, it celebrates Northern resilience through powerful performances and a nostalgic soundtrack.
  • Review: Iron Fantasy, Soho Theatre ***1/2
    Review: “Iron Fantasy,” performed by the duo She Goat at Soho Theatre, explores the concept of strength through a whimsical lens. The show, blending music and surreal physical theatre, follows two women in their comedic quest for the power to say “no”. While it highlights serious themes of vulnerability and societal pressures, its 75-minute runtime stretches the narrative’s impact. Overall, it’s a humorous yet heartfelt celebration of resilience.
  • Review: Russell Maliphant Dance Company Landscapes, Sadlers Wells East ****
    Review: Russell Maliphant’s “Landscapes” at Sadler’s Wells East features compelling solos like “AfterLight” and “Two,” blending masterful movement, light, and music.
  • Review: Tanztheater Wuppertal Pina Bausch “Sweet Mambo”, Sadlers Wells *****
    Review: Pina Bausch’s Sweet Mambo premieres at Sadler’s Wells, blending dance, theatre, and emotional depth in captivating vignettes. This masterpiece invites audiences to engage with profound human experiences, showcasing Bausch’s enduring influence.
  • Review: Spin Cycles , Camden People’s Theatre****
    Review: Spin Cycles at Camden People’s Theatre is a poignant one-woman show by Jamie-Lee Money, exploring themes of family trauma and adult vulnerability through humor and satire. Set in a spin studio, it intertwines personal grief with relatable anxieties, prompting audiences to reflect on their own life experiences. The performance is lively, engaging, and deeply human.
  • Review: Maggots, Bush Theatre **** 
    Review: “Maggots,” a powerful play by Farah Najib at Bush Theatre, explores the unseen human costs of societal neglect. Through three actors, it intricately weaves personal stories with real-life tragedies like Sheila Seleoane’s, highlighting the fragility of community. The work challenges audiences to confront who remains unheard in contemporary society.
  • Review: BIGRE / “Fish Bowl”, Sadlers Wells ****
    “FishBowl,” a Molière Award-winning comedy, showcases a masterful blend of physical humor and social commentary. Co-written by Pierre Guillois and others, the production emphasizes exaggerated mime while incorporating sound selectively. The clever set design enhances comedic risk, making everyday interactions humorously relatable, despite occasional overindulgence in toilet humor. Audiences will relish its sharp observations.
  • Review: Friends! the Parody Musical, New Wimbledon Theatre, ***
    Review: FRIENDS! The Musical Parody attempts to blend parody with tribute but struggles to find a clear direction. While performances are solid and visual design is effective, missed satirical opportunities detract from its impact. Ultimately, it serves as a nostalgic experience for devoted fans but lacks broader appeal or comedic depth.
  • Review: Ebony Scrooge, Sadlers Wells East ****
    Review of Ebony Scrooge: Sadler’s Wells East launches with a captivating remix of A Christmas Carol, blending Caribbean flair and hip-hop vitality. Directed by Dannielle Lecointe, the production reinvents the classic with striking choreography and a vibrant score. A must-see festive delight!
  • Review: Sunny Afternoon, (on tour), New Wimbledon Theatre, ***
    Review: Sunny Afternoon at New Wimbledon Theatre captivates Kinks fans with its heartfelt storytelling and musical craftsmanship. While not revolutionary in the jukebox musical genre, it effectively explores the band’s complex family dynamics and career challenges. Strong performances and a nostalgic atmosphere ensure an enjoyable experience, celebrating the enduring charm of the Kinks.
  • Review: After Sunday, Bush Theatre **** 
    Review: After Sunday, a poignant debut play by Sophia Griffin at the Bush Theatre, explores the lives of three Black men in a psychological care system, highlighting their struggles and the impact of systemic issues. Through Caribbean cooking, the characters seek healing amidst profound challenges, offering moments of hope and connection.
  • Review: The Ecstasy of Hedy Lamarr, New Wimbledon Theatre, ****
    Review: The Ecstasy of Hedy Lamarr, which played at the New Wimbledon Theatre, explores the life of the actress and inventor whose groundbreaking work in technology remains under-recognised. With compelling performances and innovative elements, it brings Lamarr’s inspiring story to contemporary audiences.
  • Review: Not your Superwoman, Bush Theatre **** 1/2
    Review: Not Your Superwoman at the Bush Theatre captivates audiences with its poignant portrayal of a Guyanese immigrant family’s generational struggles. Strong performances by Letitia Wright and Golda Rosheuvel, coupled with skilful direction, create a relatable, engaging experience that deserves a West End transfer.