- 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” features three compelling solos at Sadler’s Wells East, showcasing his mastery of movement, light, and music. The solos include “AfterLight,” praised as a “miniature masterpiece,” and “Two,” highlighting Alina Cojocaru’s artistry. Maliphant’s own “In A Landscape” combines fabric and light, creating a captivating, joyful experience.
- 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, ****
The Ecstasy of Hedy Lamarr, currently 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.
- Review: Tentacle Tribe: PRISM, Sadlers Wells East ****1/2
Review: Tentacle Tribe’s Prism at Sadler’s Wells East is a stunning dance performance where five dancers create a vibrant, hypnotic tapestry of movement using colour and light. Choreographers Emmanuelle Lê Phan and Elon Höglund’s seamless collaboration captivates audiences with organic formations and immersive reflections.
- Review: The Gardening Club, New Wimbledon Theatre ****
Review: The Gardening Club, currently at New Wimbledon Theatre, captivates audiences with a powerful narrative about women covertly distributing the birth control pill in 1960s Georgia. This poignant musical skilfully intertwines humour, rebellion, and pressing societal issues, leaving a lasting impact.
- Review: Black Power Desk , Brixton House ****
Review: Black Power Desk, premiering at Brixton House, is a poignant musical that intertwines personal stories with the political turbulence of 1970s Black British protest. Through its compelling narrative and vibrant music, it sheds light on a critical yet often overlooked chapter in history.
- Review: How to be a Dancer in Seventy-two Thousand Easy Lessons, Sadlers Wells East ****1/2
Review: How to Be a Dancer in 72,000 Easy Lessons at Sadler’s Wells East artfully chronicles Michael Keegan-Dolan’s journey through vivid memories and dance. It celebrates personal milestones and generational trauma, evoking deep reflection as audiences explore the essence of identity and artistry.
- Review: Make Me Feel, Bush Theatre (Young Company) ***
Review: The Bush Theatre’s production of Make Me Feel showcases the vibrant talents of its Young Company, exploring themes of communication and mental health within a rich narrative. Written by alumnus Will Jackson, the play offers a compelling reflection on societal issues, delivering an engaging experience that highlights the future of London theatre.
- Review: R.O.S.E., Sadlers Wells East ****
Review: R.O.S.E. is a dynamic collaboration at Sadler’s Wells East, blending nightlife and contemporary performance by choreographer Sharon Eyal and DJ Call Super. This immersive three-hour event features audience participation alongside striking dance segments, creating a vibrant communal atmosphere. It offers a unique fusion of energy and artistry, redefining the traditional theatre experience.
- Review: Inside Giovanni’s Room, Sadlers Wells East ****
Review: Phoenix Dance Theatre’s production, Inside Giovanni’s Room, staged at Sadler’s Wells East, reinterprets James Baldwin’s seminal novel through a compelling narrative dance. Choreographed by Marcus Jarrell Willis, the performance effectively explores themes of sexuality and societal expectations, delivering an emotionally charged experience that highlights Baldwin’s enduring significance.
- Review: Just for one day, Shaftesbury ****
Review: “Just For One Day,” now at the Shaftesbury Theatre, celebrates the 1985 Live Aid concert’s 40th anniversary. The show blends lively music with critical insights into Bob Geldof’s efforts, addressing the complexities of aid responses. It highlights the concert’s impact and evolution, while its reworked songs and strong cast contribute to an engaging tribute.
- Review: Miss Myrtle’s Garden, Bush Theatre ****1/2
Review: “Miss Myrtle’s Garden,” currently at the Bush Theatre, features Diveen Henry as Myrtle, portraying the struggle of memory loss within a Jamaican family in Peckham. Directed by Taio Lawson, the play blends humour and heartache, highlighting the universal experiences of dementia while offering a poignant and affectionate exploration of family dynamics.
- Review: Tending, Riverside Studios ****
Review: “Tending” is a poignant theatre production based on over 70 interviews with NHS nurses, showcasing their sacrifices, struggles, and joys, particularly during the Covid-19 crisis. Written by El Blackwood and directed by John Livesey, it humanises nurses through composite characters, aiming to reshape public perceptions of their experiences.
- Review: Kyoto, RSC / Soho Place ****
Review: Set in the 1980s and 1990s, “Kyoto” explores the United Nations climate change summits, spotlighting Republican oil lobbyist Don Pearlman’s efforts to sabotage agreements. While capturing the urgency of the situation, the play balances human stories with political insights. However, some comedic moments feel out of place amidst serious themes.
- Review: A Brief Case Of Crazy, Riverside Studios ****
Review: A Brief Case of Crazy, performed by Skedaddle Theatre at Riverside Studios, is a charming movement-theatre show featuring an introverted office worker, Thomas, vying for Daisy’s affections against the villainous Simon. The production combines physical comedy and puppetry, creating both humorous and poignant moments, showcasing the actors’ impressive talent.
- Review: NOW that’s What I Call A Musical, New Wimbledon Theatre ***
Review: NOW That’s What I Call A Musical is a nostalgic juke box musical celebrating the NOW compilation tapes’ fortieth anniversary. Set in Birmingham across 1989 and 2009, it intertwines youthful dreams with the realities of adult life. While the plot is thin, the lively musical numbers and family dynamics shine, ensuring audience enjoyment.
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’s “Landscapes” features three compelling solos at Sadler’s Wells East, showcasing his mastery of movement, light, and music. The solos include “AfterLight,” praised as a “miniature masterpiece,” and “Two,” highlighting Alina Cojocaru’s artistry. Maliphant’s own “In A Landscape” combines fabric and light, creating a captivating, joyful experience.
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 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,” 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.
“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 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 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 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, 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.
The Ecstasy of Hedy Lamarr, currently 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 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.
Review: Tentacle Tribe’s Prism at Sadler’s Wells East is a stunning dance performance where five dancers create a vibrant, hypnotic tapestry of movement using colour and light. Choreographers Emmanuelle Lê Phan and Elon Höglund’s seamless collaboration captivates audiences with organic formations and immersive reflections.
Review: The Gardening Club, currently at New Wimbledon Theatre, captivates audiences with a powerful narrative about women covertly distributing the birth control pill in 1960s Georgia. This poignant musical skilfully intertwines humour, rebellion, and pressing societal issues, leaving a lasting impact.
Review: Black Power Desk, premiering at Brixton House, is a poignant musical that intertwines personal stories with the political turbulence of 1970s Black British protest. Through its compelling narrative and vibrant music, it sheds light on a critical yet often overlooked chapter in history.
Review: How to Be a Dancer in 72,000 Easy Lessons at Sadler’s Wells East artfully chronicles Michael Keegan-Dolan’s journey through vivid memories and dance. It celebrates personal milestones and generational trauma, evoking deep reflection as audiences explore the essence of identity and artistry.
Review: The Bush Theatre’s production of Make Me Feel showcases the vibrant talents of its Young Company, exploring themes of communication and mental health within a rich narrative. Written by alumnus Will Jackson, the play offers a compelling reflection on societal issues, delivering an engaging experience that highlights the future of London theatre.
Review: R.O.S.E. is a dynamic collaboration at Sadler’s Wells East, blending nightlife and contemporary performance by choreographer Sharon Eyal and DJ Call Super. This immersive three-hour event features audience participation alongside striking dance segments, creating a vibrant communal atmosphere. It offers a unique fusion of energy and artistry, redefining the traditional theatre experience.
Review: Phoenix Dance Theatre’s production, Inside Giovanni’s Room, staged at Sadler’s Wells East, reinterprets James Baldwin’s seminal novel through a compelling narrative dance. Choreographed by Marcus Jarrell Willis, the performance effectively explores themes of sexuality and societal expectations, delivering an emotionally charged experience that highlights Baldwin’s enduring significance.
Review: “Just For One Day,” now at the Shaftesbury Theatre, celebrates the 1985 Live Aid concert’s 40th anniversary. The show blends lively music with critical insights into Bob Geldof’s efforts, addressing the complexities of aid responses. It highlights the concert’s impact and evolution, while its reworked songs and strong cast contribute to an engaging tribute.
Review: “Miss Myrtle’s Garden,” currently at the Bush Theatre, features Diveen Henry as Myrtle, portraying the struggle of memory loss within a Jamaican family in Peckham. Directed by Taio Lawson, the play blends humour and heartache, highlighting the universal experiences of dementia while offering a poignant and affectionate exploration of family dynamics.
Review: “Tending” is a poignant theatre production based on over 70 interviews with NHS nurses, showcasing their sacrifices, struggles, and joys, particularly during the Covid-19 crisis. Written by El Blackwood and directed by John Livesey, it humanises nurses through composite characters, aiming to reshape public perceptions of their experiences.
Review: Set in the 1980s and 1990s, “Kyoto” explores the United Nations climate change summits, spotlighting Republican oil lobbyist Don Pearlman’s efforts to sabotage agreements. While capturing the urgency of the situation, the play balances human stories with political insights. However, some comedic moments feel out of place amidst serious themes.
Review: A Brief Case of Crazy, performed by Skedaddle Theatre at Riverside Studios, is a charming movement-theatre show featuring an introverted office worker, Thomas, vying for Daisy’s affections against the villainous Simon. The production combines physical comedy and puppetry, creating both humorous and poignant moments, showcasing the actors’ impressive talent.
Review: NOW That’s What I Call A Musical is a nostalgic juke box musical celebrating the NOW compilation tapes’ fortieth anniversary. Set in Birmingham across 1989 and 2009, it intertwines youthful dreams with the realities of adult life. While the plot is thin, the lively musical numbers and family dynamics shine, ensuring audience enjoyment.
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