Everything Theatre

“I resent the cynical exploitation of Claire, the dead girl, who is as underwritten as her sister because she only exists as a grief stimulant.”

“A psychologically rich exploration of ancestry, motherhood and inherited trauma, Blood of My Blood examines how the past survives within us — through memory, silence and identity — and what happens when one generation begins to confront what another could not.”

“The result is a sensory spectacle that feels perfectly Murakami: dreamlike, dazzling and totally different to anything you’ve seen before.”

“Whilst not always reaching the expected depths of its source material, Franz & Marie takes a dark story and elevates it to new heights with its sparkling score and wonderfully entertaining ensemble.”

“Even the most traditional Sherlock Holmes fan would struggle not to laugh at this stupendous adaptation.”

“A luscious and hugely entertaining Olivier Award-winning production of Sondheim’s musical, giving familiar fairy tales an adult makeover.”

“I do believe that anyone with an open mind and a love for theatre should hail this play as the triumph that it is.”

“This is a superb production with huge impact, truly achieving the Berliner Ensemble’s objective of making the audience think but also feel deeply.”

“As yet, this is a mild case of Hay Fever: perfectly pleasant, intermittently funny, and not contagious.”

“There’s nothing subtle or nuanced about Flamenc Oh!! – I suppose the two exclamation marks give the game away.”

“Instead it grips and captivates with stellar acting performances that never cease in their uncomfortable tension and humorous wit.”

“However, there is not enough to distinguish one character from another, resulting in a rather muddled output.”

“Sincere and well-designed but ultimately falls flat.”

“Table 17 knows how to get the best from its performers and creatives.”

“It’s a dark, seasonal treat to experience front on and full throttle!”

“The Last Ship is big, overblown, and at times very pretentious – the well-known Geordie sense of humour has gone walkabout.”

“Funny, energetic and winningly performed, this busy adaptation loses its way whenever it reaches for insights beyond Jerome K. Jerome’s timeless original.”

“The stylised writing leans heavily on subtext producing dialogue that at times appears stilted.”

“There is a lot of talent, passion, and important messaging that produces lovely moments throughout this production.”

“Night City shines a light on the hidden underside of London.”

“The intimate and breathtaking performances very naturally carry all the pain, toil and dejection of these lovely, accessible short operas.”

“It’s a compelling idea, but the execution often feels more like an episode of EastEnders and not one of the better ones.”

“Tartuffe (Remixed) is as farcical as farce can be, overflowing with outrageous humour and joyful jesting that has the audience laughing uproariously.”

“The dramatic soundtrack gives the play a Fleabag-esque vibe, strengthened by some of the crude language and themes.”

“I feel there is real potential here, but it is disappointing that it left so little of a mark on me.”

“A tense three‑hander set in a claustrophobic bunker and driven by strong performances, striking design and clever storytelling.”

“Nevertheless, this is a fantastic version of a classic piece and a tremendously fun night out.”

“This is Shakespearean comedy at its very best in a performance that throws the extraordinary language around with lighthearted revelry.”

“The lack of dramatic depth means Death Note never succeeds as a psychological drama, which the source material really is.”

“It is a wonderful experience for any lover of musical theatre, dance, and cats.”

“Perhaps my main concern is whether Dog Man truly needs to be a musical.”

“A World Elsewhere is a terrific show for a family treat, appealing across all age groups.”

“Tao of Glass is many things; delightfully funny, visually impressive, challengingly erudite and exquisitely beautiful.”

“For all the intelligence in Mac Liammóir’s writing, the material feels curiously remote from the wit and flamboyance of its subject.”

“Midnight at The Never Get proves to be a beautifully crafted piece of musical storytelling which is warm, witty and quietly powerful.”

“Subtitled a comedy musical, Here Comes J. Edgar Hoover succeeds brilliantly on both fronts.”

“Lahti delivers a performance that holds our attention, captures our hearts, and shines a light on the secrets that lie beneath the ostensibly perfect family.”

“The result is a horrifying and compelling tour de force, coming up to three hours of playtime, two of which I spent on the edge of my seat.”

“This is a fun play; there’s plenty of laughs along the way, including a particularly funny analysis of Call Me Maybe which I’ll be using the next time I talk about music, but there’s also a real intensity to the drama towards the end and a fragility which is moving.”

“This production pays a fervent and authentic tribute to a man who was an advocate for living passionately and mindfully, choosing connection over fear.”

“Tender is 1 hour 30 minutes of stellar acting with a script that leaves you aching for a little more.”

“Both inject their roles with unique and precise characterisation, and perfectly complement the line-up of darkly humorous characters that make this production so engaging.”

“This production tends to sit more in the middle ground; entertaining but neither rip-roaringly hilarious nor challenging in its handling of difficult issues.”

“The production is playful and funny with poignant, moving moments interspersed with sharp wit.”

“It adds a new layer to an already fantastic show.”

“Walker’s command of the tonal shift is assured: we are laughing one minute and stunned into silence by the brutality of the accusations the next.”

“Despite the talented cast, the relationships often felt forced as they served as a vehicle for the polemic.”

“Despite the minor drawbacks, the show is an experimental triumph.”

“It was a thrilling, beautiful and moving evening which really allows this talented company to shine.”

“Under the Shadow balances many different types of tension to create an intense experience that is genuinely scary and has important insights into life under war and the Iranian regime.”

“This remains a joyous and memorable evening of theatre.”

“This is an ambitious and intelligent piece of work, and production company So Theatre should be commended for taking on such a difficult mission.”

“It is an ambitious and unsettling piece that demands reflection, even if what you find in the mirror is not something you want to see.”

“What’s missing is emotional pull.”

“What Akhtar achieves so effectively is to anchor political and systemic pressures in intimate human consequence.”

“It makes for an enjoyable and engaging evening, if not a ground-breaking one, feeling particularly well-suited to smaller theatre spaces.”

“This is an extraordinary piece of theatre.”

“End of the Rainbow is simply unmissable.”

“The Hero brings the thunder; the whole cast is electrifying! The Harder They Come is outstanding! Responding to the success of the original run, Stratford East Theatre reprises the show just six months later and with most of the original cast.”

“It adds a bold visual twist to a familiar masterpiece.”

“The modern references are intermittently provocative, but rarely insightful or genuinely funny.”

“Together these elements combine to make for a theatrical experiment that finds some novelty in creative risks, but not enough to make the production feel truly insightful or a knockout.”

“As a certain police officer once said, The Guy Who Didn’t Like Musicals is ‘f**kin’ transcendent!’ – and utterly unmissable.”

“This is a production with really great intent that doesn’t quite hit the mark.”

“La Barrie’s production is simultaneously reverential and daring, elegant and gutsy, demonstrating just how easily Wilde’s themes continue to flourish in such a fresh context.”

“There is some fun to be had in this energetic production, but it can’t make up for lazy writing and plotting.”

“Their familiarity with one another feels authentic, making them instantly recognisable as the kind of couple many of us know and love.”

“Tender is an interesting and fresh look at toxic masculinity; what lies beneath the surface when men confront their inner feelings and realise that there’s always someone else to consider.”

“The acting across the board is superb, including from, of course, the famously talented Fiennes.”

“When the play leans into its essence of four people grappling with something unspeakable, it becomes deeply moving, even suffocating in its intimacy.”

“The Price offers no easy answers, just a finely balanced reckoning.”

“Two Halves Of Guinness is an excellent piece of theatre, well written, well staged and well performed.”

“What follows is a deeply human experience filled with humour and compassion.”

“The middle could do with tighter scenes and dialogue to keep up the pace.”

“With a cast that feels totally in sync, the audience laughs non-stop, carried on a journey through a world that’s the perfect balance of brutal truths with whimsy, joy and brightness.”

“That truth gives the play an added glow — a reminder that even in the bleakest moments of history, connection and love persist.”

“It is a musical about a crucial life-and-death issue, and it ought to be seen far and wide.”

“This is a rich, warm, and visually engaging production, presented by an energised and playful cast with clear stage-audience rapport.”

“Playwright McCraney and director Nancy Medina have created an impactful and hopeful show that deserves to be shared.”

“The plot feels confused, with timelines that don’t quite make sense and scenarios that wouldn’t happen in real life.”

“For anyone with an interest in the period and how it changed the media, this show has a lot of fascinating drama rooted in recent history.”

“John Proctor is the Villain takes a classic text and spins it on its head.”

“The questions presented remain potent.”

“The Old Ladies really is a creaky old piece of theatre.”

“Power’s script brilliantly tackles big themes of violence, shame, guilt and responsibility in a genuinely engaging way.”

“R.O.I. is a worryingly bleak insight into the intersection of medicine and commerce.”

“This is 90ish minutes of nostalgia if you escaped to the dance floors in the late 90s, or an authentic, loud, brash, self-professed love letter to the cultural North.”

“The emotional intensity rarely lets up and, at more than ninety minutes without interval, that becomes demanding.”

“Heartfelt and wise, it was 70 minutes well-spent and to be remembered.”

“It’s entertaining and filled with impressive performances, yet the story never quite reaches the emotional depth it promises.”

“Sadly, a reliance on quick-fix easy laughs removes any possibility of that.”

“The Uncontainable Nausea of Alec Baldwin represents the very best of fringe theatre, delicately balancing a call for empathy with a darkly comic cautionary tale.”

“Grindr Mom is itself a versatile comedy with much laughter and intrigue.”

“The talent on stage is breathtaking and what Fynn-Aiduenu is doing for Black British theatre is nothing short of gamechanging.”

“When the tensions fail to ignite, the emotional core remains hidden, leaving a sense of promise unfulfilled.”

“A fantastic and powerful production!”

“Fizzing with ideas and admirably ambitious, this is an exciting and undoubtedly promising debut from Nicholls.”

“Even if you're unaware of the playwright and his muse this is still essential theatre, and despite their faults it's all but impossible not to fall for both of these astonishing individuals.”

“See this play. You will leave angered, saddened, but, most of all, changed.”

“This is an impressive, visually compelling production fronted by a duo with undeniable chemistry, and it encompasses all that Frantic Assembly does best in the form of a fresh, engaging story.”