Laughs do come thick and fast in Fat Rascal's gender-swapped Beauty and the Beast parody - but it doesn't particularly play to individual cast members' strengths, nor seem quite as imaginative or well-oiled, as Vulvarine did. Fat Rascal's Vulvarine was …
Piecing together the drug-fuelled ups and downs of one of music's most loved enigmas, Vika Bull raises the roof of the Cadogan Hall with an electrifying performance in At Last: The Etta James Story. While she was …
A rough-and-ready musical with talented musicians and humour aplenty, what Say My Name! lacks in its execution is made up for by pure irreverence. AMC's Breaking Bad is roughly 62 hours of family turmoil, violence and …
With a tour de force of a singing trio, witty lyrics and a fabulous shoe collection, Liberty Rides Forth! may not have the production values of a West End musical - but it's certainly got heart …
Mythic reimagines Persephone's story with beautiful songs, heartwarming harmonies and a show-stealing ensemble - but many characters amount to little more than stereotypes and the show's ending doesn't feel entirely thought-through. You’ll have come across the …
The King's Head Theatre's powerful and engaging modern re-imagining of Verdi's La Traviata is performed with remarkable passion and discipline. I haven't seen many operas in my time, so admittedly don't have a lot to compare the …
For all its intended 'eccentricity' and message of acceptance, Eugenius! is as formulaic and problematic as musicals come. If this is the 'Zoella' generation's equivalent of Rocky Horror, I'm sorry but they deserve better. A copious amount of …
The unfortunate reality of Hamilton (Lewis) is that you smile far more looking at the poster than you do sitting through the show. Both the writing and staging just lack the dynamism necessary for it …
Hamilton meets Spice Girls meets Madame Jojo's - in Lucy Moss and Toby Marlow's electric gig-theatre piece about refusing to be reduced, or erased, to a mnemonic. Six starts with an unequivocal insight: that, institutionally no less, …
A warm and precise supporting performance from Seann Miley-Moore isn't enough to save GUY: A New Musical from a slight, banal narrative and a string of stock characters. The amount of work that's gone into the …
Tom Latter's production plays into the antiquated nature of Jim Cartwright's The Rise and Fall of Little Voice rather than acknowledging its shortcomings, leaving us with a more obselete retelling than I believe is necessary or …
The greatest strength of the British Theatre Academy's Spring Awakening the Musical is, patently, its young cast. Though 'less' may have been 'more' with regards to direction and choreography, the formidable 21-strong company bring an infectious …