• London
    • All
    • Plays
    • Musicals
    • Dance
    • Performance
    • Cabaret
    • Circus
  • Edinburgh
    • All
    • Plays
    • Musicals
    • Dance
    • Performance
    • Cabaret
    • Circus
  • Features
  • Team
  • Contact
  • Follow Us

  • Home
  • London
    • All
    • Plays
    • Musicals
    • Dance
    • Performance
    • Cabaret
    • Circus
  • Edinburgh
    • All
    • Plays
    • Musicals
    • Dance
    • Performance
    • Cabaret
    • Circus
  • Features
  • Team
  • Contact
  • February 10, 2019

    Greyscale, VAULT Festival, review

  • February 7, 2019

    We’ve Got Each Other, VAULT Festival, review

  • February 5, 2019

    Fight Night, VAULT Festival, review

  • February 3, 2019

    The Orchestra, Omnibus Theatre, review

  • February 1, 2019

    Notre Dame de Paris, London Coliseum, review

  • January 29, 2019

    Violet, Charing Cross Theatre, review

  • January 27, 2019

    Lola, VAULT Festival, review

  • January 25, 2019

    Hearing Things, Omnibus Theatre, Review

  • January 16, 2019

    The Daughter-in-Law, Arcola Theatre, review

  • December 7, 2018

    Jailbirds, Etcetera Theatre, review

Dialektikon, Park Theatre, review
December 14, 2018

The strong performances and creative potential of Jack Ivimy’s Dialektikon is undermined by a bizarre concept and over-ambitious, confused content. The world is cruel, unjust and relentless: one of my main takeaways from Jack Ivimy’s 90-minute …


The Messiah, The Other Palace, review
December 13, 2018

Patrick Barlow's The Messiah relies too much on repetitive and unsophisticated humour to be a hit. The exaggerated mime, malapropisms and 'talking-like-a-ten-year-old', that make up the bulk of The Messiah, are safe comic bets for a brief …


Jailbirds, Etcetera Theatre, review
December 7, 2018

The layered dialogue and mesmerising central performance in Luke Culloty's Jailbirds is weighed down by a disjointed pace, unnecessary staging decisions and a disappointing ending. As audiences walk into the Etcetera, Culloty's ensemble are already onstage - …


Hot Gay Time Machine, Trafalgar Studios, review
December 4, 2018

Acutely pitched and incomprehensibly energetic, Hot Gay Time Machine's high camp soiree into Toby Marlow and Zak Ghazi-Torbati's sexual awakenings is intelligent, unadulteratedly obnoxious and sublimely silly. Lucy Moss, Toby Marlow and collaborator Zak Ghazi-Torbati's second West End …


The Crumple Zone, King’s Head Theatre, review
December 2, 2018

Some strong performances and deliciously catty one-liners ensure The Crumple Zone is an enjoyable and inoffensive 75-minutes, but the flimsiness of the writing becomes a bit of a barrier to really feeling able to rave about …


Buttons: A Cinderella Story, King’s Head Theatre, review
November 29, 2018

Charles Court Opera’s alternative panto offering of 2018, Buttons: A Cinderella Story, is on the money - impressing with a talented ensemble, quality production values and enormously funny (if not-so-innocent) gags. The King's Head Theatre is …


Clamour, Roundhouse, review
November 24, 2018

Simon Katan and Luke Fraser's Clamour could have been a thought-provoking and multimedia “choose your own adventure”, but devolved into a meandering installation that lacked vigour. Upon entering a theatre, we're usually met with announcements to turn off …


Chutney, Bunker Theatre, review
November 19, 2018

Flux Theatre's production of Chutney is slick, stylish and self-aware - with assured direction and promising performances. I just wasn't mad about the play itself. The sanguinary premise of Reece Connolly’s Chutney is rich, both in dramatic possibility …


Thirteen Cycles, Rosemary Branch Theatre, review
November 16, 2018

Though it may seem counterintuitive, investing more in the drama of their stories is the key for Project2 to anchor their narratives and create comedy gold. Improvisers Katy Schute and Chris Mead begin Thirteen Cycles as …


The Pit and the Pendulum, Omnibus Theatre, review
November 9, 2018

Christopher York's metatheatrical reimagining of The Pit and the Pendulum transposes its central characters' dire fate on an unnamed but real-life Iranian activist. When a peaceful Iranian protestor becomes a prisoner, she (meta-theatrically) finds herself in Christopher York’s …


A Pupil, Park Theatre, review
November 7, 2018

Valiant performances and an interesting, expressionist design are not quite enough to elevate A Pupil's lethargic writing. Lucy Sheen wheels on to stage as Ye, an utterly dejected former musical prodigy. Ye occupies a sparse bedsit that’s littered …


Beauty and the Beast: A Musical Parody, King’s Head Theatre, review
November 4, 2018

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 …


Newer Posts Older Posts

  • Follow us on Twitter

    My Tweets
  • The next Edinburgh Fringe commencesAugust 2, 2019
    161 days to go.
  • Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
    To find out more, including how to control cookies, see here: Cookie Policy

  • Home
  • Reviewers
  • Invite Us