Theatre review: Game of Thrones: The Mad King

In the latest attempt to plug the Les Mis-shaped hole in their budget the RSC have taken a break from Celebrity Antisemite Roal Dahl and moved on to Celebrity Pirate George Arrr! Arrr! Martin, and his A Song of Ice and Fire saga. And Stratford-upon-Avon seems an apt enough home for a story conceived as a fantasy version of the Wars of the Roses since Shakespeare wrote eight* plays about them. And with roughly the same amount of concern for historical accuracy. Game of Thrones Colon The Mad King is the most immediate prequel to the original novels and Game of Thrones TV series yet, and fleshes out events known from the stories but not previously told in this much detail. And there's... certainly no shortage of detail in a play with a cast bigger than some West End musicals and a running time that just scrapes in under the four-hour mark.

Theatre review: Death Note

It's been a much-loved manga and a much-loathed film, now Tsugumi Ohba and Takeshi Obata's Death Note becomes a dynamic, tragicomic stage show. Frank Wildhorn (music,) Ivan Menchell (book) and Jack Murphy's (lyrics) musical adaptation debuted in Japan in 2015 and has had a concert production in London before, but Stephen Whitson's production now gives the fully-staged treatment to the story of a very right-wing teenager who gets to live out his fantasies of being judge, jury and executioner: When Ryuk (Telly Leung,) a Shinigami - a chaotic death god - gets bored of handing out death sentences to random humans, he deliberately misplaces his magic book in the mortal world to see who will pick it up. The Death Note ends up in the hands of Light Yagami (Xander Pang,) a schoolboy with an alarmingly right-wing attitude towards social justice.

Theatre review: Cats

T.S. Eliot is probably best known for The Waste Land, but for a true vision of apocalyptic despair you need only look at the stage version of his book of children's poetry Old Possum's Book of Practical Cats. It is of course his famous collaboration with His Exalted Britannic Excellency, Master of all he Surveys, The Right Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, KC, MD, P.I, Mother of Dragons, FSB, which Eliot agreed to primarily because he was much too dead at the time to say no. Eliot won the Nobel Prize for Literature, but Richard Stilgoe was in Countdown's Dictionary Corner quite a lot so he was the next obvious choice to provide additional lyrics for the show's opening, with "Jellicle Songs for Jellicle Cats" giving a framework.

Stage-to-screen review: Our Town

The comparative theatrical quiet of August often means a chance for me to catch up on some digital versions of shows I'd missed, and NTatHome have just added Thornton Wilder's Our Town, in its recent touring co-production from The Actor Michael Sheen's Welsh National Theatre and the Rose Theatre in Kingston*. Sheen plays the Stage Manager, a figure who it occured to me this time I would be interested to see played quite sinister - Sheen doesn't go there, giving the affable character we usually see, but he does stress the way the play's narrator knows all the dark secrets of how the other characters' lives and deaths will pan out. I also felt we really got the idea of why, within the play's universe at least, it makes sense to give him that title: Especially in the final act he's seen engineering the story and the way it'll be told.

Dance review: The Car Man

For my roughly annual trip away from Dame Theatre to Baroness Dance, it's one of the Matthew Bourne ballets I've managed to miss on its numerous previous visits to London since its 2000 debut. The Car Man is based on Bizet's opera Carmen, although only musically - the story is apparently more directly inspired by The Postman Always Rings Twice. Set in a small town in 1950s America, whose economy seems disproportionately based on the auto repair and cabaret industries for a population of 375, drifter Luca (Will Bozier at tonight's performance) arrives looking for work. He makes quite an impression, seducing both the boss' wife Lana (Eleanor McGrath) and bullied young man Angelo (Harry Ondrak-Wright.) When Lana's husband Dino (Cameron Flynn) catches them, she and Luca kill him and frame Angelo for it.

Theatre review: Cleansed

A pair of fraternal twins are separated; the female twin, believing her brother to be dead, goes to a strange and possibly dangerous place where she takes on his identity, only to reconnect with him in an unexpected way. It's one of the main plots of Twelfth Night, which Sarah Kane cited as an inspiration for Cleansed, but it's fair to say that she interpreted it in a slightly different way than Shakespeare did. A lot more incestuously, for one thing. Grace (Pearl Chanda) tracks down the hospital-like place where her brother Graham (Jack Riddiford) died of a heroin overdose. The body's long since been cremated so she isn't able to say goodbye to him in that way, instead wearing his clothes and starting to take on his mannerisms. She willingly puts herself under the control of Tinker, the violent and twisted man everyone calls a doctor, but who seems to be anything but a healer.

Theatre review: Love's Labour's Lost(Shakespeare's Globe)

I've got a couple of shows planned for later this week notorious for their nudity, and it feels like the theme has started early with Love's Labour's Lost: While everyone more or less keeps their kit on at the Globe, Ned Costello spends much of it in matador pants so tight he might as well be naked. It's all done for highly plot-significant reasons, honest, because Indiana Lown-Collins' production turns the delegation of noble ladies from France into one from Spain, and makes flamenco the show's visual and musical language. The King of Navarre (Costello) has vowed to spend three years in study, his many ascetic rules including no contact with women, and roped his best friends Berowne (Transphobia Ltd Employee Philip Arditti,) Dumaine (Jax Guerrero) and Longaville (Philip Labey) into the agreement.

Theatre review: The Oresteia

By now I think we can take it as read that Simon Stone's adaptations of classic texts will actually be devised riffs vaguely inspired by a general theme, that share little with the original other than the title. I've had some very different responses to them over the years, and I suspect I like them in inverse proportion to how well I know the classic versions. And regular readers of this blog will both recall that I know Aeschylus' version of The Oresteia very well. Stone's version opens in 2016, in Lizzie Clachan's revolving glass house, where a privileged family are preparing for a 21st birthday party for their twin daughters. We know they're privileged because Christopher (David Morrissey) is genuinely annoyed with his cousin Jerome (John Macmillan) for buying several cases of Bollinger champagne for the party. Because it's too cheap.

Theatre review: The Cherry Orchard (RSC/Swan)

Kenneth Branagh has a long history with the RSC: Playing Hamlet there; not getting the Artistic Director job; starting a petition to ban anyone who didn't go to RADA from ever being employed there (probably.) Now he's reunited with something else he left behind decades ago: His Belfast accent, as he plays Chekhov's representative of a rising new monied middle class in The Cherry Orchard. SirKenBran's Lopakhin is a voice of brutal pragmatism in a world of aristocratic old romantics who've not quite got to grips with the new Russia that's been growing up around them ever since the serfs were emancipated. Madame Ranyevskaya (Helen Hunt) has just been on a European tour with her daughter Anya (Chumisa Dornford-May,) where she's been spending cash liberally, cheerfully ignoring the fact that her family's fortune is long gone.

Theatre review: The Jonathan Larson Project

Jennifer Ashley Tepper's collection of lesser-known songs by Rent and tick, tick... BOOM! creator Jonathan Larson opens with a video medley of his best-known one, "Seasons of Love," being sung by different groups in different languages, and laments the fact that Larson never lived to see the effect his music had on people and musical theatre as a whole. Although as ever I have to wonder if there would have been anything like that much influence if he hadn't died young - his sudden death aged 35 the day before its first performance is so tied into the legend surrounding Rent and so perfectly fitting to its story that you have to wonder if it might have become a well-liked but obscure show without that unwanted publicity push, rather than a global phenomenon. Does The Jonathan Larson Project go any way to answer how much his success owes to the fact that it's posthumous?

Theatre review: Pride

Twelve years after the film shone an overdue light on the relationship between the LGBTQ+ and mining communities that were equally targeted by Margaret Thatcher's Britain, director Matthew Warchus reunites with original screenwriter Stephen Beresford, who provides the book and lyrics, plus composers Christopher Nightingale, Josh Cohen and DJ Walde to stage Pride the musical. In 1984, young gay activist Mark Ashton (Jhon Lumsden) is looking for a way to mobilise his and his friends' Pride protests into something that has a wider effect, and lands on the idea of joining forces with another group that are struggling to have their voices heard: The coal miners' unions are on strike and being demonised in the press as "the enemy within," while the small town communities they support are feeling the financial strain.

Theatre review: Here Comes J. Edgar!

With music by Peter Matz and the comedy pedigree of Harry Shearer and Tom Leopold on book and lyrics, Here Comes J Full Stop Edgar Exclamation Mark is a broadly comic attempt to satirise one of the most influential figures in shaping 20th century America: J. Edgar Hoover, director of the FBI for almost 60 years, but remembered as much for his fondness for wearing drag in his private life, as for the draconian policies he enforced in his public one. In an opening that fully embraces what a hokey cliché it is, Hoover (Bryan Batt) is visited on his deathbed by his younger self (Jess Pratley,) who'll take him through his life story in the form of a 1940s/'50s-style musical. As a child he's the editor of a school newspaper that publishes gossip about the staff and students, and it's an instinct that carries through to his adult life and the way he runs the country's most powerful law enforcement agency.

Theatre review: Much Ado About Nothing (Shakespeare's Globe)

If A Midsummer Night's Dream is the Open Air Theatre's signature Shakespeare, Much Ado About Nothing feels like it occupies a very similar place at the Globe. I could definitely do with longer gaps between new productions - they do start to blend into each other in my memory and I sometimes wish for a bit more distance from the last one to let the next fresh take make its mark - but while some have been better than others the venue has never served up a completely duff one as long as I've been going there. Chelsea Walker's production doesn't buck that trend either: Not a particularly high-concept one apart from Sami Fendall's designs taking a lot of inspiration from the weddings the plot revolves around - a lot of white, floral displays and the musicians decked out as a wedding band, playing old standards that punctuate the comedy and sometimes troll the characters.

Theatre review: The Guilty

The big price hikes to the cheapest seats since Timothy Sheader took over the Donald and Margot Warehouse mean I don't go as often, and when I do I'm usually alone as not everyone wants to spend £32 to look at the back of an actor's head. When that actor is Russell Tovey though it's a pretty safe bet that both I and my usual theatre companions will be interested, actually, especially with the promise of him being the only actor on stage: Tovey plays Joe, a 999 operator who's not exactly a natural fit for the job; frequently tetchy and impatient with the callers, many of whom are wasting his time and police resources, but some of whom could do with a more sympathetic ear. As it turns out this isn't what he wants to be doing - a police officer suspended from his usual duties, this is his last night on the phone lines before he has to attend a hearing about the event that left his and his colleagues' jobs on the line.

Theatre review: A Midsummer Night's Dream(Regent's Park Open Air Theatre)

I doubt too many people would be surprised to know that A Midsummer Night's Dream ranks as the most frequently-produced play in the Open Air Theatre's history, although in my personal experience (this is now my third) they've not yet managed a production that's lived up to the perfect summer setting. Atri Banerjee's won't buck that trend, though at least in a year that's not served the play particularly well it's streets ahead of the Globe's current infantile attempt. The big idea behind Banerjee's version is to build up the role of music in the play, with the fairies becoming a folk band, playing songs Maimuna Memon has composed out of the lyrics Shakespeare has provided, as well as out of a lot of the poetry usually spoken. It's an idea that provides a lot of charm, lifting the scenes that the band underscores, but it does come at the expense of the comedy.

Theatre review: Sting

Sophie Swithinbank's Sting draws parallels between the modern-day collusion of men and institutions against women experiencing abuse, and the historical persecution of women accused of witchcraft, through a pair of women conducting an academic study on just that subject: Lily (Phoebe Ladenburg) is a university lecturer specialising in the history of witch hunts, attempting to digitise a unique archive of cases and evidence. She hires a part-time assistant to help speed up the process, but doesn't get quite what she bargained for. Ash (Adelle Leonce) is qualified, educated and well-versed in the subject, but she hides it all a bit too well under hectic first impressions: She arrives for her first shift still drunk and exhausted from the night before's clubbing session, and just as she starts to settle in has a miscarriage.

Theatre review: Archduke

I've had varied responses to American playwright Rajiv Joseph's work so far, a writer fond of surreal history plays focusing on people at the sidelines of great events. Though not quite as tight and memorable as Guards at the Taj, the latest of his plays to get a UK premiere (it does seem to take them a few years to make it over here) certainly didn't try my patience in the way Bengal Tiger at the Baghdad Zoo did. Archduke is named after the most famous person ever to hold that title, although Franz Ferdinand probably wouldn't have been pleased to find out why he got remembered for so long. The play doesn't, though, actually introduce us to the Archduke himself or stage his assassination, remembered as the inciting incident of the First World War. Instead the opening scene feels like Waiting for Godot but bearable, as two down-on-their-luck young men meet in an abandoned train tunnel and exchange gently confused conversation.

Theatre review: Relics

It's not quite Paddington but Ben Ockrent's Relics also begins with a bear going on a journey: As the safety curtain goes up on Joanna Scotcher's set a teddy bear gets caught in it, before being dropped into a packing box. It's a metaphor for much of what happens in the next couple of hours, as cherished memories of childhood and family get unceremoniously turned upside down when four siblings meet at their family home, a week or so after their mother's funeral. They're dividing up the possessions they most want to keep before selling the house off, and quickly resolve themselves into the dynamic they've always shared: Eldest Olivia (Sally Phillips) has always been the one to take on most of the responsibility, but with that has come bossiness, and she's decided the way they're going to divvy everything up.

Theatre review: The Misanthrope

So far Indhu Rubasingham's first year running the National has provided a run of hit shows for other directors, but the ones she's chosen for herself have met with a more muted response. I personally enjoyed a lot of what Bacchae was doing but a similarly loose reinvention of a classic in the Lyttelton hit bum notes for me. Martin Crimp adapts Molière's The Misanthrope as a vehicle for Sandra Oh and the kind of exhausted stubbornness common to many of her screen characters: Oh's Alice is a highly respected and successful literary novelist, but her pronouncements outside of her books don't make her many friends. She's outspoken about inequality, feminism and race, and has recently been attacked in the press for refusing to renege on comments supporting a particular cause (it's unnamed but strongly implied to be Palestine.)

Theatre review: Slaughterhouse-Five

Kurt Vonnegut's Slaughterhouse-Five is one of those books considered unfilmable and unstageable, which inevitably means people have attempted both. The latest to try a stage version are a company named after the novel's recurring phrase every time anyone mentions death: So It Goes. It's a refrain that comes from the Tralfamadorians, aliens who abduct Billy Pilgrim (Patrick McAndrew) in the late 1960s on the day of his daughter's wedding, and take him to their own planet to be exhibited at a zoo. The aliens experience the world four-dimensionally, meaning time isn't linear to them, so death or even the destruction of the universe - which they know they'll be accidentally responsible for but can't or won't change - aren't notable events since every other moment still exists simultaneously. He's eventually returned to Earth after a long time, but also to the exact moment he left it.

Theatre review: Beetlejuice

An on-and-off hit in New York - it's opened and closed there multiple times since its original Broadway run was scuppered by Covid - Eddie Perfect (music and lyrics,) Scott Brown and Anthony King's (book) Beetlejuice now arrives in the West End for a run that seems to predict a similar mixed level of enthusiasm: It's at the huge Prince Edward Theatre, but has been advertised as a limited year-long run. Following the broad strokes of the Tim Burton film but deviating from the plot when it suits it, the story sees Lydia Deetz (Hannah Nordberg) move into a haunted house with her father Charles (Alasdair Harvey) and his new girlfriend (officially Lydia's life coach,) Delia (Aimie Atkinson.) Still mourning her recently deceased mother and very much stuck in the "denial" stage of grief, when Lydia discovers that the previous owners are still haunting the house, it convinces her there must be a way to see her mother again.

Theatre review: Dark of the Moon

Look, none of us are perfect, I never said I always choose which shows to see for the purest of reasons, and whomst amongst us can say they've never slowed down to look at a car crash? When I saw Stranger Things: The First Shadow a couple of years ago I assumed that the subplot about the high school kids putting on an unbelievably cheesy school play featured a deliberate parody of Twilight, all angsty teenage love between human and supernatural characters. When Dark of the Moon turned out to be a real Broadway show from 1945, which genuinely did become a school drama staple in the next couple of decades, I predicted it wouldn't be long before someone revived the real thing as a curiosity. I was expecting Howard D Richardson and William Berney's actual original play to resurface in some small scale, but instead we get a full-blown new musical.

Theatre review: Equus

30 years after graduating I still feel compelled to see the four plays I worked on in my directing module at university, whenever I hear of one being revived somewhere I can get to. Now on the fourth production of it I've seen, Equus easily has the top spot of most regularly revived. I'd originally planned to make a Peter Shaffer-themed weekend of it last week, but when the Sunday performance at the Menier was cancelled I had to reschedule - I guess two Saturdays in a row is still a themed season of a kind. Last week Black Comedy was very much a throwback to the 1960s, and Equus is very much rooted in the 1970s both in its references and in the countercultural R.D. Laing psychiatric theories that inspired it, so why does it seem to hold up better? Lindsay Posner's production certainly keeps the original setting, from the otherwise long-forgotten advertising jingles to the child psychiatrist smoking in sessions with his patient.

Theatre review: Police Cops - The Original and BADASS Be Thy Name

Although there's no sign of The Musical making a return any time soon, the three original, lo-fi comedy shows from Zachary Hunt, Nathan Parkinson and Tom Roe aka Police Cops continue to resurface every so often. I've previously caught Police Cops in Space, and now marking their 10th anniversary as a comedy troupe, the three shows have all been playing in rotation. This includes a London residency at Soho Theatre (the one that's actually in Soho,) where I caught the two I hadn't seen before. First up The Original, which was the story they later adapted into The Musical: A 1980s-set American cop show parody in which Hunt's rookie Jimmy Johnson teams up with Roe's grizzled old cop Harrison to take down Parkinson's Fernandez, a Mexican criminal who's sometimes Police Chief Molloy. And also sometimes a cat.

Theatre review: Under the Shadow

While I'm generally happy to trust in Rupert Goold's judgement and have been booking every show in his final Almeida season, the announcement that the latest was an adaptation of an Iranian film about the 1980s Iran-Iraq War seemed like it might be a hard sell to get any of my friends to join me, so I only bought a ticket for myself. Maybe if I'd realised it was based on a horror film I might have got an extra seat, as there's a couple of people that Under the Shadow would have appealed to. Set in 1988 Tehran, Carmen Nasr's adaptation of Babak Anvari's film could of course be using supernatural horrors as a metaphor for war and carnage in general, but in fact the story being told here is much more specific to the time, the place, and particularly the experience of women whose rights have recently been curtailed, perhaps more than some yet realise.

Theatre review: Are You Watching?

The Royal Court Upstairs seems to be making a new specialist subject out of hardcore prawn of the most disturbing and misogynistic kind, as six months after Prawn Play the venue takes another - different, angrier and more scattergun but no less memorable - stab at the genre in Georgie Dettmer's debut play Are You Watching Question Mark. Jess Edwards' production takes place on a tiled traverse set by Georgia Wilmot, at one end of which are bunk beds with colourful bedding. The childlike setting is at odds with the actual, unnamed teenage girls (Kosar Ali and Abby McCann) we meet there, whose sleepover chat revolves around one-upping each other in the most disturbing thing they've seen online. Inevitably this involves a lot of violent prawn, and the particular focus becomes a series of videos Ali's character has seen.

Theatre review: Black Comedy

1960s British farces rarely get revived these days, generally because they're built on attitudes and situations that haven't exactly aged well (with the exception of What The Butler Saw, which gets away with it because how horrible those attitudes and situations are is basically the whole point.) But back when I was in school our drama club did a scene from Peter Shaffer's Black Comedy so - about as long after that performance as it was from the play's 1965 debut - I gave the Orange Tree's revival a chance in what I had originally planned to be a weekend of Shaffer, pairing it with his more famous Equus. This is a much less violent affair, other than in the slapstick sense: The high concept is that the play begins in what the audience sees as complete darkness, but in which the characters can see perfectly well.

Theatre review: Redcliffe

Musical theatre performers sometimes turn their hand to writing for the genre, and this is not the first time I've seen one of the resulting shows staged, but it's got to be the most accomplished debut I've caught. Jordan Luke Gage has been lucky enough to perform in a few outstanding musicals and Redcliffe, which he's written book, music and lyrics for as well as starring in, proves he's been paying close attention. Set across 1752-1753 in the titular area of Bristol, William Critchard (Gage) returns home for Christmas from his job as a footman at a rural mansion. He hasn't yet told his family that the return is more permanent than a seasonal holiday, as he's been let go on vague grounds of "not being quite right." Inevitably this boils down to him being quite an effete, bookish young man who's never really fit in, and whose mother (Rebecca Lock) is still hoping might meet the right girl soon.

Theatre review: Mother Courage and Her Children

Although the run of popular Shakespeares that make up most of the 2026 Globe season are clearly going to be the big sellers, for me the show I was most looking forward to this year was the one that was most obviously the passion project for the Artistic Director, as she took on the lead in the first Brecht play ever staged at the venue. So it's unfortunate timing that Michelle Terry was indisposed for the performance of Mother Courage and Her Children that I caught. All things considered Ayla Wheatley did a pretty heroic job of performing script-in-hand, covering the role of Mother Courage or, as she's often called in Anna Jordan's new version, MC. Though young for the role Wheatley managed to inject some of the character's exhausted gruffness, and the blunt, smutty humour that's a feature of Jordan's script. Being thrown in at the deep end means she had a lot of audience goodwill behind her, so technically I guess the playwright himself would have disapproved*.

Theatre review: End of the Rainbow

My mum remembers being about 20 and watching Judy Garland on Sunday Night at the London Palladium, promoting a series of London concerts that would turn out to be her last, and seeming... not entirely at her best. She was also a fan of Jinkx Monsoon's appearances on Drag Race, so when Monsoon was announced as playing Garland in a revival of Peter Quilter's End of the Rainbow, dealing with just that period of her life, this year's birthday present was easily decided. Judy arrives at the suite of the Ritz that will be her home for the next six weeks of concerts, in full diva mode grumbling to her new young fiancé and manager Mickey Deans (Jacob Dudman) that it's not as big as she demanded. Soon she has bigger things to worry about though, as she's attempting, at Mickey's request, to stay off the cocktail of drugs and drink that's been alternately waking her up and sending her to sleep since she was a child star.

Theatre review: Sherlock Holmes

Many of Arthur Conan Doyle's Sherlock Holmes stories have been put on the stage over the years, with various degrees of seriousness, but now that the character is fully out of copyright writers have also been free to write the great detective into their own, new adventures. Books, film and TV have done it and now Joel Horwood does it at a theatre whose nearest tube station is, appropriately enough, Baker Street. At least that's the theory behind the play simply titled Sherlock Holmes, which opens the Open Air Theatre's season with the promise of a new mystery. What Horwood actually gives us is a deconstruction of the iconic detective and his place in British culture, a central conceit that's pretty bold and iconoclastic - is just a shame that the way it's actually delivered leaves a lot to be desired.

Theatre review: The Last Man

Jishik Kim (book and lyrics) and Seungyeon Kwon's (music) The Last Man is the latest piece of K-culture to land in London, and it confirms something many a Netflix show has suggested over the years: South Koreans do like their zombies. Set in a semi-basement flat (designed by Shankho Chaudhuri) reminiscent of the one the family in Parasite lives in, The Survivor (Lex Lee, alternating with Nabi Brown) has converted it into a bunker in preparation for an apocalyptic event he's sure is coming. When it arrives in the form of the walking dead - which also just happens to be his favourite movie genre - he bolts himself in with an air purifier, a phone and a large supply of K-Pop Demon Hunters-branded cup noodles to keep him alive. Also running water and electricity which seem unaffected by the cataclysmic events outside.

Theatre review: I'm Not Being Funny

Piers Black's accurately-titled I'm Not Being Funny begins with an interesting high concept: A mix of bleak drama and stand-up comedy, it follows young married couple Peter (Jerome Yates) and Billie (Transphobia Ltd Employee Tia Bannon) as they practice comedy routines in their living room, preparing for an open-mic night Billie has signed them up for. She thinks it could be a good form of couple's therapy for them, and at first it seems she might be trying to help Peter deal with his anxiety over never being able to make their three-year-old daughter laugh. As their attempts to build a "tight five" minutes each go on though we discover that the trauma they're dealing with is a lot more serious: Billie has a terminal disease and four to six years left to live, and the open mic is her way of dealing both with her own feelings, and how the news has impacted the relationship with her family.

Theatre review: CARE

Alexander Zeldin's CARE takes place in a care home for the elderly, which Rosanna Vize's set design and James Farncombe's lighting bring to clinically realistic life, but with the odd flicker into something a bit eerier befitting a liminal space between life and death. Joan (Linda Bassett) arrives there after a fall damages her hip, believing that she'll be there for a few days at most until the physical injury recovers. But her daughter Lynn (Rosie Cavaliero) is already looking into making this a more permanent solution, as the accident was in part due to Joan's failing mental health, and the family can no longer trust that she won't be a danger to herself. As she spends her first few weeks in the home, an increasingly confused Joan does find some moments of joy as the residents share their life stories and highlights.

Theatre review: Stage Kiss

Sarah Ruhl takes a decidedly metatheatrical stab at romantic comedy, a genre that over the years has seen many stage and screen couples emulate their characters' relationships in real life. Whether the stars actually managed to recreate their happy endings, though, has never been guaranteed. The unnamed leads in Stage Kiss are actors cast in a regional revival of a forgotten 1930s romance; only when She (MyAnna Buring, as opposed to YourAnna Buring) and He (Patrick Kennedy) arrive for the first day of rehearsals do they discover they've been cast opposite someone they had a tempestuous relationship with two decades earlier. As they go through weeks of rehearsal and performances, kissing each other dozens of times a day, the lines between play and reality start to get blurred.

Theatre review: A Midsummer Night's Dream(Shakespeare's Globe)

I hope what I've seen so far of the 2026 summer season at Shakespeare's Globe isn't a sign of things to come, as it could spell the beginning of the end of my relationship with one of my favourite venues: After avoiding it for years due to the original management's insistence on original practices sounding a bit theme parky, once I started going I loved the genuine exploration of how the space helps actors play with the text, as well as it becoming one of the few companies where you could count on catching the odd Shakespearean rarity. The latter has been stymied to the point of non-existence recently by economic demands, and the venue has depended a lot on the four most popular comedies - AMND, As You Like It, Much Ado and Twelfth Night.

Theatre review: An Ideal Husband

The National Theatre's recent Importance of Being Earnest found a new angle by introducing a formidable Caribbean take on Lady Bracknell, and now Nicholai La Barrie extends that idea by giving us another Oscar Wilde play where the entire cast of characters has been reimagined as first or second generation Caribbean British. In An Ideal Husband class, power and money are constantly intertwined in a relationship that proves precarious as Lord Chiltern (Chiké Okonkwo,) a politician whose career benefited from his personal wealth, gets blackmailed about the source of that wealth: The unscrupulous Mrs Cheveley (Aurora Perrineau) has obtained a letter proving that, at the start of his career, he benefited from his parliamentary knowledge to do a bit of insider trading. She has an investment project of her own on the go, and if Chiltern publicly endorses what is very obviously a scam, she'll keep his secret.

Theatre review: Firewing

Tim (Gerard Horan) is an established wildlife photographer - well-regarded and sometimes award-winning, but not quite successful enough to have made an international career out of it: He's spent much of his life in the same wooden hut by a lake near where he grew up, taking photographs of birds and urban foxes. In recent years he's become keen to find a successor he can pass on the tricks of the trade to, and perhaps even replicate an image that has, for better or worse, defined his career: A rare Siberian Firewing that somehow made it to England, an event so unlikely he was accused of forging the photo. He's begun advertising a weekend apprenticeship programme for aspiring photographers, and after various disappointing applicants he's hoping Marcus (Charlie Beck,) a young man from the same, still-deprived area as him, will be the one.

Theatre review: Grace Pervades

Playing in the West End at the same time as one of his earlier plays that's starting to show its age, David Hare's latest one consciously harks back to an even older tradition of performance than Teeth'N'Smiles: Grace Pervades centres on the most celebrated actress of the Victorian theatre, Ellen Terry (Miranda Raison) and her longstanding professional and personal relationship with actor-manager Henry Irving (Rafe "Ralph" Fiennes.) The latter chose her as his leading lady when he was setting up his own theatre company, convincing her to come out of retirement after she'd decided she would never be as good an actress as her sister. But once they start working together it's Terry who has the bigger impact on him, helping an actor who was admired for his intensity but criticised for his stiffness, to find a style with more connection to castmates and audiences alike.

Theatre review: Please Please Me

As the title gives away, Tom Wright's Please Please Me deals with the Beatles - or at least with the outsider credited with making the world sit up and pay attention to them, their gay, Jewish manager Brian Epstein. That's Brian Epstein. We first meet Brian (Calam Lynch) working in his family's department store, nominally in the closet but with his various encounters with rough trade (all played by William Robinson) often proving dangerous, his father (Arthur Wilson) is well aware of what's going on. Following the advice of one of his regular hook-ups, he visits the Cavern Club to catch the band that's got Liverpool's teenage girls screaming, and despite having no experience in the field decides he has to become their manager - and convinces them to give him a go.

Theatre review: Tender (Soho Theatre)

PREVIEW DISCLAIMER: The show has not yet officially opened to critics.

  

Dave Harris' Tender is the latest play to deal with a modern crisis of masculinity, although maybe one without quite the same level of toxicity as some of its predecessors. Darren Bennett plays a former adult performer who now leads a trio of male strippers called the Dancing Bears: Exploiting a loophole in New Jersey law, they are to all intents and purposes prostitutes, the mostly-female clientèle being allowed to do a lot more than just look when the men take their clothes off. But business has been tailing off lately, which turns out to be largely down to a new copycat club opening down the road - where the performers are a bit fresher, better dancers, and a couple of inches better-hung. The club's owner sends her daughter in to freshen up the show, but having previously attempted to be an artist and then a therapist, Bea (Jessie Mei Li) is less interested in choreography and more in deconstructing the men's feelings.

Theatre review: Avenue Q

After Robert Lopez, Jeff Marx (both contributing music and lyrics) and Jeff Whitty's (book) Avenue Q closed (for the third time) its original West End production, my favourite musical didn't stay away too long, with smaller-scale productions and tours meaning I and a group of similarly addicted friends could keep getting our live fix. It's been away for a few years though, meaning what I think is my fourteenth time seeing it live is in fact a 20th-anniversary production of it opening at the Noël Coward (the first show to play there after the theatre had been renamed.) Now at a reduced-capacity Shaftesbury Theatre while its upper level is being repaired, original director Jason Moore returns for a show that was always being tweaked to keep up with the times, and has now had a few extra rewrites to bring it into 2026.

Theatre review: Les Liaisons Dangereuses

A new production of Christopher Hampton's best-known play, an adaptation of a novel by Pierre Choderlos de Laclos at the Lyttelton, marks Marianne Elliott's first time back at the National since Angels In America. Although this, and most other elements of Les Liaisons Dangereuses, seem to have been overshadowed by Lesley Aisons Manville, who's turned out to be surprisingly camera-shy for a film star. Manville plays the Marquise de Merteuil, the most in-demand guest of 18th Century Paris aristocracy's social life. Merteuil is a widow who, comfortable in her wealth and standing, entertains herself by taking numerous lovers, as well as orchestrating affairs and scandals for others. She's particularly fond of corrupting wide-eyed innocents, but has managed to keep her activities in the shadows, and her own reputation spotless.

Theatre review: One Flew Over the Cuckoo's Nest

Former Deputy Artistic Director of the National Theatre Clint Dyer moves down the road to the Old Vic to direct a somewhat reimagined look at One Flew Over the Cuckoo's Nest, Dale Wasserman's play based on Ken Kesey's novel about order versus anarchy - where order comes across very much as the bad guy. In a 1960s New Orleans mental asylum, the patients appear to be steadily and quietly getting on with their treatment under Dr Spivey (Matthew Steer) and Nurse Ratched (Future Dame Olivia Williams.) But when R.P. McMurphy (Aaron Pierre) arrives on the ward, having accepted a diagnosis of psychopathy and committal instead of a five-month prison sentence, his rebellious attitude quickly reveals the real power dynamic in the asylum. He makes it his mission to bring some fun and unpredictability to the inmates, but has no idea the lengths Ratched is willing to go to to stop him.

Theatre review: A Doll's House

Anya Reiss' adaptation of A Doll's House is a faithful one in that it follows the story beats and motivations of Ibsen's original, but also a modern one in that it identifies an archetype we can all recognise and agree is the villain of the piece: Finance bros. At the beginning of Joe Hill-Gibbins' production Nora (Romola Garai) has prepared for Christmas by maxing out her husband's credit card on decorations and gifts for their family, to make up for a pretty miserable time the previous year. She's not worried about paying off the debt: Torvald (Tom Mothersdale) is selling his investment company and they'll be millionaires by January. Her excitement seems indistinguishable from anxiety though, as their successful year has come after Torvald's addiction issues almost brought their family down, and only very expensive rehab got him out of it.

Theatre review: The Authenticator

Crumbling country estates have in recent years been at the centre of controversy over the suggestion that maybe the visitors, whose tourist cash is pretty much keeping them standing, might want to know about the darker parts of the building's history, like how much its glory days were supported by the slave trade. They're also the setting for many a gothic mystery, and what Winsome Pinnock's new play The Authenticator does very effectively is bring those two elements together to touch on a hot-button topic in entertaining fashion. Eccentric aristocrat Fen (Sylvestra Le Touzel) is the last descendant of the Harford family, and the first woman to inherit the estate following centuries of male primogeniture. Digging through family history, she's unearthed the previously unseen diaries of 18th century ancestor Henry Harford, the founder of the family's wealth.

Theatre review: Flyby

Oh to be a fly on a rehearsal room wall:

"OK Stuart, so we're going for the big finale now and you're giving us some of your most emotionally-charged vocals and Ian Charleson-nominated acting, really belting the song out, tears streaming down your face, the works. But GET THIS! Nobody will notice any of it, because they'll all be looking at the bloke dressed as a giant space turtle flailing around on the floor trying to get off the stage before the bows. Yes, I thought you'd like it."

Theo Jamieson (book, music and lyrics) and Adam Lenson's (co-creator and director) musical Flyby has, it's fair to say, quite a lot going on. Astronaut Daniel Defoe (Stuart Thompson) disappears from a space station during a mission, hijacking an escape pod in what appears to be an act premeditated and planned for years in advance.

Theatre review: Copenhagen

When Copenhagen was scheduled for a revival at Hampstead Theatre it probably felt like a timely choice because of the recent success of Farm Hall and the film Oppenheimer, but as invariably and depressingly seems to happen, current affairs have delivered another reason for Michael Frayn's play about nuclear physicists to feel topical. In the first six years of me writing this blog I could reliably catch Big Favourite Round These Parts Damien Molony on stage once a year, but he's been absent for nearly a decade before returning to play Werner Heisenberg, the leading nuclear physicist who led the German team attempting to develop nuclear weapons during the Second World War. His other most famous accomplishment is the Uncertainty Principle, and the play centres on a historical mystery that even the participants seemed uncertain about, with both central figures giving conflicting accounts later in life.

Theatre review: Henry V (RSC/RST)

A Henry V that doesn't feel horribly topical when a foreign war is launched to distract from a domestic crisis must be as rare as one that doesn't co-opt something from the Henry IV plays to build its world. Both themes are present together as 50% of the RSC's Artistic Director reunites with Startled Giraffe Alfred Enoch: Tamara Harvey's production opens with Enoch's Hal mistaking his sleeping father for dead and prematurely taking the crown. It feels notable that he shoos away a servant as the old king (Valentine Hanson) admits his claim to the throne was tenuous, and then goes on to advise his son to solidify his own position by invading France. This becomes pretty much the whole plot of the play that follows, but Hal's statement that the weight of responsibility led Henry IV to his early grave turns out not to be as relevant to him.

Theatre review: Teeth'N'Smiles

The ultimate accolade shouldn't be a gold record, it should be a golden hypodermic. Parklife!

David Hare's play with songs Teeth Apostrophe N Apostrophe Smiles, which premiered at the Royal Court in 1975, is set six years earlier in 1969, when disillusionment with rock music and the counterculture it spearheaded was starting to set in. Maggie Frisby and The Skins are a once-popular group on its last legs, doing tours around UK universities that barely cover their expenses - Rebecca Lucy Taylor Also Known As Self Esteem plays vocalist Maggie, with Michael Abubakar, Bill Caple, Samuel Jordan, Jojo Macari and Noah Weatherby as a band at various levels of frustration at the way their careers have turned out. Maggie is a former heroin addict, but while we're given no reason to doubt that she's given that up, she's still unapologetically and indisputably an alcoholic who may or may not perform on any given night - it's the shows she's really looking forward to that the band know to be most worried about.