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.