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

Previously at Shakespeare's Globe... the theatre was the target of hate, protests and threats when they staged a play about how celebrity cross-dresser Joan of Arc might, and brace yourself for this one, not have been entirely a girly girl. Continuing to stake her claim as the most casually badass Artistic Director out there at the moment, Michelle Terry has launched her latest summer season with A Midsummer Night's Dream - a reliable crowd-pleaser at a time when they need bums on seats, but with a cast guaranteed to piss off exactly the right people. Outside of being cast almost entirely with female, trans and non-binary actors, Elle While's production isn't a particularly high-concept one, but it's a lot of fun. With at least three separate storylines vying for attention, and some of the plots disappearing from the stage for long periods, I often come out of the play thinking one element has dominated.

Theatre review: Ain't Misbehavin'

Murray Horwitz and Richard Maltby Jr’s 1978 show Ain’t Misbehavin’ was something of a precursor to jukebox musicals, celebrating songs written or popularised by Fats Waller between the wars, becoming one of the first people to bring jazz to a wider audience. Southwark Playhouse’s revival sees two people better known as performers making their debuts telling other people what to do: Tyrone Huntley as director and Oti Mabuse as choreographer. Adrian Hansel, Renée Lamb, Carly Mercedes Dyer, Landi Oshinowo and Wayne Robinson take on all the performance duties in a show that runs through thirty of Waller’s hits in under two hours. I’ve seen it described as a “revue-style musical,” although in reality it’s a straightforward revue without much connection to a traditional musical – there’s no thematic link between the songs, takis’ set recreating a glittering nightclub in which Alex Cockle’s band are ensconced to back up the five performers.

Theatre review: Side Show

A 1997 musical with the dubious reputation of having been produced on Broadway twice and tanked both times, writer Bill Russell and composer Henry Krieger's Side Show finally arrives in the UK in the version from the 2014 revival, with additional book by Bill Condon. Based on the story of the real-life Hilton sisters who appeared in Tod Browning's Freaks, it opens with conjoined twins Daisy (Louise Dearman) and Violet (Laura Pitt-Pulford) as the star attraction in a freak show during the Depression. The show's owner Sir (Chris Howell) is also their legal guardian for life and essentially treats them as his property as well. When vaudeville impresario Terry (Haydn Oakley) visits the show he spots the twins' potential as performers, as well as the abusive situation they're in, and helps them mount a successful court case to be liberated from Sir. He does succeed in making them stars, for a while, and they also seem to find a chance at love, but their disability gets in the way of both in the end.

Theatre review: The Shape of Things

Neil LaBute has written a loose trilogy of plays about body image, which began with The Shape of Things. Set among graduate students at a small-town American university, Adam (Sean McConaghy) is overweight, unkempt and socially awkward, badly in debt and working two jobs to pay it off. One of them is at an art gallery, which is where he meets Evelyn (Anna Bamberger,) an art student intent on spray-painting a cock onto one of the sculptures. They make an unlikely couple but Evelyn gives him her number anyway and soon they're dating. She may look out of his league but he catches up fast - her influence sees Adam start going to the gym and eating better, lose a huge amount of weight as a consequence, change his style and even get a nose-job. And as his looks change, so does his behaviour.

Theatre review: Fear

PREVIEW DISCLAIMER: This review is of the final preview performance.

Madani Younis' opening season as Artistic Director of the Bush hasn't quite set the world alight, in my opinion at least, as we reach its final production. TV and filmmaker Dominic Savage writes and directs Fear, a short drama that pits two of the media's most hated figures of recent years, bankers and hoodies, against each other. Kieran (Aymen Hamdouchi) hangs around wealthy areas with his friend Jason (Jason Maza,) teaching him how to spot the richest businessmen to mug should they venture into the wrong back alley. Banker Gerald (Rupert Evans) has a couple of homes, an upcoming deal that'll make him a multi-millionaire, and a pregnant wife, Amanda (Louise Delamere.) The set, by takis, is gleaming white, and under the clear plastic floor you can just about see a row of gravestones - pointing the way to how the encounter will go when Gerald and Kieran finally meet.