Reviews

'The Revel Puck Circus is bijou, accessible, committed to community engagement, and very good fun.’ ★★★★ Set up in Walthamstow’s Town Square, there is a Big Top. It’s quite a small Big Top, but nonetheless, it’s a circus tent. It’s the home of Revel Puck’s Winter Festival from now until January 4 th next year. The Revel Puck Circus is bijou, accessible, committed to community engagement, and very good fun. They have brought two different shows to Walthamstow, a show for little ones called The Ugly Duckling which the company describes as ‘a Circus Story’, and the circus show proper – seven performers, loads of routines, not much glitter or edge of the seat thrill-seeking, but colourful, good-natured, and well executed. Seeing acrobatics and slack wire acts performed a couple of rows away, by performers who don’t look as other-worldly as many such acts, who occasionally mess up but always get back on the horse and achieve the desired result, is a refreshing experience. Children aren’t looking up into the heavens with a look of awestruck wonder, they are looking straight ahead at friendly performers on a slightly raised platform, wearing clothes that are colourful but that might come from a high-street shop. It’s a very refreshing, very engaging way to do circusing. The pick of the acts is a young gymnast, wheeled onstage on a large sofa reading a book, who proceeds to turn herself into a human pretzel, her toes turning the page from behind her head, all the while studying the book with great attention. It is beautifully done but very low key, so that after a few minutes you start to think that anyone could walk round furniture on their hands. But anyone can’t. The skills so lightly worn are impressive, the pacing is top notch, the smiles are infectious. The company has made its home in Walthamstow several times before, and likes being there. They have delivered a show that is quick-fire, fun, and accessible. Circus can be many things, but the Pucks have made a family friendly entertainment. It may lead to people signing on to learn circus skills rather than leaving the smell of sawdust and popcorn with wonder on their sticky faces, but that sounds like a very good outcome, if it leads to performances as enjoyable as this. Find full details of the event on Revel Puck’s website here https://www.revelpuckcircus.com/winterfestival

' a festive, ghostly delight' ★★★★ “Halloa! Below there!” This production of The Signalman illuminates a Charles Dickens classic, adapted and directed by Jennie-Mae James who guides it into the spotlight. Expect to be thrown into an immersive world that investigates a sense of duty, supernaturalness and unlikely friendship. This show follows the curious Visitor as she befriends The Signalman; watch the two bond as the oddities and strangeness ensue. Whilst at first glance the story seems simple, a far more complicated narrative unfolds. The stakes are high as the play examines reality and the unknown; asking the question, what is true and what is to come? This charming, eerie piece is brought to life by three dynamic actors; playing these charismatic characters with spark and verve. Swift and fast paced, the suspense builds. In their companionship, The Visitor and The Signalman take us on a journey of dread and otherworldliness while still maintaining a warmth and affability. Accompanying this cast, an elaborate Victorian style set design by Karen Holley, sound, lighting and original music from an expert creative team create atmosphere. Mudlack Creative and the Drayton Arms Theatre make a glimmering collaboration in creating this work that rings true to Dickens. At a time of year when audiences are given a wonderful proliferation of pantos and A Christmas Carol’s, this production brings something different to the winter theatre scene. Whether you’re a railway history buff, Dickens’ enthusiast or just fancy being entertained by a seasonal thrill, it truly is worth a watch. A revival tale of magic, moral and mystery, this show is a festive, ghostly delight. Get ready to be engulfed by The Signalman! BOX OFFICE CAST The Signalman: Peter Rae The Visitor: Helen Bang Ensemble: Nyah Felix & Natalie Romero CREATIVE TEAM Original Story: Charles Dickens Dramatised, Directed & Produced by Jennie-Mae James Production Manager: Cora Frank Associate Producer: Audrey Thayer Set Design: Karen Holley Construction Supplies: Leyland SDM Sound Design & New Music: Steve Ramondt Lighting Design: Nell Golledge Production Electricians: Charlie Lovejoy & Tom Robson Props: Becca Tizzard & Robin Langham Effects Design: James Denny Technical Operator: Maxwell Durkin Stage Manager: Nyah Felix & Natalie Romero Production & Marketing Assistants: Ailish Farrell & Natalie Romero Railway Advisor: Michael Frederick Winiberg Production Photographer: Emily McAuley PR: Matthew Parker PHOTOGRAPHY Victoria Lari

'a feminist spin on the grand sleuth’s story' ★★★ “What if there are no answers?” is a question posed at the beginning of this adaptation of Conan Doyle’s outrageously famous detective story. And what if Shirley - I mean, Sherlock - Holmes is brought to the modern day, post-pandemic, ignorant of Google, and — a woman? In fact, Ms. Holmes (a wide-eyed Lucy Farrett) is the substance-addicted, ever-searching sleuth and when she meets her Dr. (Joan) Watson (Simona Brown), played as an innocent, likable sidekick running from her previous life, the two enjoy capers around London Town. Those capers take place mainly on the incredibly versatile two-level set (Max Dorey), which could have some difficult sight lines for some of the audience in the partial thrust stage setup. The set is a feast for the eyes: piles of books scattered among chess boards and tennis racquets. The Smeg fridge is in the shabby kitchen, juxtaposed with skeleton and skull and various paraphernalia in the living room. The upper level has an open area for visitors to the iconic door of 22B, and it is a constantly used one. The cast are valiant in handling a complex script. Detective Lestrade (Tendai Humphrey Sitima) and Mrs. Hudson (Alice Lucy) multi-role adeptly as several characters, supplying the story with more bodies, in more ways than one, and bemusement. Amongst the mad capers, there is a sense of darkness. Holmes struggles with a sense of purpose, and an “America, where nobody reads”. She lights up her bong as she considers, “What is day, when all is night?”, alluding to the same mental health concerns of the original source. Along with this, there are hints at Holmes being a lesbian, attracted to sex worker Irene Adler, in Holmes’ typical maniacal style. There is a lot layered in this production, to the point of confusion towards the end. Perhaps a single caper, possibly orchestrated by the great villain Moriarty, would have given a clearer arch to the story. Rather, we learn of his existence and treachery at the end. It is not a bad idea to make an attempt at feminist theatre to flip the grand sleuth’s story (think The Residence with Cordelia Cupp); however it is not clear whether this piece adds to the (Conan) canon. Perhaps a bit of a shorter and more focused piece would help with clarity. The opening lines predicted the ending, and indeed, there are no answers to much of what is happening in the story. Similar to the set, the show has much scattered about and gives so much for the eyes to stay open about, but perhaps keeps us in the dark in the end. Box Office Ms. Holmes & Ms. Watson – Apt. 2B - Arcola Theatre Written by Kate Hamill Performed by Simona Brown, Lucy Farrett, Alice Lucy, Tendai Humphrey Sitima Directed by Sean Turner Set Design by Max Dorey Costume Designer – Sara Perks Lighting Designer – David Howe Sound Designer – Hattie North Fight Director - Marcello Marascalchi Photography: Alex Brenner Reviewed by Mariam Mathew

‘the famous set piece will not disappoint’ ★★★★★ In pre-Beeching, pre-First World War England, the railways ruled. They often feature in the literature of the period, perhaps most famously in E Nesbit’s The Railway Children (1906), later made into a much-loved film (1970). The railway in the story is a source of danger but also a beacon of hope. Most of all, it is an object of wonder and fascination for the children. The Tabard is on quite a run of great family Christmas productions. After adapting Hans Christian Andersen’s The Snow Queen last year, the team of Louise Haddington (adaptor) and Simon Reilly (director) return to Edwardian England, echoing previous seasonal productions at the theatre of The Secret Garden and Five Children and It. The production values are fantastic, Rob Miles’ sets evoking the remote location and, most importantly, Oakworth railway station; and the costumes (Alice McNicholas) are convincing period attire. In the story three children and their mother are forced to move to a small village because their father is away (we find out why later). They spend their days exploring around the local railway line and at the station, which is run by kindly Mr Perks. They inevitably get into all sorts of mischief. The cast are excellent. Jay Olpin excels as station master Perks, who is at the emotional core of the story, helping the children adapt to their new environment whilst always making sure the railway runs on time. Christopher Laishley does a brilliant job in a variety of roles. And the actors playing the three children (Emma Rowe, Max Pascoe, and Anya Burlton) capture the fun and the journeys that the young characters are on. A lot happens in the play, and perhaps it was not necessary to cover quite so many events in the second act, but it maintains a good pace throughout, and the famous set piece will not disappoint. And my children (now 11 and 13), who join me for Christmas reviews, really enjoyed the production too, which is aways the most important thing. THE RAILWAY CHILDREN based on the book by E Nesbit, adapted by Louise Haddington. Directed by Simon Reilly. Produced by Take Note Theatre Ltd Playing at Theatre at The Tabard 5 December 2025 - 3 January 2026 https://tabard.ticketsolve.com/ticketbooth/shows/1173666043/events/428721356 The Cast Bobbie Emma Rowe Peter Max Pascoe Phyllis Anya Burlton Perks Jap Olpin Mother Kirsten Shaw Old Gentleman Christopher Laishley The Creatives Writer | Louise Haddington Director | Simon Reilly Set Design | Rob Miles Costume Design | Alice McNicholas Lighting Design | Nat Green Sound Design | Nick Gilbert Photographer: Matt Hunter

‘Simple but educatively compelling’ ★★★ Inspired by real events, this show is an unusually straightforward little (50 minutes) piece. Writer and performer Michael Hughes simply, but quite effectively, tells the story of one soldier’s experience in World War One from 1914 to 1918. Patrick is a science teacher from Dublin desperately wanting to do his duty when war is declared. He also believes if Irish men fight with the British it will bring Home Rule for Ireland after the war as a quasi reward. But his short, stocky stature counts against him. Eventually, after walking all over England from city to city he enrols with the Bantams. These special Battalions recruited 30,000 men with heights between 5 foot and 5 foot three inches. Losses were high and by March 1918, according to this play, there was just a single survivor. It’s an interesting framework for drama. Hughes presents a cheeky-chappy, very smiley personality who speaks in rich Irish brogue. There’s a funny account of being in digs with two other Bantams one of whom becomes the target of the randy landlady who is 5 foot 8 inches and 16 stone. In much more serious mood, the story of their trench raid is arresting. They are required by their commanding officer to creep across the 200 yards of neutral territory, dive into an enemy trench and attack. What ensues is pretty terrifying. He mentions the 1916 Easter Rising back in Dublin too. At one point Patrick is injured and there’s a bit of flirtation with a hospital nurse. Inevitably, it’s the usual mixture of horror leavened by the must-laugh-to-stay-sane mentality. Hughes sustains this story competently enough although his accent work (British officers, French locals, German soldiers) is weak. Perhaps that’s deliberate. An Irish teacher is not necessarily a good mimic but in context it feels clumsy. World War One history is very familiar to me for various reasons – family, reading, art and more – but may not be to younger people. If this decent but unremarkable play helps to take the facts to them then that can only be a good thing. Instagram https://www.londonpubtheatres.com/pub-theatre-news Trailer https://www.youtube.com/watch?v=Udj6o7_wv7w

‘an ideal show for anyone who likes the traditional at Christmas’ ★★★★ Charles dickens perennial favourite, A CHRISTMAS CAROL, is adapted for the stage by Douglas H. Baker. To make his task a little harder, this production is performed by one man, Gwithian Evans. It is a high energy and extremely skilful performance, bringing all 35 characters to life. It is easy to lose oneself in the story, as Evans makes split second changes of persona with exquisite physicality, so it is very easy to follow the action. Not having read the original Dickens text for many years, some of the lines stand out for their beautiful rhythms and startling imagery. Perhaps sometimes there is a little more of Baker in the adaptation (I’m not sure). The little discussion of ‘dead as a door nail’ for example. Why not ‘dead as a coffin nail’? On the other hand, some lines are very clearly Dickens’ own. ‘Every idiot who goes about with 'Merry Christmas' on his lips should be boiled with his own pudding, and buried with a stake of holly through his heart.’ Although billed as a one-man show, the creatives involved have made this feel so much broader in range. Albeit, a simple set involving three chairs and a door on casters, the sound design (Richard Carter) adds a further element, superbly choreographed to go with Evans super-fast movements and changes of personality. Director Claire Evans clearly has a steady hand as the precision needed to pull this off surely needs experience, long rehearsals and dedication. The lighting design (Alistair Lindsay) also helped to give nuance on the occasion when the ghosts are appearing, with one particularly spooky effect, a small addition to the overall aesthetic. As the scenery is very simple, the door is very busily used. How intriguing to note the importance of doorways to the tale. The doorway of being invited in or told to leave, the doorway between worlds, the spirits and the human. It did seem an apt addition to the staging to have that door a central conceit. For me, though, this very traditional telling of A Christmas Carol has become very out of sync with our times. With so many changes in our world, it begins to lose its power. The idea is to take Scrooge on a journey through themes of greed, regret, compassion, and, ultimately, redemption. It’s a lesson for us all to be generous and to live our lives for today, which might ‘hit the nail on the head’ but would Tiny Tim really survive, would those relatives really be living just around the corner, would those relatives really be delighted to invite him in? It is a wonderful tale about community, but sadly not everyone has that anymore. Perhaps if there is anything that we can take away from this show, is that we all need to work more at reviving that sense of togetherness wherever we can. Finally, ONE CHRISTMAS CAROL is an ideal show for anyone who likes the traditional at Christmas. It’s not really for the youngest members of the family as there are no costumes changes and apart from a slightly irritating sprinkling sound (rather abracadabra) the elements are not likely to be much fun for young children. Nevertheless, it is a wonderful vehicle to show off the talents of the acter, who sparkles in the role.  Tour dates (still to come) 12th December // Cleeve House, Seend - Book Now! 13th December // Vera Fletcher Hall, Thames Ditton - Book Now! 14th December // The Barn Theatre, West Molesey - Book Now! Tickets Writer: Douglas H. Baker Director: Claire Evans Performer: Gwithian Evans Lighting: Alistair Lindsay Sound: Richard Carter Producer Alistair Lindsay | Unusual Theatre Photography: Yuchu Zhao

‘a theatrical adventure gifting its audience laughter, play and wonder’ ★★★★★ Bloomsbury theatre is alive with excited families and animated school groups. The stage is set with twinkling trees and awash with the colours of the forest. The show begins and the award winning picture book is brought to spectacular life with a foot tapping song and a playful dance routine. Stick Man, played by Shaun Mendum, and his Stick Lady Love, played by Eleni Papaioannou, introduce their stick family. Stick Man goes for a run and his adventure begins. A very wholesome adaptation that skilfully retains the charm of Julia Donaldson’s enchanting book, adding rhythm and melody to carry its audience on a delightful journey. The interactive sections of the show are thoroughly enjoyed by both children and adults helping everyone to feel included in the story. Shaun Mendum, as Stickman, brought fun and energy that was matched by his Stick Lady Love (Eleni Papaioannou). They created a playful chemistry that energised the whole production. The live percussion played by Peter Shipway skilfully added drama, melancholy and excitement at all the right moments. The simple but creative design of the set and props supported the narrative and added intrigue and surprise. One of Julia Donaldsons best loved creations goes on a theatrical adventure gifting its audience laughter, play and wonder. Freckle Productions present STICK MAN Bloomsbury Theatre, 15 Gordon Street, London WC1H 0AH, 4 Dec 2025 - 4 Jan 2026 Box Office https://stickmanonstage.com/ Cast: Shaun Mendum as Stick Man Eleni Papaioannou as Stick Lady Love Elizabeth Ellen as Swing Peter Shipway as Actor/Musician Creatives Director Mark Kane Composer Benji Bower Musical director Brian Hargreaves Assistant director Emily Pollet Designer Katie Sykes Lighting designer Eleanor Higgins Production manager Suzie Normand Costume supervisor Louise Smith Photography Mark Senior

‘a little naughty and a lot joyful’ ★★★★ When I first landed in Britain, I expected the works by Sarah Kane or Martin Crimp. Shakespeare, of course. So, when my British friends introduced me to what they called a “traditional theatrical form” — panto — I was genuinely shocked. The country that birthed some of the boldest writing was also perfectly delighted by men in extravagant dresses, outrageous innuendo, and camp silliness. I LOVED it. That breadth — that unapologetic coexistence of extremes — is what I admire most about British theatre. Panto welcomes first-time theatregoers, families, and people who simply want to share festive joy together. And at the Union Theatre, that tradition takes a gleefully adult turn. Union Theatre is a beautiful theatre located in the heart of Southwark. It champions new work across dance, new writing, and musical theatre, providing a welcoming home for emerging artists. This time, its artistic director Sasha Regan takes the helm, offering a cheeky, tightly-paced production that embraces the spirit of panto while delighting in its own irreverence. With just four performers, the show delivers a whirlwind of pop-culture references and fast character-switching. Framed as the misadventures of two gay couples who stumble into a very different kind of Narnia, the piece positions itself within a niche: not a family panto, but a panto for families on a night out — those seeking something rowdy, silly, and knowingly camp. The traditional panto dame anchors the show with the required flamboyance and wink-to-the-audience confidence. The leading roles’ commitment keeps the pace brisk and the humour landing. And finally, but not least, Katie Ball shines in a wide range of supporting roles, shifting effortlessly from waitress to Beaver, always bringing sharp comic timing and a grounded presence. It’s a well-made, good-spirited romp that knows exactly what it is. It leans into camp excess, playful vulgarity, and affectionate parody, offering a night of uncomplicated enjoyment for audiences who want their Christmas season theatre a little naughty and a lot joyful. Review by Namoo Chae Lee Box Office https://uniontheatre.biz/show/the-liar-the-bitch-the-wardrobe-a-very-adult-panto/ Cast Katie Ball Tom Duern James Georgia Joe Pieri Creatives Director: Sasha Regan Musical Director: Richard Baker Designer: Reuben Speed Costume Designer: Janet Huckle Producers: Nik Haukohl and Sasha Regan Stage Manager: Owen Hollands Casting Director: Adam Braham PR: Matthew Parker Photography: Ben Bull Instagram: @theuniontheatre X: @TheUnionTheatre

‘The ancient, contemporary and futuristic blending harmoniously together on western soil.’ ★★★★ Mountains and Seas – Song of Today 山海 · 今日之歌 is presented by artists director-designer-performer Xie Rong, writer-musician-performer Daniel York Loh and composer Beibei Wang and commissioned by and co-produced with Kakilang. It far exceeds being merely a piece of theatre blending poetry, movement, live music, and visual art in the form of live painting, digital projection and AI animation. It is a theatrical experience, a thought-provoking, highly intellectual and magical dive into imagined worlds, tapping into the ancient vision that emerges from the ‘Classic of Mountains and Seas’ (山海經, Shanhaijing), an ancient Chinese classic text from the 4th century BCE. The text is largely a geographical and cultural account of pre-Qin China as well as a fantastical compilation of myths, beasts, heroes, folklore and landscapes.  The imagined world was ethereal, strange and otherworldly, an elaborate design collaboration between Xie Rong, Yiran Duan (Yi Craft Studio) creating costumes and jewellery and Danni Zheng & Ao Lei contributing to the lighting, visuals and set design. Yunnan’s blue dye was predominant and so was the blue colour of the laser beams serving to create a serene dream-like atmosphere. On one end of the traverse stage, Chinese drums, cymbals and gong await under a giant imposing bamboo weaved face mask. ‘There is no civilization. Only mountains and seas’. The voice of the Innocent, the Dreamer echoed throughout timelines, the universe and parallel worlds, seeking, questioning and yearning for the meaning of life and the essence of humanity in a world stained by corruption and the greed for power, control and moral wrongdoings. The state of the 21st century planet is under threat. The global climate crisis, the spread of fascism and existential dread - anxiety about the insignificance of one’s existence - is on the rise. She - yes, the Innocent is a female - stood tall in her resolve to face and overcome life’s challenges and mysteries. Jennifer Lim commands a strong stage presence as the narrator and performer in splendid traditional Yunnan costume, jewellery and headpiece. Embodying simplicity, naivety and optimism, she journeyed across parallel worlds, encountering several mythical creatures along the way, hoping they can help her come to an understanding of human existence. The search begins with conversations with a mythical creature, played by Xie Rong (aka Echo Morgan) adorned in a stunning costume, bearing antelope horns. The artist-performer Rong later reappears as Mother Nature, with a powerful rendition of nature at the mercy of human aggression and exploitation. Other mythical creatures are played by two dancers Tash Tung and Fan Jiayi, whose solo and duo performances fusing dance, acrobatics, contortions and narratives was an emotive visual spectacle. The Beijing Opera vocal, of singer-performer He Song Yuan wearing a dazzling attire, also playing on the percussion and guqin, was simply majestic. Performances from live musicians Daniel York Loh (guitar and harmonica) and Chen Yu Xiao (xun/xiao, Chinese flutes) were transcendental and mystical, with politically charged spoken word lyrics of York Loh rising from the depth. This ambitious, audacious, genre-defying cross-disciplinary production by an ensemble of talented artists, portrays the richness and ancient wisdom of Chinese culture, with the ancient, contemporary and futuristic blending harmoniously together on western soil. I must admit that I could not be more proud of my Chinese heritage, after seeing this new work. Mountains and Seas – Song of Today 山海 · 今日之歌 is at Clapham’s Omnibus Theatre from Tuesday 2 to Saturday 6 December. Review by Melanie Lam Created by Xie Rong, Daniel York Loh and BeibeiWang Venue: Omnibus Theatre https://www.omnibus-clapham.org/ Photographer: Jamie Baker.
Lighting Design: Danni Zheng and Ao Lei. Art Direction: Xie