Reviews

‘A perfect show for Christmas’ ★★★★ Of course streaks are there to be broken, but they are often sustained for a long period. Sugar Ray Robinson (91 fights, 91 wins). The Undertaker at Wrestlemania (21 straight wins) and, most importantly, my current run on Wordle (297 unbroken - aiming for the full year). And we also have the Jack Studio Theatre’s streak of wonderful Christmas shows - but what of this year? Kate Bannister and Karl Swinyard have re-visited a show they produced some 12 or 13 years ago - Charles Ludlam’s 1984 satirical and farcical tale of werewolves and vampires . It’s a perfect show for Christmas as it melds multiple elements of traditional pantomime - high camp, wordplay, quick costume changes, cross dressing - with (Carry On) Hammer horror so we have jump scares, lashings of blood, and plenty of howling and thunderclaps. It’s also a ‘Whodunnit’ (or a ‘Whoisit’)? A mildly deranged but oddly serious Egyptologist Lord Edgar Hill Crest (Joe Newton) is enchanted by his second wife Lady Enid (James Keningale) whilst still wanting to honour his first wife Lady Irma - literally, via the lit candle beneath her painting which hangs over the mantlepiece. Set deep in the isolated moors, Lady Irma’s passing was something of a mystery and, in a workmanlike scene-setting first half, the layering of the potential horror-driven story begins. Lady Enid begs Lord Edgar to blow out the candle and remove the painting to the disgust of the mis-trusting housekeeper (a bravura turn from Newton once again). There’s also a man-servant Nicodemus - played by Keningale in full ‘Matt Lucas mode’ - who of course has a wooden leg……. The quick changing of costume and character must be an actor’s dream I would imagine and, under Kate Bannister’s typically sharp and pointed direction, both Newton and Keningale have a lot of fun, a lot of chemistry and keep things moving along at a pace. The second half opens in deepest Egypt and rattles through with a good deal more humour, mugging to the audience and bawdy / camp dialogue and interplay - I would have liked more of this in the slightly laboured first half. Things come to a head, everything is explained and the tie up is neat. In reality, the play itself was maybe a touch underwhelming. You could also say that once you’d seen one actor talking out of a door whilst the other quickly changed to re-appear moments later you didn’t necessarily need to see it happen again and again - but that’s the strength and weakness of a two actor ‘quick change’ show. But, along with two strong performances and the ever-assured direction, what elevates Irma Vep (btw can you spot the anagram?) to a 4-star review is the usual fine work on staging, sound, lighting & costumes. London Pub Theatres Special Award winner Karl Swinyard (with assistant Lizzie Spinks) once again delivers a charming, period-notable set brilliant in its simplicity to allow the actors to deliver what they need to do. Any horror show needs the right lighting and the right sound so kudos to Laurel Marks and Julian Starr whose work makes the stage seem ‘bigger’ somehow. I also noted and enjoyed the costumes from Martin J Robinson - spot on. So, the streak very much continues. Merry Christmas. The Mystery Of Irma Vep : A Penny Dreadful By Charles Ludlam Jack Studio Theatre 9 December 2025 - 4 January 2026 BOX OFFICE Written by Charles Ludlam Directed by Kate Bannister Set Design: Karl Swinyard Lighting Design: Laurel Marks Sound Design: Julian Starr Costume Design: Martin J Robinson Fight Director: Gabriele Lombardo Company Stage Manager: Jolie LeBell Produced by Jack Studio Theatre CAST James Keningale and Joe Newton Photography: Davor at The Ocular Creative

'Every moment sounds and sparkles with community spirit' ★★★★ A brand-new pantomime has taken to the streets of Catford on all four of its paws. Susie Mckenna’s child and adult friendly show, brings all the flavour, colour and style of the Windrush Generation back to life in post war London. Every moment sounds and sparkles with community spirit. Though you might catch Uncle Vincent, the singing, dancing embodiment of Catford’s cultural monument – ‘The Catford Cat’ - taking a staged nap, the audience are awake and entertained throughout. Dick Whittington arrives on stage aboard the iconic, enormous and cleverly crafted cut out of the HMT Windrush. He starts looking for a job aided by Uncle Vincent, our brand-new panto bombshell star, magically formed out of the ship’s cat. Tossed to and fro between the charms of Fairy Bowbells (Lisa Davina Phillips) to the clutches of evil rat queen Vermina (Natasha Lewis), Whittington’s luck flips quickly from good to bad. He falls in love, loses everything, but is eventually cajoled back from the London outskirts by the musical bells of the city, singing his name. All ends well: it is a pantomime after all. Along the way, we meet music hall inspired Sarah the Cook, giving risqué and raunchy humour that gives older audience members a cackle, hidden in nuanced double meaning from the younger kids. Almost everything lands in the show and its celebration of a multicultural London is both tasteful, uplifting and clearly hits all the right notes with the public. When you struggle to pick a standout performer whilst reviewing, it becomes clear that the cast and ensemble are all doing their bit. Durone Stokes as Whittington packs a punch in his voice. Justin Brett is quick on his feet with a pun as Sarah the Cook, so watch out if you're in the front rows. Not to even mention Wayne Rollins, who swaggers across stage with energetic comedy, keeping the whole audience bobbing along in song or crying with tears of laughter. It was also incredibly rare to see the ensemble that supported all the lead performers miss a beat or note. This panto is something rare to find nowadays. It really has a beating heart and is an inspired memorial for everything Windrush. It's much more than just dazzling costumes, smart dances and blasting songs, soon showing itself as a celebration of all things South London. At 23 years old, without children of my own, I’m by no means your regular pantomime goer. But it was regular for all the audience to be united in participation or song. In fact, the elders were just as excited and amused as the kids they brought. It's a show that will gear you up for any festivity and certainly will do for Christmas. Box Office: boxoffice@broadwaytheatre.org.uk  Photography: Mark Senior Reviewed by Harry Speirs Find everything you need to know or their free digital programme here: https://drive.google.com/file/d/1iksgVdE_CCHntoAnB4ZQUJwauBaNE1sx/view

'The set and costumes are meticulously considered, immediately establishing a timeless, self-contained world.' ★★★ The Boline Inn marks the London debut of Liverpool-based, female-led company Meadow Report. Combining movement, song and an absurdist performance style, the production carries a distinctive atmosphere and a confident visual identity. The most striking element is its design. The set and costumes are meticulously considered, immediately establishing a timeless, self contained world. There are echoes of the surreal domesticity seen in work like The Flea at the Yard Theatre, situating the audience in a space that feels both familiar and unsettling. The movement work, particularly its use of breath, is handled with sensitivity and precision, while the songs are beautifully sung and thoughtfully placed, offering moments of emotional contrast against an otherwise uneasy narrative. The juxtaposition of warmth and discomfort is one of the show’s strengths. As a female-led production, it is refreshing to encounter a story shaped through women’s perspectives, and the care taken in the making of the piece is evident throughout. However, while the visual and sonic elements remain engaging, the narrative itself feels somewhat predictable from early on, limiting the dramatic tension and emotional surprise.  The Boline Inn is a carefully crafted and visually assured production. With further dramaturgical development, it has the potential to match its strong aesthetic with greater narrative depth. The Boline Inn By Eilis Mulholland, assisted by Ophélia Gourbault The Hope Theatre, 207 Upper Street, Islington, N1 1RL 2 – 13 December 2025 BOX OFFICE https://www.thehopetheatre.com/thebolineinn CAST Marley Craze as Betty Cara Dougherty as Jane Eilis Mulholland as Old Women Meg Grace Mia Harvey as Val Natasha Jobst as Caro Chloe Stokes as Althea CREATIVE TEAM Costume design by Hannah Wickham sound design by Joseph Staines Stage management: Joe Judd Photo credit: Hannah Wickham

“The Full Monty with cultural knobs on.” ★★★★ Spanning the Christmas season and welcoming in the New Year, Boys in the Buff brings glamour, glitter and glowing thongs to Camberwell’s Golden Goose with a month-long run.Since this musical revue by Lambco Productions first appeared at the 2023 Edinburgh Festival, it’s been recast and updated with new faces and additionally relevant songs to capture the zeitgeist. We meet statuesque and formidable Maxie (Tish Weinman who performs internationally as the charismatic drag artist, Letitia Delish) as she presides over her ‘boys’, a troupe of young men who prepare for a new show that will require them to strip off. As these characters share feelings and stories about their bodies, which span bullying for looking different to being arrested for flashing, it prompts a broader conversation about male self image in today’s world, The pressures young men experience in an age of social media perfectionism, deep fakes, body dysmorphia and body shaming translates into ninety minutes (with an interval) of entertaining and engaging song and dance. From punishing rituals at the gym, body modification and medical intervention, what was once traditionally the self-flagellating regime of most women is now the normalised experience of many men; what was once part of gay culture has proliferated into the mainstream. The loose narrative structure, sometimes a little clunky and less than seamless, is trumped by the music and dance; Writer, Chris Burgess, Director/Choreographer, Robbie O’Reilly and Musical Director, Aaron Clingham cook up an irresistible offer including, My Foreskin and Me (Yes, foreskin reconstruction is a thing) The Fat Jab Rag ; Size Doesn’t Matter and My Favourite Thong Song . It's the Full Monty with cultural knobs on and walks a tricky tightrope between show biz razzmatazz and social messaging. The boys: Liam Bradbury as Richard; Rowan Armitt-Brewster as Dan; Adam Norton as Phil and Max Rizzo as Luca, all talented singers and dancers, are well synchronized and harmonious. While they may titillate some of the audience, they do not physically challenge them. All are good looking young men with near perfect, hairless bodies, all are white; slim, young and able bodied. To gaze upon physically different bodies while hearing songs like What We Have in Common and Love Me For Who I Am would bring a different, more charged resonance to the show. This doesn’t take away from what’s been achieved but conceptually there’s space for Boys in the Buff to be adapted or rolled out into more diverse communities. That said, this burlesque musical revue offers up a fabulously entertaining evening and will spread a seasonal message of good will, male self acceptance and body positivity into 2026 and beyond. BOYS IN THE BUFF at Golden Goose Theatre, 146 Camberwell New Road, London, SE5 ORR 10 December 2025 - 10 January 2026 BOX OFFICE https://www.goldengoosetheatre.co.uk/whatson/boys-in-the-buff

'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