Reviews

‘James Callàs Ball’s witty dialogue is delivered with impeccable comic timing by the actors.’ ★★★½ In a sterile gastropub function room in Brighton, an unlikely group of misfits gather, all united by a singular belief. This is that the earth is not round, as per the modern scientific consensus, but is actually flat, with a wealth of evidence to back this up. Ostracised from mainstream society for their fringe beliefs, the task of getting their voice heard appears to be an uphill battle. However, when the prospect of a TV appearance in a documentary about Flat Earthers materialises, suddenly the possibility of reaching the masses doesn’t seem so far away. The group is chaired by the dogmatic Greg (Jamie Kenna), a long-time believer in the flat earth theory and prolific YouTube proselytiser. He is joined by the slightly socially stunted Kevin (John Black), who mainly uses the group as a vehicle for his clumsy attempts at trying to woo Sophie (Valerie Antwi), an inquisitive scholar of all things flat earth and the closest thing the play gets to a voice of reason. Though they all believe in the fundamental principle of the world being flat, their opinions are divided on the specifics of the theory. This exploration of the dynamic between the group members, who have little in common, and how this is navigated is the driving force of the play. One gets the sense that the play does not necessarily have to be about flat earth; the main source of conflict concerns a struggle for power, and which group member stands to gain the most from their participation in the collective. Aside from a few moments of insight about the specifics of the theory – the concept of ‘universal acceleration’, in lieu of conventional gravity, being a notable example – it feels unlikely that audiences will come away significantly more informed about the actual theory than they were coming in. The objective of the play appears to be to examine the dysfunctional nature of a small fringe group such as this one, and to gently satirise the absurdity of their beliefs through their interactions with each other, rather than probing too deeply. We are afforded some moments where the characters’ reasons for joining the group, and the negative impact that this has had on their lives, become apparent, offering some deeper insight into the true cost of having such unorthodox viewpoints. However, these don’t linger for too long before we’re back in the primary remit of the show; its comedy. This is no big problem, as this aspect is where it really excels. Writer and director James Callàs Ball’s witty dialogue is delivered with impeccable comic timing by the actors, and the skillful delivery of the repartee between characters means the energy of the show is sustained throughout. Considering the complex subject matter, it does feel as though there are some missed opportunities to really interrogate the dark and multi-layered world of conspiracy theorists. Despite this, the comedic aspects of the play, and the exceptional performances of the cast make for an engaging production, which pokes fun at the beliefs of its characters without stripping them completely of all emotional depth. The greatest achievement of this play is perhaps its ability to translate a niche, mostly online community to a real life space, resulting in a piece that feels authentic to its subject matter while still being thoroughly entertaining. Flat Earthers BOX OFFICE https://offwestend.com/listing/the-flat-earthers/ Written and directed by James Callàs Ball Lion & Unicorn Theatre, 42-44 Gaisford St Kentish Town London NW5 2ED 16-20 December Cast Jamie Kenna - Greg John Black - Kevin Valerie Antwi - Sophie Creative team Hardy Gru - Set designer

‘The real strength here is the collective’ ★★★★ ½ Having seen Stephen Schwwartz’s Wicked when it opened in London (in 2006 - blimey) with Idina Menzel and having adored the two new films, I recently re-visited Stephen Schwartz’s juggernaut at the Victoria Theatre and found it strangely ‘stop / start’ and a bit of a drag. Thus, having never seen Schwartz’s Pippin but having heard lots about it and being very keen, it was with some nervousness that I arrived at the excellent Upstairs at The Gatehouse theatre for this new, ‘re-imagined’ (dread term) version……and, by Christmas, it was pretty damn great - and sexy! A simple story - boy wants to find great purpose in life and struggles to find that purpose, finds love which gives him that purpose and ‘we all lived happily ever after’ - that is framed historically (albeit without fact) through war, devastation, power and societal challenges. Pippin is the son of the King of Charlemagne with complex relationships with his step mother, step brother and, ultimately, his father whom he rails against and, ultimately, kills. Roger O Hirson’s story layers this with a group of enigmatic and Cabaret-style ‘players’ who literally invite Pippin from the Gatehouse audience (he was sat next to me all the time!) and act as puppeteers leading him through a life that meanders across a society in flux. As Pippin ascends to the throne he finds that this extraordinary opportunity does not necessarily lead to an extraordinary life, and he learns to accept that personal fulfilment can be found via the heart. If this all sounds a bit confusing and a bit odd, well, it is. But it is great fun via Schwartz’s set of jaunty (and, by turns, dark) tunes, a powerhouse vocal cast and on point direction and Bob Fosse-infused choreography from Amanda Noar whose Moominvalley in November musical at the same venue this year so charmed me also. With the voice of a young Reeve Carney, Lewis Edgar’s Pippin is both muscular and heroic whilst showing the inner turmoil of a young man not at peace with himself - his ‘Corner Of The Sky’ is a highlight. As his grandmother Berthe, the excellent Clare Brice gets some audience sing-a-long in the charming ’No Time At All’ and, whilst on occasions he has a little too much of the Michael McIntyre’s about him, Oliver Wood as the King is all hustle and bustle on ‘War Is a Science’. As the Leading Player, Emily Friberg is playful, sultry and always ‘in the game’ - she also has a fantastic singing voice. Likewise, as Pippin’s love Catherine and on her professional debut, Mia Quimpo nails it in the second half. But the real strength here is the collective - and it is to the credit of the producers Chromolume at Upstairs at the Gatehouse (they have had a very strong year). A hard working set inspired by tarot and the circus (with a sprinkling of properly good magic from consultant Martin T Hart) could be easily transposed to, say, Regents Park Open Air Theatre. Under musical director Harry Style, Schwartz’s tunes are given depth and identity. The best moments are when the Players come together and sing as one. I believe that the ending of Pippin can be tweaked and it has here - I found it both sweet and moving. I’ll let you discover it for yourself by heading to Highgate but I’d also be hopeful of this show getting a longer, wider life in 2026. Congrats all. Chromolume presents PIPPIN Music & Lyrics by Stephen Schwartz Book by Roger O Hirson Upstairs at the Gatehouse, Highgate 11 December 2025 - 11 January 2026 BOX OFFICE https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173668094/events/428739341 CAST Lewis Edgar, Emily Friberg, Mia Quimpo, Helena Caldas, Oliver Wood, Clare Brice, Daniel North, George Kipa, Imogen Amos CREATIVES Directed by Amanda Noar Associate Director: Isaac Bernier-Doyle Musical Director: Harry Style Set & Costume Designer: Hannah Danson Producer: Annlouise Butt for Chromolume Artwork by Sam Cannon Photography by Inigo Woodham Smith

‘It's a paradox of panto, that the more seriously its cast and creatives take it, the more fun it is for the audience.’ ★★★★ It’s that time of year when the Marmite of theatrical expression pulls on its frock, gets out the custard pies and rusted puns and sets out to give an audience nothing more than a good time. Panto – you either love it (me) or hate it (killjoys), and the Bridge’s annual offering has all the elements necessary to confirm both the fans and the Scrooges in their prejudices. Beauty and the Beast, the familiar story, here transposed to Penge-sur-Mer where an arrogant handsome posh Prince Philipe (Theo Bracey) will be transformed by a spell as a hairy monster into the sort of kind, caring, altruist (but still a Prince!) that dowdy commoner Belle (Georgina May Haley) could take home to her mother, if she had one. She hasn’t, of course, only a Dame in the not entirely comely shape of castle cleaner Fifi (Cameron Griffiths) and a nemesis in a very boo-able villainous Lady Amere (Cassandra Hodges), and the stage is set for two hours of song, dance, not entirely logical plot and manic entries and exits. Director Matthew Parker clearly aimed to start the energy high and turn it up to 11, with a massive and beautifully choreographed opening number that hints how much the cast of four will somehow feel like a much bigger number as the show goes on. The Bridge House once again uses its small space to great effect – minimal props but audio-visual backdrops that whisk us from castle to town centre streets to dark and dangerous forests, and there’s a happy mix of getting on with it and winking at the audience about the conventions of the genre (‘What was that?’ – ‘That was a sound effect intended to suggest a window breaking’). It's a paradox of panto, that the more seriously its cast and creatives take it, the more fun it is for the audience. Beauty and the Beast scores high on that level. It's also tremendously good natured even if it feels a little understructured at times: there are a lot of songs (uniformly strongly sung), and some standard panto set-pieces (a routine about dusting musty busts; a custard pie sequence) feeling a little like sketches within the show rather than fully integrated action. There’s also the occasional hint of Idle Eric in the scripting, though well-delivered jokes and puns fly fast and furious and earn a lot of laughs. There’s a real team feel to the four performers, although each gets their moment, with Griffiths in particular demonstrating a vocal range that serves a Dame superbly and Hodges proving with relish that villains have the most fun. Unless you have a heart of stone, you’ll walk out smiling – oh, yes you will. BEAUTY AND THE BEAST by Luke Adamson Directed and choreographed by Matthew Parker Bridge House Theatre, Penge, 13 to 30 December Box Office Photography: Lidia Crisafulli Reviewer David Weir’s plays include Confessional (Oran Mor, Glasgow) and Better Together (Jack Studio, Brockley, London), and he has won the Write Now and Constance Cox awards and been twice longlisted for the Bruntwood Prize. His first novel will be published in the summer of 2026.

'The hedonism of humans especially young adults will never fail to provide theatrical delight' ★★★ “You cannot serve both God and Mammon” proclaims the Bible and Vaughan Evans’s new play. Mammon, the very encapsulation of material wealth, idolatry and obsessive possession, “slowly twists itself inside you” claims one of Vaughan’s characters. The hedonism of humans especially young adults will never fail to provide theatrical delight. Now, Krimson Kestrel Theatre have not made a religious play. Instead, they’ve formed a piece set in a simple London living room, that challenges the idealistic morals of university students and how quickly they will learn the corrupting realities of money. We have the set-up of a great play here: A five-bit cast, comprised of four students, studying Medicine, Acting, Economics and Finance, respectively; a few locations constructed through a very simple set which mostly travels well over the ten-year period this work is set within; moments of remarkable insight about lost youth, compromised love and lust for power. Yet, something still feels missing. Scenes that should have packed a punch ended as a misfire and changes between them could have been that little bit tighter. Complete and compelling character arcs were few and far between in the script whilst the costume or set department might have gone that little bit further to remedy some of these problems. Often the characters felt based on stereotypes. Jim (Stefan Chanyaem), at first portrayed as a cocky, disagreeable, money-crazed sleazebag, feels more like an artist’s caricature of an investment banker than the real deal. Even the resident actor of this student group felt restrained, either as a self-doubting teenager who hasn’t removed her baby teeth yet – even in her 20s - or an insufferable stage star that can’t connect with her peers. It was our actors who carried the play upon their shoulders. A remarkable group effort by all the performers. Christian Loveless, Mia Nuttgens, Laura Rea, and Stefan Chanyaem shook with emotional fervour on all the right beats. If required to play drunken 20-somethings, 30-year-olds having an existential mid-life crisis, or convincing lovers, each of them succeeded together with notable spirit. Daniel Wain, who stepped on for all of ten minutes, gave two exceptional portrayals of older, disillusioned business managers, jolting the second act’s start into the correct gear. Overall, Hello Mammon provided a decent outing for those wanting to grab a pint and forget these dark December nights at the moment. I admire Vaughan’s commitment to tackle topical and intriguing issues through plots that have universal relevance. However, there is certainly room for dramatic improvement and some more general script edits. HELLO MAMMON Written by Vaughan Evans Cast Mark: Christian Loveless Sam: Mia Nuttgens Chloe: Laura Rea Jim: Stefan Chanyaem Brad & Philip: Daniel Wain Director: Sean Orsolya Nagy Producer: Vaughan Evans Reviewed by Harry Speirs

‘It’s only the end of one world.’ ★ ½ This interactive production about an alien anthropologist being sent to Earth to study its inhabitants has a strong title, without much else. Audiences are sitting in a theatre space watching a projection of a zoom call, that has the script running underneath as subtitles for the actor to read off, whilst they stand in front of a green screen that is only used for one location. All I could think, was that this is the wrong medium for such a show. This would fare better as a web series with pre-recorded story options, although the times when the audience is called upon to pick dialogue options do not affect the narrative at all. Furthermore the modus operandi of the piece seems very mean-spirited in exclaiming all the ills of the world without giving any insight into how to make sense of it all. Whilst it is commendable for anyone to put on their own original production, I’m afraid this is one that feels very low effort. This show is part of TALOS Science fiction Theatre / Greek Theatre festival. More information of the festival can be viewed here https://www.cyborphic.com/talos-2025

‘Ladies, Gentlemen, and Variations Thereupon!’ ★★★★ Coming in to watch ‘Babel Beast,’ a cabaret concerning the pantheon of Greek Goddesses, I’ll admit I was not in a good mood that particular evening. However within five minutes of watching Sofia Natoli I couldn’t stop smiling. As someone whom had never watched a cabaret before I didn’t know what to expect, yet what I experienced was a fun, sexy, and intimate show. Sofia is a master of performance, becoming one unique character, then jumping to another with ease whilst always commanding the room. She would give Peter Sellers a run for his money. The central conceit of language and multiculturalism is a fascinating motif without coming off as obvious or sanctimonious. The myriad of hand-made props show the care and passion that has gone into this show. The musical cues are perfectly timed and never outstay their welcome whilst every inch of the stage, and audience, is used to thrilling effect. Perhaps the one wish I have was that it was longer as I simply didn’t want it to end. To conclude everything you could want from a cabaret, from burlesque stripteases to high octane vocals are not only on display but elevated, and if you get the chance to take in this show then you should thank the Gods! This show is part of TALOS Science fiction Theatre / Greek Theatre festival. More information of the festival can be viewed here https://www.cyborphic.com/talos-2025 BABEL BEAST Writer and Performer: Sofia Natoli Co-directors & Co-Producers: Luna Laurenti and Al Hawkins  Choreographer: Martina Bizzari

‘Queer, joyful, breathless; a sweet (if stumbling) adaptation of a sweeter story’ ★★★ Sarah Ruhl’s Late, A Cowboy Song is an exercise in binaries and boundaries. What’s real vs. what’s not real; the life lived vs. the life imagined; shall I stay or shall I go? We follow three eclectic characters – ‘always late and always married’ Mary , childhood sweetheart, husband and modern-art obsessed Crick , and Red , the lady cowboy teaching Mary to ride a horse just beyond the city limits (and conventions). As the central marriage spirals through questions of love, gender expectations and actualising adult life, Mary and Red forge a connection based on Red’s ability to encapsulate a true, raw rendition of the American Dream: to be and do and live how she wants. Life, liberty and the pursuit of happiness. Alex Stroming’s direction leans generously towards these character studies, to varying impact, setting this slice of life against sparse, functional staging that allows all focus on the acting three. Oriel Bathurst’s Mary is undoubtedly the standout performance. At her core, Mary is a woman in the process of absconding the rulebook of her Pittsburgh existence, at times confused and often unable to contain her lust for life; Bathurst manages this balancing act with care and intelligence: verve in the emotional peaks, tenderness and introspection in the quiet moments. As cowboy Red affirms at a later juncture, “You have to believe in invisible things”, and Bathurst’s performance certainly makes one want to. Her chemistry with Konnie Kendall’s Red rings true, if somewhat let down by the pacing of their earlier interactions. Red herself could almost be a figment of Mary’s imagination, circling her life as she omnisciently circles the stage; cowboys hats off, also, to Kendall’s stellar vocal turn as she ballads her way into Mary’s plans and affections. Particularly enchanting was the dance they share at one point. That being said, there isn’t much to elevate Red beyond a caricature of the slow-talking, lady-romancing, Wild West yeehawer. But lesbian. Crick (Alex Osborne) was a question mark in more ways than one: almost perpetually annoying, money-squandering, and endlessly immature, the audience might feel a smidge resigned to his petulant contribution, and only slightly alarmed at his sudden feint at violence at the play’s somewhat lukewarm dramatic showdown. Similarly perplexing was Crick and Mary’s relationship. We seem to meet both characters already at the trail end of the behaviours that lead to the ultimate breakdown of their relationship. Though she meets catalyst Red early doors, we are left a little unsure of the affection that has supposedly kept Crick’s leash on Bathurst’s curious and freedom-seeking Mary, enough to have a baby with him. The phantomatic presence of the intersex baby itself could also have been handled with a tighter touch. Overall, these are characters an audience might feel they wish they knew more about, whilst simultaneously feeling like they’ve been spoon-fed in interpreting. Ruhl’s play raises questions on queerness, on identity, on marital abuse, on nostalgia and while Stroming takes a good punt at answering them, as stated above, this is also a script seemingly designed to allow a theatrical audience to fill in some of those emotional gaps themselves. With more organic pacing and a reassessment of character dynamic pressure points, it could be really engaging. As it is, Stroming has created a thoughtful, sensitive staging, replete with romance and joie-de-vivre. Director: Alex Stroming  Cast: • Mary - Oriel Bathurst • Red - Konnie Kendall • Crick - Alec Osborne Producer/Company: T. Regina Theatre Co. Musical director/composer: Konnie Kendall Design: Emily Nelson Stage Manager: Jessica Potts Lighting Designer: Phil Hamilton Intimacy Director: Liz Kent Voice Coaching + Marketing/Social Media: Meighread Dandeneau

‘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