Reviews

‘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

‘Good for drag comedy lovers’ ★★★ ½ This show perfectly illustrates the point I often make when I’m talking to students about reviewing. You have to set aside personal taste, prejudice and preference and assess the work objectively. For myself, I am not keen on drag comedy but am happy to acknowledge that Thatalie Girl and Brent Would are very accomplished at what they do. Thatalie Girl gives us a diminutive Mr Christmas, clad in all the usual gear including a long white wig which she rather summarily tosses back over her shoulders every few seconds. Brent Would is a tall, glitteringly attractive Mrs Christmas in a startlingly curvy red trouser suit. It is Christmas Eve and they are welcoming the audience as guests to whom they sing, and with whom they play games. And, effectively, that’s the plot although there are references to their rather on-off recent history together. These actors work seamlessly together with a lot of very slick quickfire response, The singing – most of the obvious Christmas songs are in – is rather good and comes with lots of innuendo. But most impressive is the improvisation. They set up a game with audience volunteers which is effectively like three dimensional consequences with the story line getting ever manically sillier and, my goodness these actors are good at thinking on their feet. And Thatalie Girl is impressively versatile, dropping into the right accent for the locations the audience randomly suggest and she really can sing in a wide range of registers and moods. As the audience find their seats they are asked to write a quotation from a song, film, book or whatever. These are then put in a hat and Thatalie Girl and Brent Would create a silly drama out of randomly reading them so that the dialogue gets ever more surreal. The comic timing is excellent and at the performance I saw, the very raucous audience was almost hysterical with laughter. There are some (very) lewd jokes in this show. Don’t take your young children or your prissy great aunt Jemina. But it all went down a treat with the audience I shared it with. And it’s excellent to see Bridge House Theatre full to capacity. I rest my case. I didn’t personally enjoy it much but it’s a strong show of its type showcasing rich talent. Mr and Mrs Christmas, Actually Thatalie Girl (That Girl aka George Lester) and Brent Would (Francesca Read) At Bridge House Theatre, Penge 2 – 6 December 2025 Box Office https://thebridgehousetheatre.co.uk/shows/mr-mrs-christmas-actually/

‘Manos Koutsis gives a genuinely sparkling turn as Lieutenant Columbo.’ ★★★1/2 Prescription: Murder follows Dr. Roy Flemming, a suave and calculating psychiatrist who orchestrates the perfect murder of his wife with the help of a young accomplice. Confident in his brilliance, Flemming believes he has constructed an airtight alibi - until Lieutenant Columbo, an unassuming, rumpled detective with a sharp mind, begins to unravel the case. As Columbo politely needles Flemming with questions “just one more thing…”, the façade of the perfect crime starts to crumble. The cast delivers a committed ensemble performance. Max Norman, as Dr. Roy Flemming, embraces the cold, meticulous exterior of the calculating psychiatrist. Yet, despite this strong foundation, the performance doesn’t always find the necessary ebbs and flows; as Flemming’s devilish plan begins to unravel, the expected panic or desperation behind his stoicism never quite materialises. Mimi Newby plays Claire Flemming with excitement and energy, bouncing off Norman, giving their scenes texture. Ana Cilas’s Susan Hudson begins somewhat tentatively, but she grows into the role in Act Two, finding emotional clarity and conviction. Aidan Morris is fabulous as Miss Petrie, imbuing a smaller role with distinctive personality and comic identity. Meanwhile, James Andrews offers strong additional support as Dave Gordon, rounding out the ensemble with warmth and ease. The shift into Act Two brings with it a welcome injection of energy thanks to Manos Koutsis, who gives a genuinely sparkling turn as Lieutenant Columbo. Koutsis captures the detective's unhurried geniality, offbeat wit and surgical intelligence with real charm. His scenes gleam with life, and his back-and-forth with Norman produces some of the production’s most engaging moments. While Act Two benefits enormously from the arrival of Lieutenant Columbo, its pacing does at times feel uneven. Certain scenes sparkle with lively, engaging exchanges, while others unfold more slowly, gently softening the momentum at points where the tension could build more tightly. Yet, the introduction of more overt comedic tones does noticeably lift the room. These lighter beats generate stronger audience engagement and bring welcome energy to the narrative, even if the surrounding pacing issues prevent the act from fully sustaining that spark. There are, however, moments in the direction where the production feels less assured. Newby’s approach contains some thoughtful ideas, but too often the execution feels unfinished. Claire’s killing, staged on the floor, is invisible to most of the room - an oddly anticlimactic decision for a narrative hinge point. Throughout, there are long pauses between lines that neither enhance tension nor contribute to the psychological atmosphere. With sharper pacing, cleaner cueing and bolder physical storytelling, the piece could pack far more punch. What is crafted with real finesse, however, is the design. The staging makes excellent use of the Bread & Roses’ compact space, arranging the Flemmings’ apartment with clarity and sophistication. Even more impressive are the costumes, which not only reinforce the 1960s setting but subtly deepen characterisation - particularly in the contrast between Flemming’s cultivated sleekness and Columbo’s delightfully rumpled aesthetic. The technical elements, though functional, would benefit from greater refinement to match the demands of a psychological thriller. Several sound and lighting cues felt either slightly late or tentatively delivered, softening moments that should have landed with crisp precision. The production’s minimalist approach is not inherently a drawback, but without tightly timed transitions or more confident technical punctuation, key shifts in tension risk losing their impact. Sharper cueing - whether in door buzzers, phone rings, lighting changes or musical transitions - would give the production a stronger sense of rhythm and help reinforce the stakes of the unfolding drama. There is an undeniable charm to this production. The company’s enthusiasm for the material is clear, and when the show finds its rhythm, it offers moments of genuine enjoyment - from stylish visual touches to flashes of sharp humour and well-played tension. There is a clear affection for the world of Columbo, and the production succeeds in capturing the playful spirit and intrigue that have made the character so enduring. Ultimately, this production sits in a middle ground: enjoyable, at times very charming, and bolstered by strong performances and excellent design work, yet held back by direction that needs more precision and nuance. Reviewed by Olivia Lovat Prescription: Murder at Bread and Roses Theatre 2 – 6 December 2025 BOX OFFICE https://app.lineupnow.com/event/prescription-murder CAST Dr. Roy Flemming - Max Norman Claire Flemming - Mimi Newby Susan Hudson - Ana Cilas Miss Petrie - Aidan Morris Lieutenant Columbo - Manos Koutsis Dave Gordon - James Andrews CREATIVES Written by William Link and Richard Levinson Directed by Mimi Newby

‘Greek philosophy as we never knew her’ ★★★ I don’t think any theatre publicist should ever promise a laugh a minute. It’s virtually impossible to live up to. And if, like QED at the Drayton Arms, there are quite a few genuinely witty lines, and a rather amusing idea at the heart of the show, you do yourself no favours by over-promising. These lines and this idea carry the hour-long show along quite pleasantly, and you are inclined to enjoy the entertaining dialogue and the easy, understated performances, and not worry too much about the aching gap where a plot ought to be. The play is set in ancient Greece and there are three characters: the young blood Glaucon (Aidan Parsons, all boyish enthusiasm); the philosopher Plotinus (Huw Landauer, getting a laugh from physical timidity); and the woman whom they believe to be a man, Aristion (Alice Hope Wilson in a child’s playbox black beard which she has to lift up to drink.) Because they believe her to be a man, she is a suitable object upon which to lavish love and sexual adoration, and the discovery that she is in fact female comes as a nasty shock to both of them. But when they recover, they decide to “spit in the face of polite society” and direct their attentions to someone of the opposite sex.  There’s a lot of philosophical banter, and lot of scatological jokes, most of them about male sexual organs. There are some very funny moments which, the night I was there, did not get the laugh they deserved. I am not sure why, but I wonder if the cast (who are good) need to look at their comic timing. The moment when Glaucon reads her the love poem he has written, which turns out to be a limerick, ought to have done better with the audience than it did. QED by JAMES TURNER at the Drayton Arms 2 – 6 December 2025 BOX OFFICE https://thedraytonarmstheatre.co.uk/qed DIRECTOR / SEBASTIÃO MARQUES LOPES PRODUCER | CHRISANTHI LIVADIOTIS CAST GLAUCON | Aidan Parsons PLOTINUS | Huw Landauer ANDREIOS/ARISTION | Alice Hope Wilson

'the cast provides emotional depth even when the script falters' ★★★ Bernardo Santareno’s SISTER NATIVITY, translated by Sebastião Marques Lopes, reaches the Drayton Arms with evident care and commitment from its creative team. Yet the play itself proves a perplexing choice for revival. Once, its interrogation of faith, moral duty, and institutional rigidity may have been bold and provoking. However, in 2025, its impact feels muted, leaving the audience questioning the narrative’s relevance. On Christmas Eve, in a convent of contemplative nuns, the sickly Mother Superior faces an unwelcome dilemma. She is caught between the cool, unyielding logic of Sister Trinity and the unsettling fervour of Sister Nativity, who claims a personal bond with Christ himself. Set entirely within a single room, the play attempts to examine the spiritual tensions and communal bonds of cloistered women. Yet the writing, by a male playwright, belies assumptions about convent life that verge on the unintentionally comic; Santareno’s speculative vision of how nuns spend their days - running, giggling, and "playing with Jesus" - undermined the austere atmosphere he sought to evoke. Fortunately, the cast provides emotional depth even when the script falters. Efè Agwele delivers a grounded portrayal of the Mother Superior, capturing a delicate blend of compassion, authority, and fragility. Jasmine Holly Bullock matches her with steely conviction, while Chrisanthi Livadiotis imbues Sister Angelica with luminous devotion. Emily Millwood, though brief in appearance, brings crucial intensity - her portrayal of religious zeal, bordering on insanity, is deftly executed. Sebastião Marques Lopes’s direction strives to maintain momentum in a largely static text. Much of the action occurs offstage, leaving extended stretches of circular dialogue. Despite his efforts, pacing lags, and the heavy, repetitive dialogue struggles to sustain dramatic tension. The central thematic conflict - between an ageing Mother Superior who leads with her heart and her iron-willed successor-in-waiting - is articulated but never fully felt. Production values, however, are strong. Costumes, set, and props are meticulously realised, and the sound design and choral work evoke the quiet, echoing hush of monastic life and lend the production a touch of authenticity. Coming to Santareno’s work with fresh eyes, one might hope to uncover a neglected gem. Unfortunately, SISTER NATIVITY is not it. The themes - faith, obedience, hierarchy and resistance to change - remain timeless, but their expression here feels diluted, lacking urgency and disconnected from the experience of a contemporary audience. Admirable though it is to champion a lesser-known playwright, this particular play does not feel like a story pressing to be retold. Box Office WRITER Bernardo Santareno (1920–1980) was one of Portugal’s leading playwrights and a trained psychiatrist. His works explore themes of repression, morality, sexuality, and freedom, with acclaimed plays including O Lugre, O Crime da Aldeia Velha, and O Judeu. Creatives DIRECTOR & TRANSLATOR | SEBASTIÃO MARQUES LOPES PRODUCER | CHRISANTHI LIVADIOTIS Cast Mother Superior | Efè Agwele Sister Trinity | Jasmine Holly Bullock Sister Angelica | Chrisanthi Livadiotis Sister Nativity | Emily Millwood