Everything Theatre

A meticulously crafted, powerful yet accessible consideration of growing old in prison that's rich in dark humour.

A fresh and original musical comedy about a rarely discussed subject matter.

A wonderful performance can’t quite cover up a disjointed script, leaving the show a collection of parts rather than a whole.

A brisk yet timeless domestic drama with an evocative setting, though its subplots feel underconnected.

An unconventional and captivating performance reimagining the human body that has a problematic use of space.

A kaleidoscopic, funny, informative and positively therapeutic consideration of the human experience of climate change.

“Nuclear war. The end of humanity as we know it. And my limo didn’t even have aircon,” pouts posh Rachel (Lotte Pearl). She’s the second to arrive in the bunker, which is already occupied by the silent, leather-jacketed, sunglasses-wearing Henry (Todd Bell). Enthusiastic scoutmaster Gareth (Max Burton) turns out to be their guide to the facilities, ecstatic about the forthcoming arrival of Dua Lipa and eager to lay down the ground rules on his flipchart. But the next arrival isn’t Dua Lipa – instead, it’s a combative Wotsit-munching woman in a tracksuit (Lucie Cooper).  They’re all here because they’ve paid to escape the nuclear armageddon outside – except for out-of-condition, unemployed England fan Phil (Barnaby Evans), who won his entry in a Lad Bible competition in which he successfully identified 20 footballers from photos of their arses.  Tensions quickly mount, as it becomes clear that due to Gareth’s radio failure there are now five of them in a bunker meant for four. Who should get chucked out? Will they end up using Gareth’s itinerary as toilet paper? And how will Phil manage with just alcohol-free beer? The big question, though, is whether Rache is really the philanthropic tech entrepreneur she…

Continuing my visits to the vibrant Lambeth Fringe that is raging away in South London at the moment, across twenty-six venues no less, I rolled up to the Golden Goose Theatre in the Oval to see The Dying Wish, a new play by Brazilian playwright Mauro Fazon. Fazon is evidently inspired by the likes of Dario Fo, and this piece has aspirations to be another Accidental Death of an Anarchist – an absurdist farce that at the same time made a strong political point about authoritarian bureaucratic society. The essential plot concerns two executioners, Ingmar (Chris Gallagher) and Rooney (Omar Agar) who far prefer to be hangmen, although an engineer (Cyril Auclair) has developed an electric chair. He tries to explain the mechanics to the two, only to kill himself in the process, helped by a cleaner (Iago Cabrero) who seems to be wandering about aimlessly in the background – why?? The prisoner, Paul Freeman (geddit?), is brought in in a bemused state, played with refreshing truth by Chris Machari. A sequence of crazy, way-over-the-top characters intervene, seemingly allowed into the death chamber with impunity. So, we have an increasingly deranged attorney (Romeo Olukotun) who is conjuring up even more…

A funny, often-stirring account of motherhood and creativity

Shaking off the woman-behind-the-man image, Lee paints a dynamic picture of Lee Krasner, widow of Jackson Pollock, in an exploration of creativity, vulnerability and independence.

Love, wackiness, obsession, humour and truth, both real and surreal, come together in James Malam’s new play. It fizzes and entertains with exceptional talents all around.

A heartfelt story about belonging and finding the meaning of home in a vast world.

A sharp, funny political satire with strong writing at its heart, though uneven performances sometimes blunt its impact.

This stylishly presented thriller showcases plenty of compelling mysteries and twists to uncover. It will keep you guessing right until the end.

The head can see issues with this production, but the heart is won over entirely!

It is not often that great writing, great acting, and great direction come together but The Pitch delivers a humdinger of a show.

A fascinating look at which lies fit acceptably within societal norms, and whether we all just need to be a little more honest with ourselves.

Atmospheric staging and stirring music give Melville’s tale new power, but this could have really soared without the scripts in hand.

English National Ballet’s R:Evolution showcases ballet’s breadth and variety, though uneven technique weakens the night as a whole.

This sensual, intense production of Wilde's debut play is easily one of the best shows of the year.

An impressive insight into outsourced exploitation and ethics, with extravagance that veils the deepest human tragedy.

A diamond in the rough concept awaiting further polishing.

A showcase of Cuban artistry across time and space.

Conor McPherson’s affecting 1990s debut is revived with a starry cast to win over London audiences all over again.

A funny and thought provoking reimagining of Ibsen’s play in a modern setting

Enjoyed Succession? Well, imagine there were three brothers still, except the whole family is called Roman, not just screwball Culkin. Then imagine there is no take-over-the-empire end goal to keep you morbidly intrigued when it gets boring in its nth season. Already struggling? Instead of witty asides, caustic powerplay burns and observant satire on excesses of wealth prevail in a male-dominated, capitalist, all too real dystopia; Romans is three hours of slog through what is mostly a lecture at the audience about ‘toxic masculinity’, that catch-all of terms that a cynic might label as zeitgeist-y programming. It is, in isolation, often well-written and frequently well-acted, but we are more told what to think and seemingly supposed to be so blinded by the array of time periods and settings that we are to forget why we should care about these characters or their story in the first place.     The play opens in a Victorian style but with an ashen, barren set as often used during war scenes in Shakespeare. Jack Roman (Kyle Soller) is a privileged boy who likes playing soldier and hunting. While in a field, sent away for the duration of his brother’s birth, he meets his officer Uncle,…

Katie Mitchell’s latest co-created experiment redefines the art of listening, as imagined through the ears of animals.

London City Ballet set the bar, in a showcase of exceptional talent.

A perfectly mixed cocktail of ballet delights.

A complex play that activates inclusion and empowers the possibility of alternative ways of being.

A schmaltzy musical with creditable performances, but potential for more from the material.