Everything Theatre

Some of the most vital alternative comedy London has to offer, Gutter amplifies the best and worst of human nature, weaponising parody and turning society’s grey areas – and outright evils – into tools of critique.

A pacey, good-humoured tour of movie songs and the women who sing them that showcases Hersh Dagmarr’s charm but only hints at the sex and glamour of his subject.

A show with important, fascinating stories at its centre that shies away from substance in favour of surface-level remarks

Strip, tease, engage and extend your brain capacity for learning and laughter.

Pairing razor sharp comedic timing with open vulnerability, Laurence Dodd delivers a piece oozing with potential.

A very funny, superbly written and performed, out of season panto at a surprising venue that’s not where you’d expect it to be – and a three course meal too!

With a top-tier guest comedian, an unusually funny audience and an ideal venue, the stars align for this talented improv team’s latest instalment.

A charming and stirring show about modern Irish identity

As absurd and amusing as this story is, what’s equally as crazy is that it is based on true events... well, sort of.

Francisco de Nata is a reminder of how powerful softness can be. It asks very little of its audience yet gives back so much.

A heartfelt and detailed portrayal of a vital part of London’s history, with an exciting score, compelling songs and excellent performances.

An interesting dystopian conversation dampened by its ambiguities.

A formative dark comedy with moments that shine out.

A tender reflection, Collaborator transforms twenty years of partnership into a quietly rebellious piece of circus theatre, rich with vulnerability and artistic confidence.

A play which all too often feels like a stern lecture rather than a natural exploration of the characters: not even a superb performance by Keala Settle can save it.

A witty, smartly performed cautionary tale about the price of success. While its direction doesn’t embrace the darkness at the heart of its story, standout performances and a rambunctious soundtrack shine through.

There’s incredible fluid strength in Sadiq Ali's beautiful and menacing piece for MimeLondon 2026 that uses Chinese pole techniques, among others, to explore perceptions of HIV.

A play that depicts the historical events of Northern Iraq in 1991, but struggles to fully captivate its audience.

This sleek revival is undeniably chic, but its satire lacks bite and its score struggles to amaze.

Full of dangerous gambits and forays into farce, Tim Crouch's The Tempest is a daring exercise in meta-theatrical theory.

One paper-thin wall between loneliness and connection. Fish Bowl turns everyday city life into sublime, silent chaos.

How far can love stretch? Can it truly conquer all? How do you make a decision that seems impossible? These are some of the questions that Luke Norris’ play interrogates. Guess How Much I Love You? is a harrowing look at love, loss and grief. The play begins with a couple at their twenty week pregnancy scan. The sonographer has left the room, gone for far too long, leaving space for distraction and deliberation as Her’s (Rosie Sheehy) anxiety rises. Relationship banter consumes much of the first act, a humorous back and forth, poking fun in a way that’s only possible with those closest to you. Littered inbetween is consideration of issues like porn, sex work, misogyny and baby names. Foreshadowing of something more unnerving builds.  Act two launches us into the crux of the action. The couple, faced with an excruciatingly tough decision, endure rising tension, while the play goes on to examine the boundaries of love and how far it can stretch. Norris’s writing is multifaceted: humorous, colloquial and utterly tragic. His world-building is phenomenal, fully immersing his audience into the domestic confines of the relationship. Quick-witted, dark humour is placed against arguments, rising tension and tragedy. And…

Though peppered with arresting motifs and rousing choral moments, Gecko’s dated and disjointed anniversary production ultimately misses the mark.

A seriously silly but very funny, full on camp mashup of Celine Dion and Titanic the movie.

Spectacular acrobatics with some pulsating beats, woven around a thin narrative: a winter warmer.

Even in the absence of daring modifications, this revival remains a comedy success.

Suspend your disbelief: world class puppet power elevates a traditional tale into a dazzling family show that’s comical, clever and classy.

An entertaining and visually impactful spectacle.

A serving of powerful and playful family drama that spans generations, as a Jewish family deals with getting together for a takeaway on 25 December.

Cornley Drama Society should be ashamed of themselves – the show was a complete shambles. Nothing went right. The audience were in hysterics. What a disgrace.