Everything Theatre

Theatre Peckham’s Young, Gifted and Black season celebrating young Black artists opens explosively, with acerbic writing and feverish performance from Ty’rone Haughton.

This darkly atmospheric drama keeps up the suspense as threats from both the human world and beyond are revealed.

This ambitious, impressive gothic tale offers drama, humanity and authenticity, portraying a monster just like Mary Shelley envisaged.

A pyschological horror that's packed with great performances but overstuffed with too many ideas.

An anthology of fascinating, dark stories full of drama and tragedy, where the rotating cast completely draws you into four distinct, vivid, brought-to-life worlds.

It’s great to see GrimFest spread its wings further this year. From its humble start as a week-long run at Old Red Lion Theatre to celebrate the spooky season, its third year sees it now running across three venues for much of October. Which makes it all the more embarrassing that it’s taken me over half the month to catch my first show!  That first show is The Constant Cold, and it’s very much the sort of show you expect for October. Which is no bad thing, we are here for ghost stories after all. Meg (writer Zoë Cooper) returns home in a state, sure she was being followed. Except not by a man, but by something she can’t describe, explaining it was more of a feeling. Her housemates, Elena and Ethan (Sian Marie Oliver and Benjamin Robinson), offer different responses. Ethan claims she has always imagined things and manufactures anxiety, whilst Elena offers a more sympathetic response, at least early on. Even when things start to go bump, there’s not much belief in her fears. In fact, Ethan turns even colder towards her pleas that something is outside.  It’s very clear that The Constant Cold is about the fear…

In a play that feels in development yet still manages to entertain, female friendships and family ties are examined in original, sometimes gruesome ways.

A faithful rendition of Macbeth that fits perfectly with the Halloween season, but underdelivers on its promise of innovation.

A highly experimental piece of theatre that merges drag, comedy and horror to stage a unique exploration of gender and the body. 

An unattended bag brings strangers together in a charming and well-performed musical

Reality dating is turned on its head in Flo Petrie’s fast paced two-hander, presenting the idea of ’36 Questions’ in a dating show format and with a dystopian twist.

A magnificent masterclass in comic character creation, Frances Barber dazzles in a glorious romp through sixty years of cultural iconography.

Half biopic and half pantomime, parts of this play are sublime but others seem oddly out of place.

A caper-filled and pun-fuelled tale of a family scrap about which Mendelssohn sibling should take top honours in the classical music world

Ten guests: one sonnet – a richly collaborative and revolutionary act that will leave you uplifted.

We can too easily form a snap judgement about strangers and casual acquaintances, with nothing more than a quick glance from which to form our opinions. They no doubt do the same to us.  In the supermodel in the caff, writer and solo performer Emma Bentley explores the viewpoints of four compelling characters whose outward personas conceal hidden depths.  Bentley is immediately full of charisma, welcoming the audience with a friendly chat about their caff breakfasts of choice to set the scene, before presenting the viewpoint of each character in turn.  As each describes their own sense of self and perceptions of the others, we learn that external appearances are rarely a reflection of someone’s true self.  Everywoman Nessa is full of charm yet plagued by self-doubt, stretching out her mug of tea whilst questioning her right to take up a table by herself.  Whilst others may be intimidated or disgusted by homeless Janey’s nervous energy, she is upbeat and kindly for having lived a hard life.  Waitress Ellen is hilariously shallow but full of enthusiasm and aspirations as she tries to move on from her past.  The titular supermodel, Bea, is far from the confident and successful persona others…

Three stories with four different variations of Watson, this show leaves us questioning our relationship with ourselves, with others, and with our technology.

Bryony Kimmings' latest stunning autobiographical tale is filled with both captivating delights and heartbreaking candour.

A heavy metal ballet that is a fan-pleasing tribute.

A powerful story of a family shattered by the disappearance of a 15-year-old child, lifted by the strength of its performances.

A thrilling tribute to Michael Jackson’s music.

The Machine of Horizontal Dreams is a powerful collaboration that, whilst excellent in its individual parts, remains disconnected from the spectator.

An all-encompassing dance piece that exudes creative mastery.

John McGrath called for a theatre that gave people “a good night out”. The Choir of Man delivers just that — with added harmonies and a very decent pint.

A mismatched double-bill of dance demonstrating great talent but with mixed results.

A sharp, spooky night out with good laughs and plenty of things that go bump in the night

One of Shakespeare’s least performed plays reimagined for contemporary audiences in a raunchy, comedic light. Mythic heroes become celebrity figures for an examination of toxic masculinity, ego and power.

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.

Elisabeth Gunawan on Prayers for a Hungry Ghost, playing at Halloween

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