Everything Theatre

An accomplished, zippy production that balances humour and horror

Makes for a whole lot of silly panto-esque fun.

A touching and funny observation of teenagers learning about losing your virginity.

A dizzying digital fairytale, Guidelines feels like Brothers Grimm in binary code.

Excellent performances from both actors in this interesting and fast paced study on the fall out from unrestrained ambition and corporate greed.

An award-winning one-man show that reveals the underhand tactics of journalists and editors.

A fascinating concept on paper that, unfortunately, lacks heart in delivery.

A beautifully apt and impressive 30th anniversary production for Frantic Assembly

A second viewing of this show is perhaps even more shocking and disturbing than the first, with individual complicity still more of a dilemma.

A lucid and relevant reconstruction of a historic debate that fascinates and resonates, but is it theatre?

A well chiselled solo show, performed with skill and momentum.

An early Coward play resurfaces as more than just an intellectual curio.

A vibrant and heartfelt one-woman show that provides a fresh, contemporary take on grief, healing and identity in your 30s.

A vital story that tells of a life of uncertainty and hardship.

An energetic and entertaining take on the classic murder mystery, swapping out contemplative seasoned detectives for loud and lively students crashing through the case.

What better way to honour the recent 250th anniversary of Jane Austen’s death than by exploring her potential queerness in an infamous 17th‑century church?

Farah Najib’s unsettling drama is a portrait of housing failure, social paralysis and exemplary storytelling.

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.

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.