Everything Theatre

Sixty minutes of fun, giggles and smiles, as engaging thirty-somethings take the proverbial out of boy bands

A riot of puns, puppets, and playful absurdity, this wonderfully chaotic celebration of death, art, and terrible jokes is unpredictable, and irresistibly fun, capturing everything that makes fringe theatre so alive.

The play’s funniest moments come from how bizarre the plot becomes

A witty, outrageous comedy that uncovers the lost history of the English Witch Trials. It guarantees a good laugh and plenty of penis jokes.

Exquisite Noise is an exploration of rebellion and sound, the question is: does the noise make sense?

An honest sharing of a unique perspective on the state of the mental health care system, that has all the elements for heartfelt story telling but doesn’t always match its potential.

Bold, captivating and daring improvisation

Star performances elevate muddled material

An inspiring, entertaining and searingly powerful articulation of the difficulties of disability, with a bold call to arms.

A heart-breaking story about two individuals and accepting the future of their relationship

A five-sense wonder that leaves you with a warm, glowing feeling deep in your belly.

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…

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.

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,…

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