Everything Theatre

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.

The story of heiress Patty Hurst is a distressing one. Heiress to a wealthy American family, she was abducted, raped and brainwashed at the age of 19, ultimately becoming part of the gang and assisting in violent bank robberies. Clearly traumatised and indoctrinated, she was initially sent to prison in an historic miscarriage of justice, before later being pardoned. Katherine Moar’s Ragdoll makes little effort to disguise that this is Patty’s story, merely changing the character’s name to Holly. Here, she meets her lawyer, Robert, who, 40 years later, now needs her help as he faces claims of inappropriate sexual behaviour. Ironic doesn’t begin to cover it. Throughout, some audience knowledge of the trial and the United States during that time period, with its celebrity lawyers and high profile politicians, can be helpful in pinning down references. Initially we meet an older Robert (Nathaniel Parker) and Holly (Abigail Cruttenden) at Robert’s home, where straitened circumstances mean he must move out. The pair make great adversaries, with admirable performances from both actors, punctuated with moments of humour. Parker’s Robert displays a seam of smug self-assurance that he can’t shake off, despite now having his back to the wall, while Cruttenden gives…

This frothy, misguided Private Lives drains Coward of his bite, swaps elegance for farce, and ultimately reduces a great play to flat, joyless bickering.

A play that takes the most human of things, then scales it all up to the grandeur of world builders. It’s both poignant and strangely hopeful.

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?

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.

A diamond in the rough concept awaiting further polishing.

A showcase of Cuban artistry across time and space.

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

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