A laugh out loud panto that brings out the kid in all of us.

Snow White is a fairy tale as old as time, but Chickenshed Theatre‘s exciting and progressive production gifts the audience a vibrant, psychedelic and heart-warming merry tale. The production spins the original, somewhat outdated story of Snow White on its head and adds a whole new 1960’s element, glittered with specks of wholesome charm. William Fricker’s whimsical and wacky set is wonderfully impressive and sets the aesthetic for a family friendly show that doesn’t stop impressing and charming. A cast ...

Enjoyable and humorous scaled down version with good performances and an excellent sound track.

a salutary lesson not to be missed.

OVO Theatre’s Twelfth Night opens with Viola and Sebastian performing their dance double-act on a cruise ship. This scene sets up many of the themes and problems that continue throughout the show. These include raucous humour that’s like jazz hands tirelessly shaking for 95 minutes, with the plot being used as a means of taking a step towards the next laugh, the next spectacular event of debauchery. Also a lack of consistent focus; seemingly clever suggestions that subtly reveal some ...

Emily Hutt’s tell-all cabaret on the 1930’s limelight icon Mae West follows almost pedantically the chronology of her life events, to the detriment of a sought-after dramatic climax. West – embodied by the talented Bella Bevan – takes centre stage with the accompaniment of pianist Kieran Stallard, and alternates tales from her past with some of her most recognisable songs. A promising opening scene involves some of the biting one-liners that made the artist famous, smattered with sexual innuendos and ...

Taking place at company Sedos’ own residence at Bridewell Theatre on the edge of the City, the not-so-amateur collective brings their rendering of Terence Rattigan’s inter-war drama, After the Dance, to life. The play was written on the eve of the Second World War, and suffered as a result – the looming declaration of the war caused audiences to fizzle out after its debut, and it took a 90s BBC TV adaptation to reanimate it, and a prominent 2010 revival ...

“Cigarette, dear?”“No thank you, dear.”“I think I might have a cigarette, dear.”“No you won’t, dear.”“Very well, dear.” And so the scene is set: in two inflatable armchairs, presided over by a goldfish on a gold pedestal, sit Mr and Mrs Fox. She – in a luminous, captivating performance by Alice Marshall – is domineering, supercilious, wilfully mispronouncing words and oblivious to the feelings of those around her; he – a foppish, Wooster-like Jack J Fairley – is an ineffectual, waistcoated ...

I volunteered to cover this without knowing anything about it, and when I had a quick look at some blurb claiming that it was yet another Brexit-themed piece I admit my heart sank a little.  Fear not.  Yes, Brexit is talked about, argued over and looming in the background, as it probably has for the majority of the UK population over the last couple of years, but I wouldn’t say it was the focal point.  It is a very amusing ...

Social inequality is the theme that binds Killymuck and Box Clever together, a double bill of one woman shows at The Bunker. But there is so much else that links these shows. Both have powerful performances from their sole actor, exploring the lives of young women affected by the simple fact they were born into poverty and social inequality, and both are a mixture of laughter and seriousness as they try to present their topics in a way that will ...