“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 ...

  Pros: Endearing, sincere, wholesome and zany. Cons: As of yet no news of a sequel. You may think that an hour-long solo performance about O.S. maps might be a little on the dull side – but oh no, you couldn’t be more wrong! This play has everything – nostalgia, laughs, dread, and sexual politics, even featuring a segment that borders on map-based sexual innuendo, complete with plenty of role-play dotted throughout. Comedy performer Helen is no stranger to the ...

P.G. Wodehouse this is not, but there are plenty of moments of frothy enjoyment to be had here.

Weird, odd, exceptionally creative and hilariously funny, this is a unique and entertaining show.

A light-hearted and exhilarating comedy about the current financial struggles and the money lending business loop.

Pros: A multi-layered concept, deftly handled by Morpurgo, who has the audience eating out of the palm of his hand. Cons: Audience participation elements might deter some theatregoers. Also, the Soho Theatre’s side-view seating makes it easy to miss some of the jokes. Have you ever sat through a highbrow 9-hour vanity project based on Mary Shelley’s Frankenstein, followed by a post-show Q&A? Nope, neither have I, but Joseph Morpurgo’s Hammerhead takes that concept and runs with it, imagining a ...

Uncomfortable, intellectually provocative theatre that, whether you enjoy it or not, has thoroughly generous and positive intentions.

Pretty set, actors give it all they’ve got, but limp writing and absence of humour means this is one farce that never truly makes an entrance.

Side holdingly, eye wipingly funny, gloriously uncut production of a rarely staged masterpiece of humour and language.

Pros: A perfectly executed adaptation of Graham Greene’s novel, with endlessly inventive choreography and the best use of a vacuum cleaner you’ll ever see on stage. Cons: None – it’s a solid all-rounder. Have you ever seen a vacuum cleaner become a coat stand, a bar, a phone and a dog? All these are possible, and many more transformations too, in Our Man in Havana, by Spies Like Us. Here, the household prop, which is sold by a vacuum salesman ...