Playing between 11 – 15 Nov 2020

I think one of the things we will learn from this nightmare is the power of the people involved in the arts community Chloé Nelkin Consulting has been a leading name in the world of theatre PR since it was founded in 2010. A decade on and it’s a name that anyone involved in theatre is likely to have come across, having worked with countless shows and some of the best fringe venues in London. And right now, with theatreland ...

Kudos to the Pleasance for snaffling this big, brash and brilliantly executed Australian export for us lucky Londoners. It’s timely too, providing a perfect antidote to the doom-laden predictions dominating our current news agenda.  The show sets out its desire to perk us up and help us find our mojos by having Haddaway’s classic ‘What is Love?’ pumping over speakers as we take our seats. OK, it’s mashed up with Australian political speeches, but it’s that kind of evening.    ...

Well-made refugee drama that doesn’t need its abstract trimmings.

Is mental health funny? Is it acceptable to laugh about depression? Fledgling Theatre, makers of Neck or Nothing, definitely vote yes.  The good news is they have created a warm, accessible and laugh-out-loud show as a result. It might well prompt a few of the ‘checking in’ conversations men are increasingly encouraged to have with their mates too. This is presumably why charity CALMZone has backed the project and why there are Q&As with them about the issue planned at ...

As you enter the small 60-seater basement space of the Pleasance Theatre you see a cast of five: three musicians playing Eastern European folk music on a cello, a guitar and an accordion, with two young men unaccountably wearing dresses, swaying in time to the music. Enter Madame Fanny (Kate Stokes), who’s also credited as the lead writer. She explains that it’s some time in the late 18th Century, and that she’s about to relate tales of her travelling exploits. ...

I wanted to love this show so much, because of the subject matter. And certainly, the bravery of real Vicky in the hateful climate of the 80s, and the support she received in her journey is stirring stuff! But a play is not comprised of themes alone, it is writing, acting, lighting, directing and a host of infinitesimally small things. It is in the realisation of its themes that Call me Vicky falls down. There is an issue of timing ...

An intensely physical and high octane journey through bigorexia and body dismorphia that could do with an emotional punch.

As J.M. Barrie's iconic tale flies back to the London stage in 'The Lost Boy Peter Pan', adapter/director Alexandra Spencer-Jones shares why music is so vitally important in her work.

The fairly simple concept of using sounds to compliment a monologue is inventively utilised. With some development and support, it could be a really exceptional piece; A show well-worth seeing.