Everything Theatre

Vivid, candid Americana-tinged comedy, rich in character and atmosphere, but lacking the structural control to become truly great stand-up.

An accomplished and heartwarming performance, in which Kåre Conradi reflects on how Gynt became Norway’s most unlikely national hero.

Some fantastic writing that addresses both our obsession with true crime docs, podcasts and mental health, but it’s currently let down by its presentation.

‘Ze Emperor’s New Clothes’ is seen as a few really funny sketches and eccentric characters, skimpily stretched across the body of a 70-minute play.

Strong, committed performances lift this 90-minute play from fairly interesting to really good.

Charles Court Opera present an enticing, impeccably performed Iolanthe that delights newcomers and devotees alike.

A folk horror delight with immersive design and powerful physical performances

In Shakespeare’s riotous comedy of deception and desire, the innuendo is inescapable and the chaos comes thick and fast. This production of The Merry Wives of Windsor at The Hope Theatre takes that premise and pushes it to its extreme. Told through an unmistakably working-class lens, any lingering notion of a polite “middle-class comedy” is firmly dismantled. In its place comes a parade of tracksuits and football shirts, joyfully relocating the action to a recognisable early-2000s Britain. John Falstaff (James Tanner), introduced half-asleep among the audience before reviving himself with a can of beer, sets about attempting to seduce two of the estate’s most prominent women. Mrs Page (Bronwyn Stella Davies) and Mrs Ford (Tash Tomlinson), however, are far ahead of him, conspiring to humiliate him through a series of increasingly elaborate deceptions — while also teasing their suspicious husbands. For all its contemporary trappings, the production remains, at heart, fundamentally faithful to Shakespeare’s source material. It is the playful ad-libs, interstitial creativity and audience interaction, though, that elevate it from just another ordinary retelling. Director Grace Darvill has clearly created a space for her actors to play. The evening begins with deliberately dreadful karaoke and a pub scuffle. Falstaff…

Space by Luxmuralis has rich material – moon landings, wormholes, psychedelia – but needs a stronger point of view to encourage cosmic introspection.  

An engaging version of the classic tale that keeps the message intact throughout its modernised adaptation.

An excellent cast does justice to McPherson's tender script.

A disconnected performance of a Shakespeare favourite.

An important and moving account of the ongoing repercussions for Weinstein’s lesser-known victims, and a powerful reminder of the lasting impact for anyone who feels their voice is “too small”.

Party time! All of your favourite Horrible Histories songs and characters in one place, providing fun-filled and family-friendly entertainment.

A deep dive into the complexity and human cost of the conflict in Ukraine

A revival that brings its conflict to life through great performances, but time has dulled the impact...

A complicated relationship between a writer and her biggest creation. This could be supercalifragilisticexpialidocious – maybe with a spoonful of sugar, next time.

Undercooks the tension needed for Strindberg’s masterpiece.

World-making at its finest, in a thrilling tale of murder, betrayal and revenge that blends exceptional hip hop theatre with classic Shakespeare.

A compelling, engaging examination of love, loss, hope, and grief, with emotion-filled and detailed performances. A fantastic and powerful production!

Playful, passionate and poignant, Sweet Mambo soulfully celebrates the enduring legacy of Pina Bausch.

A joyous romp across dance landscapes, brimming with humour and elegance.

A well-curated menu of established and emerging ballet talent, artfully served up by its compère 

This sleek revival is undeniably chic, but its satire lacks bite and its score struggles to amaze.

Full of dangerous gambits and forays into farce, Tim Crouch's The Tempest is a daring exercise in meta-theatrical theory.

One paper-thin wall between loneliness and connection. Fish Bowl turns everyday city life into sublime, silent chaos.

How far can love stretch? Can it truly conquer all? How do you make a decision that seems impossible? These are some of the questions that Luke Norris’ play interrogates. Guess How Much I Love You? is a harrowing look at love, loss and grief. The play begins with a couple at their twenty week pregnancy scan. The sonographer has left the room, gone for far too long, leaving space for distraction and deliberation as Her’s (Rosie Sheehy) anxiety rises. Relationship banter consumes much of the first act, a humorous back and forth, poking fun in a way that’s only possible with those closest to you. Littered inbetween is consideration of issues like porn, sex work, misogyny and baby names. Foreshadowing of something more unnerving builds.  Act two launches us into the crux of the action. The couple, faced with an excruciatingly tough decision, endure rising tension, while the play goes on to examine the boundaries of love and how far it can stretch. Norris’s writing is multifaceted: humorous, colloquial and utterly tragic. His world-building is phenomenal, fully immersing his audience into the domestic confines of the relationship. Quick-witted, dark humour is placed against arguments, rising tension and tragedy. And…

Though peppered with arresting motifs and rousing choral moments, Gecko’s dated and disjointed anniversary production ultimately misses the mark.

A seriously silly but very funny, full on camp mashup of Celine Dion and Titanic the movie.

Spectacular acrobatics with some pulsating beats, woven around a thin narrative: a winter warmer.