Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond

With a small cast, the action takes place in the modest kitchen-living room of dysfunctional husband and wife Tam (Charlie Brooks) and Martin (Simon Lipkin), as they struggle to care for their severely autistic and non-verbal child, Laurence. Also in the equation is Laurence’s carer of two years, Gary (Michael Fox), who is both a blessing but also a constant reminder of the couple’s own failings as parents. The play has received a barrage of negative press for its representation ...

There is something exhilarating about seeing a work in progress, especially when it’s from a team surely only just out of their teens!  There’s an energy created you just don’t get at normal press nights. Ok, so that’s because the place is full of friends and family along to support, but that means an excitable youthful atmosphere that is just so joyous to be part of.  Secondly, the anticipation that you might be witnessing something special that may one day ...

Playwright James Saunders presents us with a classic scenario. A younger couple and an older couple gather together in a living-room, having not seen each other for nine years. Each spouse has cheated with the spouse of the other, and no-one is really sure why they agreed to meet. Chaos ensues; drama is born. This is the first staging of Bodies since 1979. Certainly Saunders is not a playwright I’ve encountered much in my long and lovely affair with drama. ...

Like the abusive marriage that it describes, Bottled starts off deceptively sweet. It is Katy’s 15th birthday, and she’s celebrating at home with family and her mum’s boyfriend, some shiny balloons and a violently pink cake. As she talks us through the scene, describing the characters and their part in her life, the commentary is wry and perceptive, a healthy mix of childish candour and teenage snark. When, shortly after that birthday party, she hooks up with Bradley, a hot, ...

It seems every time you step into Jermyn Street Theatre you step back in time.  Tonight, we are transported to around 1900. It’s a time when a woman separated from her husband would be perceived as damaged goods. It’s also a time when any play challenging perceived acceptable behaviour would likely be banned. It’s possibly because of this fact that writer Harley Granville Barker never let this play be performed.  Instead it sat collecting dust for over one hundred years, ...

The wonderfully warm surroundings of the Old Red Lion in Islington has its usual glow: flock wallpaper, chesterfield sofas, a dog sleeping on the floor and football on the telly (think I’ve just described my house in the 1970s?). A framed England rugby union shirt now adorns the wall, and a Norwich City St Georges flag hangs over the bar. Not only does it stock a range of lagers, craft beers and cider, it also houses one of the finest ...

In late 19th century Paris, a bawdy new dance was born. The can-can grew from the seductive dances of Moulin Rouge courtesans into a high-energy show involving high kicks, splits, and exposed undergarments. Back then, you would have to go to French cabaret for the can-can. Now you can see it in railway arch in South London. Can-Can! promises fun and frivolity, and boy does it deliver. The show is a stunning, sugary confection of acrobatic feats and lavish design. ...

Leila Sykes and Madeline Gould share the process of creating 'Greyscale', a site-specific production on consent inspired by the Aziz Ansari scandal.

Primal Theatre state that their aim is to create pieces that reflect human experience at their core. Whether having a hedgehog alive in your head meets that aim is something that we could debate all evening. And the reason why a hedgehog is alive in Molly’s head is at the heart of Headhog, as she first tries to come to terms with this strange fact, asking ‘how did it get there?’ Then slowly as she bonds with it, her question changes ...

The residents of Avenue Q are a somewhat peculiar pick ‘n’ mix of colourful puppets, unlikely couples and a monster or two, all sharing in dreams, concerns and uncensored humour. It’s children’s programme styling -denoted by chirpy repetitive tunes, bright colours and teaching video-esque animation screens- paired with it’s very adult content, made for an atmosphere of juxtaposition in which the very upfront nature of this shows comedy absolutely thrived. Avenue Q is able to effortlessly weave the hysterically obscene ...