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

Pros: This is a full-throttle production by a contemporary theatre company oozing with confidence. Cons: The action is distractingly far-fetched, to the point of total implausibility, while the characters are never developed much beyond surface-level. It’s also about 45 minutes too long. Shrödinger’s Dog, the second production from young theatre company Break the Verse, is presented as “a black comedy about the epidemic of male suicide with an LGBTQ+ twist”. It also features a cast of nine, and touches on ...

Promises a lot, but the audience is never rewarded with a big enough payoff. I left feeling hoodwinked rather than dazzled.

Precise direction, excellent writing, and perfect performances come together to ensure that Consumables’ run underground at VAULT Festival is a memorable one.

Pros: This is a very funny and watchable production, but one which also poses pertinent questions about identity, societal labels and sexuality. Cons: At times, scenes are repetitive and don’t offer as much depth as they might. This feels largely due to Her Not Him’s concise running time; a lot of the issues raised, along with the characters themselves, are not fully fleshed out. Her Not Him is a play of separate moving parts. I’m not just referring to its stripped down ...

An affecting one-man show in which a clown pours his heart out, recounting his personal journey through the opening three decades of the 20th century in America.

Pros: You’re unlikely to see anything quite like this anywhere else. happily its uniquely irresistible Cons: Anyone looking for any kind of clear narrative or thematic structure will be left bewildered, and probably pretty disappointed Standing in the auditorium of the Royal Festival Hall, dodging the massive inflatable balls being hurled around by the audience, I began to wonder what the hell was going on. It was 9pm on a cold December evening, I was playing an elaborate game of ...

An undeniably funny exploration of individual ‘spiritualism’, although The Retreat is more than just a meditation on meditation.

Coinciding with the 50th anniversary of the 1967 Sexual Offences Act, this is a nuanced and moving revival of a play last seen almost 60 years ago.

A heartfelt and uncompromising confrontation of the multi-headed beast that is the global cocaine trade, which avoids patronisation and remains entertaining.

A show which is high in style, but low on substance. Those hoping for thrills, cheap or otherwise, should look elsewhere.