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

An admirable OCD awareness agenda and an enthusiastic team is hampered by a guest acting challenge and a patchy story.

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 ...

Pros: Quirky characterisation of four daters, and fair scrutiny of the modern dating scene. Cons: Audience numbers and logistics affect the speed dating process, which feels slightly disjointed from the plays. The Finnish connection isn’t obvious, either. This show belongs to the Start to Finnish events programme, celebrating Finland’s culture in honour of 100 years of Finnish independence. However, it’s hard to see traces of Finland in the script of these two interconnected plays, except in references to one character’s love ...

Affecting and lyrical story of families existing in the wake of a loved one’s disappearance.

Pros: Dolan holds the audience in the palm of her hand, with a monologue that never loses pace or relevance. Cons: The plot may be too far-fetched for more sceptical audience members. Monica Dolan confirms she is still one of Britain’s most versatile actors (best known for roles in Witness for the Prosecution, W1A and Appropriate Adult), but also shows her writing talent in this timely piece. Dolan takes on the self-written role of a psychotherapist tackling a high-profile case ...

A deservedly dramatised final episode of George Orwell’s life, and the lives of those around him, with heightened tension and a dash of humour.

One of the funniest and freshest plays you’ll see all year, led by a feisty cast with perfect comedic timing. Alex Ferns, in particular, is a riot.

A snappy 45 minutes of drama, consisting of two short plays, to fit into your lunch break. However, the performance of Caryl Churchill’s Seagulls far outshines the unremarkable opener, Tennessee Williams’ Every Twenty Minutes.

An unflinchingly realistic portrayal of thirtysomething Dee’s dating life, which is as chaotic as her bedsit and temp job. Includes a healthy dose of humour, a whip-smart cast that’s mostly used to its advantage, and a rotating set design that mirrors the whirlwind.

Australian actors Hugo Chiarella and Tamlyn Henderson tell us more about their web series 'As Actors: Manila'.