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

“What if I promise you I won’t let the bomb off by the hot food counter?” is not a line you would expect to hear from someone about to strap said bomb to their chest, but it is a line that perhaps best hints at the tone for the Sarah Nelson penned Letter To Boddah, a tale of domestic terrorists who want to stick it to the man by blowing themselves, and a whole load of shoppers, up in their ...

with three unique performers, there is always going to be something for everyone.

three examples of superb storytelling that for those who like to hear a good yarn being told will find plenty to enjoy

A play that has the depth and beauty demanded

It’s a warm, barmy evening along the South Bank, just the type of evening that makes the Underbelly festival a perfect place to be. Within its inner hub, the bars and food outlets are buzzing with activity, the whole place crowded as people wait to enter one of the two tents for the evening’s shows, or maybe just enjoy a drink and the atmosphere the place has to offer. Given how many people there are, the latter seems very likely ...

There is a song, Angles, by Dan Le Sac vs Scroobius Pip, about how nothing is as clear cut and simple as it might seem. In just three minutes and 56 seconds it speeds through four characters, all connected by one incident that has terrible consequences for all involved. Except each character sees themselves as the good guy, and views others involved as the bad one, as the one that is the cause of so many of society’s problems. Look ...

The posters displayed around the always welcoming lobby of Waterloo East Theatre ask the questions “Love Kylie? Love the 90s? Love Soap?”. The worrying thing is I can confidently state the answer is “no” to two of these questions; as for the 90s, I have vague recollections of them, usually of being in some dark dingy venue watching long forgotten bands. So even before taking my seat I was a little concerned I was not the shows target audience. Thankfully ...

I really wanted to enjoy So It Goes Theatre’s The Fatal Eggs. I really really did. Having thoroughly enjoyed their reworking of Dante’s Divine Comedy at the same venue previously, I was hopeful that returning again would give witness to another piece of creative theatre. And yes, much like Divine Comedy, they make use of the compact space available, incorporating some lovely visual trickery and some rather subversive direction in an attempt to bring the story to life. But it just doesn’t ...

There is a fine line between being clever and being a little too clever for your own good. The Last Will and Testament of Henry Van Dyke is a play that tiptoes precariously along that line, spending time on either side through its 50-minute duration. Without doubt writer Karrim Jalali manages to create two well rounded characters, simply called Person 1 and Person 2. Both are beautifully brought to life by the chemistry between actors Nathan Wright and Niall Murphy. ...

The Pitchfork Disney, Philip Ridley’s debut 1991 play, aims to do two things. Firstly, to disturb the audience (it was credited with introducing “in-yer-face” theatre following its 1991 debut) and secondly, to leave you questioning what it was all about.  Somna Theatre Company, clearly working on a shoestring budget, make a good effort to do both in the small confines of the Upstairs Theatre at Oval House. From the moment we enter our two siblings, Presley and Haley Stray (Pip ...