Well-made refugee drama that doesn’t need its abstract trimmings.

Is mental health funny? Is it acceptable to laugh about depression? Fledgling Theatre, makers of Neck or Nothing, definitely vote yes.  The good news is they have created a warm, accessible and laugh-out-loud show as a result. It might well prompt a few of the ‘checking in’ conversations men are increasingly encouraged to have with their mates too. This is presumably why charity CALMZone has backed the project and why there are Q&As with them about the issue planned at ...

As you enter the small 60-seater basement space of the Pleasance Theatre you see a cast of five: three musicians playing Eastern European folk music on a cello, a guitar and an accordion, with two young men unaccountably wearing dresses, swaying in time to the music. Enter Madame Fanny (Kate Stokes), who’s also credited as the lead writer. She explains that it’s some time in the late 18th Century, and that she’s about to relate tales of her travelling exploits. ...

I wanted to love this show so much, because of the subject matter. And certainly, the bravery of real Vicky in the hateful climate of the 80s, and the support she received in her journey is stirring stuff! But a play is not comprised of themes alone, it is writing, acting, lighting, directing and a host of infinitesimally small things. It is in the realisation of its themes that Call me Vicky falls down. There is an issue of timing ...

An intensely physical and high octane journey through bigorexia and body dismorphia that could do with an emotional punch.

As J.M. Barrie's iconic tale flies back to the London stage in 'The Lost Boy Peter Pan', adapter/director Alexandra Spencer-Jones shares why music is so vitally important in her work.

The fairly simple concept of using sounds to compliment a monologue is inventively utilised. With some development and support, it could be a really exceptional piece; A show well-worth seeing.

'Jekyll & Hyde' director and co-writer Danny Wainwright talks putting a comedic spin on the classic tale.

Pros: Good intentions, and some strong performances. Cons: Misses its opportunity to harness an interesting subject. The courage of And Many Others’ Becoming Mohammed at the Pleasance Theatre is apparent from its title. Discussion of integration among Muslim communities, the place of Islam in the West and the experiences of Muslims today, is at once omnipresent and absent – a subject frequently mentioned, but seldom brought to life on stage. Becoming Mohammed not only takes an unblinking look at these complexities, but also does ...

Pros: The performers have energy and commitment. Cons: Incoherent plot and characterisation. Little variation. Having overcome the travails of TFL, and with drink in hand, I made my way from the spacious bar at The Pleasance, past the main theatre and into the studio theatre known as StageSpace. I’ve been to The Pleasance before and enjoyed it, but this was my first opportunity to sample the more intimate qualities of the second space. Unfortunately the sound insulation is not the best, ...