by Laura Kressly
What is ‘romantic’? A candlelit dinner and a bottle of good wine? Or being tied up, gagged and whipped?
To the young couple in dominion, the latter holds the most appeal. But S wants a bit more of the first, and D wants to keep pushing the limits of the second. The men’s love, though genuine, provides a nuanced look at S&M, consent and consequences in this new play by Greg Forrest.
by guest critic Rebecca JS Nice
Transforming Underbelly’s Spiegeltent into a dark, playful nightclub, Circa’s European premiere of Peepshow is a mesmerising hour of movement, theatre and circus.
by guest critic Amy Toledano
This tour-de-force of a show is a love letter to the last of the East End geezers and birds alike who, just like everybody else, want to live their lives the way they please, free from societal pressure and judgement. Written, directed and performed by the brilliant Elliot Warren and Olivia Brady, the story has been brought to life through many a real life experience, as they detail the grit, violence and love they dish out and take in everyday.
by guest critic Amy Toledano
Jennifer Marsden’s Knights of the Rose is new musical with a score that belts out so many familiar power ballads that it’s often hard to keep track of the actual storyline. With a cast that handle these numbers effortlessly and a book that often felt like it been written for the sole purpose of allowing the actors to show off their vocal skills, Knights of the Rose entertains but not for the reasons intended.
By guest critic Amy Toledano
Writing a review for this abstract piece of feminist theatre feels almost unnatural, as Julia Croft’s Power Ballad is one that is completely subjective. And while the piece is not exactly to my own person taste, it is plain to see that this is almost the point. It’s certainly understandable how Croft has taken the Fringe world by storm.
By an anonymous guest critic
Wilton’s Music hall is dressed beautifully by Eleanor Field with a minimalist, grey tone design and little set. This is the Faction’s A Midsummer Night’s Dream, featuring an ensemble of seven actors playing all the parts.
By guest critic Gregory Forrest
I swear to God the Theatre Upstairs is gonna give me an aneurism. An explosion. Pitch black. Shouts and screams and gunfire. The immediate sense of panic is all consuming, and I don’t blame one lady for having to bow out of Cordelia Lynn’s startling new play One For Sorrow.
by guest critic Joanna Trainor
There is something magical about watching this open air production of The Tempest in the gardens at the Actors’ Church. Sun going down, wind whistling through the trees – it is such a beautiful setting and the lighting and sound design by Benjamin Polya and Filipe Gomes respectively set the mood perfectly. Actually, the performance itself could have done with a little more actual magic*, not that we don’t appreciate a good coin being pulled from behind someone’s ear trick.
by an anonymous guest critic
An insight into the stark realities of the film industry, the Finborough Theatre’s production of Finishing the Picture is a perfect mix of grit and comedy. Loosely based on Arthur Miller’s then-wife Marilyn Monroe’s experience filming The Misfits in 1961, this is the play’s first European premiere and is harrowingly apt in a era of #MeToo allegations.
by guest critic Amy Toledano
The story of Elle Woods is one that many people are familiar with, and from the way the New Wimbledon Theatre was buzzing with excitement for it’s press night, it remains clear how many hold Legally Blonde close to their hearts. We have seen numerous productions of this show since it opened on Broadway in 2007, many of which have tried their best to be differentiate from the original. This version is no different.
The Play's The Thing UK 