Waitress, Adelphi Theatre

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by Laura Kressly

Butter, sugar, flour – these pie crust ingredients form a comforting motif that gets Jenna through each day. There are her solace every morning as she bakes her insecurities, worries and feelings into pies that are served in a small-town American diner. The young waitress is full of hopes and dreams but her story, like the script that contains it, has another ingredient so thoroughly embedded in the narrative that it leaves such a nasty aftertaste that it overpowers everything else.

CW: abuse, abortion, assault

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Jesus Hopped the ‘A’ Train, Young Vic

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by Maeve Campbell

Angel Cruz has shot a man in the ass. He says he didn’t kill the religious cult leader, who
had apparently brainwashed his best friend Joey, but this man is now dead. This is where
we start Jesus Hopped the ‘A’ Train. What follows is a compelling exploration of guilt,
goodness and godliness as Angel, incarcerated in New York’s infamous Rikers Island,
confronts his emphatic public defender, a sadistic prison guard and a charismatic, born-
again Christian serial killer.

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Murder for Two, The Other Palace

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by Laura Kressly

Novelist Arthur Whitney is murdered at his surprise birthday party his wife throws for him. When a young and keen police officer arrives to secure the scene and do some preliminary investigating, he encounters a bizarre collection of characters who all have reason to kill the writer and are totally unbothered by his death. So whodunit?

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Seussical, Southwark Playhouse

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by Maeve Campbell

It’s difficult to work out who the musical Seussical is for and why its been revived. Trying to imagine how a ten-year-old might watch this show doesn’t help answer these questions. In fact, it clouds the answer even more. I think if I was ten and watching this show, I’d feel utterly patronised by it.

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Hadestown, National Theatre

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By Laura Kressly

How can we radically reinvent myths and classic literature? I mean, really radically – not in a box ticking way, or a modernisation the production wears like a piece of costume that doesn’t really change the thematic core of the story. I mean thoroughly, totally, completely. So all traces of horrible ‘isms’ and ‘ists’ are either reframed or criticised. 

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42nd Street, Drury Lane Theatre

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by Amy Toledano

It’s the early 1930’s and, “Julian Marsh is puttin’ on a show!”. Pretty Lady is the latest production from the famous director, and all of the local, out-of-work actors are thrilled to have jobs again. But show business is never easy, and this one in particular is no stranger to the trials and tribulations that come with rehearsing a smash hit.

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