The Night Pirates, Rose Theatre Kingston

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You’re fast asleep in your bed, in a small English town. Then some mysterious noises outside wake you, and on looking out your window you discover a gang of pirates is trying to steal your family home. What do you do?

Ask to join them, of course!

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The Marriage of Kim K, Arcola Theatre

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by guest critic Maeve Campbell

In 2011 Osama Bin Laden was killed, Pope John Paul II was beautified, and Kate and Wills tied the knot. Nearly as many people watched another televised wedding that year  as a new reality-TV religion swept the globe. This is where The Marriage of Kim K, a new opera penned by Leoe Mercer and Steven Hyde, begins.

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Liza’s Back (is broken), Underbelly

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by guest critic Maeve Campbell

Liza Minnelli should have starred in the original Sound of Music, Gypsy and Les Miserables, but somehow things got in her way. That’s Trevor Ashley’s vision, and he is giving her some of those classic Broadway moments in this hour and a half show. Direct from rehab, Ashley’s Liza is suitably glittery, lispy and pant-suited. This is not a subtle impersonation, but the receptive London audience certainly don’t want that.

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Blondel, Union Theatre

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I am often impressed with theatre’s ability to transform the most serious of topics into bouncy, chirpy musicals. Tim Rice and Tom Williams looked to the Crusades for their comedic tale of Richard I’s court musician, Blondel, but discarded much of the history. This 1983 show has some great numbers, but its frivolity and insubstantial book focusing on a personal journey rather than the larger political landscape is diminutive rather than powerfully sweeping. This is no Les Mis or Miss Saigon; it is instead an under-developed documentation of a rise to fame – but it still has its moments of fun.

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Pete ‘n’ Keely, Tristan Bates Theatre

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by guest critic Alistair Wilkinson

The spectators are cast as the TV studio audience; a flashing sign above our head encourages us to applaud. Unfortunately there isn’t much to celebrate in this production set around two-out-of date performers trying to re-launch their career. The initial impression of the set is one of excitement and exuberance, but Emily Bestow’s design leaves the stage cluttered and incredibly busy. The actors must awkwardly navigate their way through whilst juggling a quick costume change, and avoiding being hit by a colourful disc of some sort. It’s a shame you can’t see the band through this disorientating mess.

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The Braille Legacy, Charing Cross Theatre

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Discovery of the evening: Louis Braille was a child when he developed the alphabet of raised dots into the writing still used by blind and visually impaired people around the world today. It’s an especially impressive feat considering the run down and under-resourced institution he attended, Institut National des Jeunes Aveugles in Paris. However, the prevalent hostile attitude towards disabled people was a constant obstacle towards the system’s adoption; even the belief that blind people could be academically educated was radical at the time.

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Miss Nightingale, The Vaults

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By guest critic Alistair Wilkinson

Fly to the front line. Sing some songs. Win the war. Live happily ever after. Sounds easy, right? That’s the idyllic goal that two queers, an unmarried mother and an unborn child feel in Matthew Bugg’s dreamy production of Miss Nightingale. This gorgeous depiction of 1940’s Britain hits you right in the feels and pulls on all heartstrings. The set provides an intimate cabaret club vibe, decorated with posters stating memorable lines from the wonderful songs that are performed throughout.

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