review

Cutting the Tightrope, Arcola Theatre

by Luisa De la Concha Montes

Cutting the Tightrope hosts a series of short sketches that are united by the same topic: censorship. It was created as a direct response to the Arts Council England’s now retracted guidance that political statements made by individuals linked to an organisation can cause reputational risks. From the war in Gaza to the rise of authoritarian regimes, each sketch explores the political, social and emotional effects that the lack of freedom of expression may have.

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People, Places and Things, Trafalgar Theatre

by Zahid Fayyaz

First performed in 2015 at the National Theatre, Duncan Macmillan’s addiction drama subsequently had a run in the West End and then off-Broadway in New York. It is now back again in the West End after almost 10 years. Denise Gough once again takes the lead role of ‘Emma’, an actress struggling with addiction and trying to get clean.

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Polly (The Heartbreak Opera), Pleasance Theatre

by Archie Whyld

What do German theatre directors eat in the morning? Why, Brechtfast, of course. Early on in Polly (The Heartbreak Opera), a similar, and admittedly better, Brechtfast joke was subtly slipped in, in a moment of metatheatrical gorgeousness, and so, being a lover of all things Brecht, I thought – this is for me.

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Jason Byrne: Paddy Lama Shed Talks, Museum of Comedy

by Zahid Fayyaz

Following on from his success run at the Edinburgh Fringe in 2023, Jason Byrne brings his one-man play to London for a few dates. On a stage set up to look like his dad’s ‘man cave’, with a Perry Como record and red lemonade prominently displayed, it certainly looks the part for what follows.

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Life With Oscar, Arcola Theatre

by Diana Miranda

As we enter the space, playwright and performer Nick Cohen greets us as if we’re special guests at a private screening. He’s wearing a black suit, and has a polite if fidgety demeanour. When the studio’s doors close, he expresses a mild disappointment that Ryan Gosling hasn’t shown up.

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In and Out of Chekhov’s Shorts, Southwark Playhouse

by Stewart Robson

For five performances only (sadly this not a full run), Dragonboy Productions have produced this adventurous adaption of five Chekov short stories: The Lady with the Little Dog, The Chemist’s Wife, At a Summer Villa, An Avenger and The Bear. Eliot Giuralarocca has skilfully adapted and directed these five stories. A brilliant cast of five, including Giuralarocca himself, give the stories a dynamic, farcical structure which plays brilliantly in the large space at Southwark Playhouse.

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Marry Me a Little, Stage Door Theatre

by Zahid Fayyaz

This is a brand new venue in the West End that recently opened in Covent Garden, currently hosting a revue of Stephen Sondheim songs as its opening production. The performance space is upstairs at the Prince of Wales pub. It is a cozy venue with a supper club vibe to it, and the audience is up close and personal to the stage and its performers.

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Cowboys and Lesbians, Park Theatre

by Laura Kressly

Best friends Noa and Nina are 17 and have the world at their feet. They are bright, articulate, young women with busy, privileged lives. Despite this, they agonise over the possibility of the world passing them by and whether or not they might actually be quite boring. To manage their worries, they project them – and their queerness – onto a high-conflict romance of their own creation. Set on a contemporary American ranch, scenes from their heightened fiction intersect with the real in entertaining and touching ways.

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Cold War, Almeida Theatre

by Maria Majewska

Paweł Pawlikowski’s 2018 film Cold War is a profound account of Polish identity, cultural homogenisation, politicisation of folklore and the trauma of migration from the Soviet bloc. As a Polish migrant with a deep connection to this story, I was keen to see how this masterful, nuanced film would translate to the stage. Tragically, the Almeida’s production is an insulting missed opportunity. 

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Journey of a Refugee, Stanley Arts

by Laura Kressly

In the Stanley Arts bar, Kassi, Ali, and Daphne hype up the audience for the arrival of a group of refugees. They’ve organised a welcoming party but plans change when only one person, Zain, arrives. He’s initially unenthusiastic about being the centre of attention. With some coaxing after hiding the main performance space, he shares his journey from Sudan using puppetry, dance, and narration. The promenade family show is inclusively crafted with striking design, but doesn’t romanticise his journey or patronise family audiences.

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