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“STOREHOUSE” at Deptford Storehouse

Secrecy can be exciting, and this project from new arts production company Sage & Jester uses that fact well. “Truth lies here” is the smart tagline, immersive theatre is the promise and, given how diverse that scene is, what you are going to get is hard to anticipate. That the show is big is obvious enough – the former paper depot that serves as the venue is 9,000 square metres.

Without giving too much away, there’s a sci-fi scenario that the audience is guided through a little too strictly. The story isn’t complicated – all the world’s digital information, since the internet started in 1983, has been secretly stored in this very location – but it is hampered by a lot of jargon. The scientists who founded the project (at the height of post-modernism, no less) were aiming for an ultimate truth via algorithm. A mission that has, not surprisingly, failed.

The show’s founder and concept creator, Liana Patarkatsishvili, has the laudable aim of provoking us into thinking about information and control. But the issues aren’t new and it’s all a bit worthy. We learn that online media is often biased and that it brings out the worst in people. Hopefully, that isn’t a revelation to many. Exploring the cultish overtones to a faith in the algorithm is more interesting but comes with yet more cant.

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Nina Smith

While those founders are voiced by an impressive cast in recordings, it is the bookbinders, stackers and caretakers (each with an oath) that we meet. These characters are a touch too bizarre. And attempts at humour fail. But Nat Kennedy, Zachary Pang and Nina Smith, who I saw perform, dealt very well with the audience participation, which is encouraged but isn’t heavy handed – the cast won’t bother you if you aren’t keen (guilty). The questions are rather elevated, or at least abstract, which gives the show some standout.

There was a ‘Writers’ room’ at work here. And while there is lots of talent credited (Tristan Bernays, Sonali Bhattacharyya, Kathryn Bond, Katie Lyons, Caro Murphy and Rhik Samadder, with the story “produced” by Donnacadh O’Briain) the result is disappointing. The vocabulary is, frankly, naff and the dialogue clunky, partly because of too many slogans. Yes, we are meant to question all these mantras. But that doesn’t make them any easier to listen to. A bigger problem is that we don’t get to know our guides. They have a back story, but not enough time is taken over it, so there is no emotional connection.

There’s a twist when it comes to the end, with a nod to conspiracy theories that might surprise. After all, when it comes to “shaping narratives”, theatre makers are experts! It’s never a bad thing check how gullible you might be. I’m just not sure that insight is commensurate with the effort here.

Thankfully, there can be no reservations about the set itself – that is impressive. Production designer Alice Helps’ work is big and beautiful. It’s clever not to lean too far into scary, and the details, including the smells, tick the immersive box. The lighting from Ben Donoghue and the sound design from James Bulley are both suitably ethereal. For the finale, there’s a great touch incorporating the crowd, as well as music by Anna Meredith and more abstracts, as we are asked about the future and what gives us hope. This final scene might even give you goosebumps, though that’s mainly down to the staging and set.

Until 20 September 2025

www.sageandjester.com/storehouse/

Photos by Helen Murray

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“The Fifth Step” at the Soho Place Theatre

David Ireland’s new play, a hit for the National Theatre of Scotland at last year’s Edinburgh International Festival, is a vague affair. The scenario, discussions between an alcoholic and his sponsor, is promising enough, a good idea. But scenes talking about sex, abuse and addiction are joined by the topic of religion, and nothing is addressed in detail. Like much recent writing, masculinity might be the subject matter – but even this topic feels tackled by default.

There’s also Alcoholics Anonymous itself, whose course of treatment provides the play’s title. How much do you need to know about the organisation to enjoy the play? The Fifth Step isn’t about A.A., as such, criticism about the process is implied, but not investigated. It’s frustrating that we don’t learn more through the play. Is the target talking therapies in general? Or the quasi-religious system of “fellowship” that has a fascinating history?

As a two-hander, the piece is, understandably, character driven and these are meaty rolls that have a clear attraction for performers. Jack Lowden reprises his part as Luka while Martin Freeman joins as an older sponsor, called James. Both men are interesting to watch, and the dynamics of their relationship provides the drama, carefully nurtured by director Finn Den Hertog. Still, Luka is too much a tick-box of toxic masculinity: his opening line is that he is an incel, while his homophobia, misogyny and ignorance push credulity just a little too far. Likewise, James’ sensitivity and hypocrisy don’t quite work – it’s just a little too clear that things aren’t as rosy as he makes out. But when he gets nasty, it doesn’t ring true either.

The performances are top-notch. Fans of Freeman and Lowden will enjoy themselves. And their talents are clear, given how both deal so expertly with Ireland’s humour. The Fifth Step tries hard to be funny. At times it’s a little too close to sketches for stand-up comedy routine, where seeing the punchline coming is part of the fun. Both cast members are great at landing the lines. But despite their efforts, which are considered and considerable, the characters end up as bores. It’s a shame that, with such emotive topics discussed – from adultery to atheism – it is hard to feel for either man or wish to journey any further with them.

Until 26 July 2025

www.thefifthstop.co.uk

Photo by Johan Persson

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“Shucked” at Regent’s Park Open Air Theatre

Well, this one is fun! Brandy Clark and Shane McAnally’s new musical, fresh from Broadway, is full of laughs and chipper songs. The story of an isolated community having trouble with its crops juggles sentimentality and cynicism with gusto. Strong performances from a cast that seems to be loving every moment make it easy to enjoy. 

The inhabitants of Cob County, who all appear to be related, are great figures of fun. There are lots of country bumpkin jokes and colourful characters (Keith Ramsay is particularly strong). Every kind of gag gets a go – dad jokes, dirty jokes and some awful puns. They’re delivered thick and fast and almost always land. 

Keith Ramsay in Shucked at Regents Park Open Air Theatre
Keith Ramsay

While giving us plenty to laugh at, the characters have admirable qualities, focusing on loyalty and community, that the show extols. And it feels very contemporary that their suspicion of the outside world might be warranted. Our heroine, Maizy, may not be too bright but she has the courage to travel to the big city – Tampa, Florida – to seek help with the harvest and Sophie McShera makes her character’s mini journey of self-discovery appealing.

Of course, Maizy is conned. By a not very good conman posing as a chiropodist (a great role for Matthew Seadon-Young). And her adventure complicates her love life, too, as she’s left her beau, who is called Beau, behind. But don’t worry – it’ll all work out. And along the way there are strong numbers for Georgina Onuorah and Ben Joyce, who both sound fantastic. Robert Horn’s book for the show is admittedly slim, but it is romantic without being sickly sweet.

Monique Ashe-Parmler and Steven Webb in Shucked
Monique Ashe-Palmer and Steven Webb

The music itself is pastiche, but strong. The silly songs are great and there’s enough heart to make you fall in love with everyone (one of the strongest numbers is about female friendship). And there’s a nice twist with two ‘story tellers’, played by Monique Ashe-Palmer and Steven Webb with fantastic energy. They provide many of knowing glances that help the show and a reassure us that we’re all here for fun. Of course, it’s corny – that joke is set up from the start – but such enthusiasm is delicious. 

Until 14 June 2025

www.openairtheatre.com

Photos by Pamela Raith

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“The Frogs” at the Southwark Playhouse

Fans of Stephen Sondheim – and I’m one – are lucky right now. His last work, Here We Are, is playing at the National Theatre while this show has been revived in spirited style by director Georgie Rankcom. There’s fun to be had with comparisons or, to be frank, shared problems. But this is another part of the canon it is wonderful to get the chance to see. And fan or not, The Frogs is smart, fun and well-executed.

Like all Sondheim’s work, The Frogs is inspired by… a lot. There’s the play by Aristophanes, adapted “freely” by Burt Shevelove, then “even more freely” by Nathan Lane, and at each stage given Sondheim’s spin. And it’s a show with a long, somewhat convoluted genesis. Rather brilliantly, as it involves a journey on the River Styx, it starts in a swimming pool!

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Dan Buckley and Kevin McHale

A lot depends on the leads Dionysos and his slave Xanthias, who journey to Hades to save the world through art. The plan, to bring George Bernard Shaw back to Earth, is suitably kooky. Dan Buckley and Kevin McHale, who take the parts, are up to the job, sounding great and making an excellent comedy duo. The metatheatricality and the message in the show are generally overdone, but with these two the touch is, thankfully, light.

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Martha Pothen as George Bernard Shaw

Their adventures are accompanied by a talented ensemble who also double as extra characters. Joaquin Pedro Valdes stands out as Herakles and Martha Pothen as Shaw. The structure is simple enough, but the pace slows too often. Thankfully, the music is a delight. From the jolly refrain ‘I Love To Travel’, to a melancholic number, ‘It’s Only A Play’, the songs are Sondheim quality, and you can’t give higher praise than that.

Still, given Sondheim’s back catalogue, there’s some disappointment. The Frogs feels heavy-handed. Even the lyrics, although always smart, are a little blunt. And a final contest (apparently agon is the term) between Shaw and Shakespeare is far too lengthy. The point is interesting enough: do we need Shavian “great abstractions” or the bard’s poetry? Pothen and Bart Lambert (as Will) do well. But the outcome is predictable (who really wants an “orgy of Georgie”?) and preachy.

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Victoria Scone stars as Pluto

There is a strong sense of musical revue about the show (it started out at Yale) that suits the venue and that Rankcom cleverly leans into. Dance numbers, difficult in such a small space, showcase choreographer Matt Nicholson’s talents and add energy – the “web-footed debauchery” of the titular amphibians is a hoot. And having a special guest as Pluto is a great idea (until 31 May it’s Victoria Scone and very good she is, too).

The variety of the score and the broad humour are all embraced, with lots of good gags based around Greek myths (apparently Viagra is the god of perseverance). It’s on a wider level, with Sondheim reviewing the state of the world, that problems arise. A touch of the classroom carries the potential to defeat the argument and instruction that we should all get angry and act. Maybe it’s more generous to say that the show’s sense of urgency overwhelms it? At least there is fun as well as conviction here.

Until 28 June 2025

www.southwarkplayhouse.co.uk

Photos by Pamela Raith

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“Clueless” at the Trafalgar Theatre

There’s a strong opening number to this musical adaptation of the 1995 film that, loosely, resets Jane Austen’s Emma among wealthy Los Angeles teens. The idea that the show’s heroine, Cher, has a perfect life makes for a strong motif we can have fun exploring. If the rest of the songs are not as good, the show overall is a respectable affair that deserves credit.

It’s a shame for Clueless that the screen-to-stage musical feels a little played out. That’s not the fault of director Rachel Kavanaugh, who keeps the action going nicely, nor the talent on stage. But as Mean Girls and Back to the Future are still running, and memories of Heathers and Cruel Intentions are fresh, there’s just been too much cashing in on Gen X nostalgia.

Here, KT Tunstall and Glenn Slater have written music and lyrics, and both are better than some examples of the genre. All the numbers are competent and several are strong. If they don’t add up to a satisfying musical theatre score (this is Tunstall’s first go), there is nothing objectionable. But it’s a shame there are few chances for the ensemble to sing together, as the score is a collection of solos and duets. Clever nods to the late 1990s could have been leaned into more. But even an incongruous Lindy Hop number, which feels written for something else, is a good tune. Slater’s lyrics are consistently smart, if occasionally dense, and deal well with the plot. And hats off for rhyming porpoise with habeas corpus.

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Emma Flynn and Keelan Mcauley

The show, and production, relies too heavily on the lead role of Cher. Emma Flynn, who takes the lead, is great: her voice is superb, her acting convincing, and it’s clear she has a very bright future. But she has too much to do. And it’s a problem because there are a lot of strong characters here who are poorly served. Cher’s friends, Dionne and Tai, fade into the background. Both Chyna-Rose Frederick and Romona Lewis-Malley seem to know it and don’t look very happy about it. Isaac J Lewis, who plays Christian, arrives much later in the action but establishes his character more forcefully. With two good songs, Keelan McAuley, who plays Cher’s love interest, is the luckiest and he shines as a result.

Mikiko Suzuki MacAdams provides a stylish set to perform in with neat solutions for all the cars that feature. It’s a shame that Lizzie Gee’s choreography feels tacked on; there are few extended numbers so most of the dancing looks like fillers for scene changes. This is easy to forgive, but the show’s biggest problem is a lack of humour. Given a rare funny scene of Cher struggling in her high heels, this isn’t Flynn’s fault – she has a feel for comedy. But the rest of the cast struggle to work out how funny they are supposed to be. And Amy Heckerling’s book (based on her own film) hasn’t been updated or changed for the stage enough. There’s a lot that hits the mark here, but even big fans will miss the laughs.

Booking until 28 March 2025

www.cluelessonstage.com

Photos by Pamela Raith

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“The Crucible” at Shakespeare’s Globe Theatre

While Shakespeare’s Globe is no stranger to new writing, modern classics like Arthur Miller’s masterpiece are an exciting event on its stage. There is a logic: the Salem setting, obsessed with the supernatural, has affinities to the Jacobean period and Miller surely had Shakespeare in mind during his hero John Proctor’s speeches. This fine production shows the play makes sense in the venue and is a serviceable revival of a great play.

Ola Ince directs the large cast with clarity – dealing with the girls who claim possession by the devil, their victims, and the judiciary who set up witch trials. While accusations mount and tragedy ensues Ince brings the whole of Salem to the stage. The production is energetic and the dramatic stakes high, culminating in a potent emotional conclusion.

There are some interesting interpretations of the play’s famous characters. Our main villain, Abigail, is presented as ruthless but also more than a little mad by Hannah Saxby. The power her claims give her is intoxicating and scenes of confrontation with Proctor fantastic. Saxby makes it easy to see Abigail’s power over the other girls and with this there is good support from Bethany Wooding and Molly Madigan. The Reverend Parris (Steve Furst) is neurotic from the start while Jo Stone-Fewings’ Reverend Hale a touch too pompous. It becomes easy to dismiss them both (although Stone-Fewings denouncing the court is a grand moment). Judge Danforth becomes a big role in the hands of Gareth Snook – a true fanatic in scenes that, despite managing to be frightening, come too close to funny.  It could be argued these male roles are too broad, but each illustrate thorough work and deep thinking on the part of Ince and her cast.

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Gareth Snook

Additional stages in the pit are at times fussy but provide audience engagement. Watch out if you are standing – there are tumbrels to avoid. The use of a musicians gallery and even the attic space high above the stage are inspired, giving us yet more insight into paranoia and suffering. Ince might have born in mind the danger of how silly a modern crowd find these “fearful proofs” of witchcraft. It’s hard not to have people laugh when characters take flying girls seriously or are shocked at dancing but the play needs this to be avoided at all costs.

Thankfully, the story of John and Elizabeth Proctor is very serious. Gavin Drea and Phoebe Pryce, who take the roles, are highlights and go a long way to secure the production’s success. Pryce has Elizabeth’s integrity down pat, without smugness or resignation. We don’t see enough of Elizabeth (Miller’s flaw), but Pryce develops the role with skill. Her husband is both virile and conflicted with Drea managing to convey the struggle and intense anger. Importantly, while there’s little feeling sorry for this flawed man, he still becomes an inspiration. That Proctor “has his goodness” is palpable by the end of this powerful performance.

Until 12 July 2025

www.shakespearesglobe.com

Photos by Marc Brenner

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“Little Brother” at Jermyn Street Theatre

It would be a touch perverse, and thankfully difficult, to be uncharitable towards this new play. Based on the memoir by Ibrahima Balde and Amets Arzallus Antia, it tells the story of the former’s journey from Guinea to Europe. In contrast to the tendency to abstract and politicise the topic of immigration, this is a simple story showing life’s unexpected turns at a personal level.

Balde never intended to be an immigrant. His motivation is to search for his little brother, his journey even more shocking and dangerous than you might expect. Balde and Antia provide poetry, but the achievement in Timberlake Wertenbaker’s adaptation is to maintain an air of unvarnished truthfulness. The account is more than a documentary but it has a stark authenticity that makes belief unquestionable. 

Director Stella Powell-Jones does a great job of bringing a story that covers so much time and space to the small stage of Jermyn Street Theatre. There are no fancy touches – they’d seem out of place – just a strong cast and subtle sounds from Falle Noike and Max Peppenheim. The performances are led by Blair Gyabaah, who barely leaves the stage for the 90-minute duration and is supported by Youness Bouzinab, Ivan Oyik, Mo Sesay and Whitney Kehinde, who take on the roles of everyone Balde meets. Kehinde works particularly hard as every woman and has many powerful scenes. For my taste, too much effort is taken to distinguish these different people (with costumes and characteristics) when it is what they do that seems to be the point here. Still, Powell-Jones generates considerable tension as we wonder how each will treat Balde, guessing or dreading whether their response will be good or bad.

Much of the journey is as grim as it gets. Balde is homeless, kidnapped, tortured and literally sold. The trauma from events is described articulately without being dwelt upon. And there is also a lightness to the show that is remarkable. The script, and Gyabaah, expertly tread a fine line, showing an acceptance of events without a resignation about them. Throughout, it is emphasised that the people met are like you and me, drawing the audience in and quietly interrogating us. And a lot the encounters are good. The acts of kindness, big and small, begrudging or unquestioned, pepper the journey. Charity is the key… and the challenge presented.

Until 21 June 2025

www.jermystreettheatre.co.uk

Photos by Steve Gregson

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“The Deep Blue Sea” at the Theatre Royal Haymarket

Having attempted suicide at the opening of this 1952 play, Terence Rattigan’s heroine, Hester, is discovered by her neighbours and landlady. These roles (played by Lisa Ambalavanar, Preston Nyman and Selina Cadell) can be overlooked for their exposition and period detail. But Lindsay Posner’s careful revival of the play takes them seriously. Yes, the piece is sure to strike you as old-fashioned – full of stiff upper lips and repression. But the depth of emotions Rattigan depicts is powerful and this production makes the most of a skilful work.

Hester’s desperation comes from her love affair with Freddie, a former fighter pilot she left her respectable life for, abandoning her husband, Bill, who still loves her. Rattigan structures encounters with them between them by turns, in a somewhat stilted manner. But these men aren’t just, respectively, a feckless cad and a successful lawyer. Their emotions run deep and they are confused, even frightened by how much they feel. The results are fascinating portraits of masculinity that Nicholas Farrell and Hadley Fraser explore with skill.

It’s hard not to feel for those who have fallen for Hester – even if they treat her badly. As the object of their affectation, Hester is a commanding role that proves a triumph for Tamsin Greig. With the combination of wit and fragility Rattigan crafted so carefully it is easy to see how she captivates everyone around her in the lodging house (which is a little too shabby in Peter McKintosh’s design). Despite her aloofness and more than a few snide asides, Greig makes us care for Hester. The pain she feels around her love affair is deeply sad.

There is more to Hester than just tragedy. Might this be the key to the enduring appeal of the piece? Here is a female lead who goes beyond being defined by the men in her life (no matter how important a part they play) and it’s Greig’s ability to show this that makes her performance so strong. Hester knows how doomed her relationships are – it accounts for her depression and goes beyond it. Love consumes her, but her passion and lust are never blind.

There’s a final relationship for Hester that highlights the importance of that self-knowledge. Mr Miller is a neighbour who has been struck off as a doctor, who helps and then befriends her. Finbar Lynch, who takes the part, leans into the oddity of the character; it’s uncomfortable at times but shows an appreciation of the part. Rattigan (and Miller) have a view of life that is as bleak as any kitchen sink dramatist’s. There are plenty of links to the author’s painful biography if you want them. But the two outsiders in The Deep Blue Sea find a clear-eyed comfort in one another. The relief this brings to the audience is an indication of how accomplished Posner’s revival is.

Until 21 June 2025

www.trh.co.uk

Photos by Manuel Harlan

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“1536” at the Almeida Theatre

Ava Pickett’s new play uses the popular fascination with the Tudors to good effect. The year of the title is, as you might remember from your history lessons, when Anne Boleyn was executed by Henry VIII. But instead of the Royal Court, Pickett looks at a small village in Essex, far removed from events, with three women who are friends and (approximately) working class.

The focus gives the piece just enough originality. And it allows it to be speculative. We know little about lives such as these, so some modern sensibilities can be injected without too much trouble. Which is not to say the play isn’t well researched – it’s convincing how information gets through to the women, as is their awareness of how their society, and their status, is shifting.

Pickett’s dialogue is good. Avoiding ‘thee’ and ‘thou’ makes the characters sound fresh and easily relatable. And there’s plenty of humour: pointing out the “loads of paperwork” in Henry’s divorce is great (although there is a reliance on expletives to get laughs). Director Lyndsey Turner’s staging adds energy, too, with quick, cinematic scenes and bold colours from Jack Knowles’ lighting design.

As you might guess, the year in question is used to examine the patriarchy. It’s interesting to note striking similarities with another strong play, Julia Grogan’s Playfight, which also has a trio of very different young women and details a struggle that seems to have changed less than you would hope. But as there isn’t much to argue with, no matter how well it’s all presented, there aren’t many surprises here.

One interesting twist is that Pickett provides a close study of how attitudes change. Jane’s flirtatious cheekiness falls out of “fashion” as the play progresses. As men lose their sense of humour, the women suffer – and they warn each other to change their behaviour to keep with the times. It’s a thought-provoking observation that builds dramatic tension effectively, if not subtly.

There are also touches of the soap opera here: affairs, pregnancy and violence are all added at speed. The action comes close to getting out of hand, but strong performances and well-written characters save the night. Sienna Kelly takes the lead as Jane, barely off the stage and excellent in every scene. Liv Hill and Tanya Reynolds offer superb support, the detail in their depictions aiding the writing. All added together, 1536 proves a year to remember.

Until 7 June 2025

www.almeida.co.uk

Photo by Helen Murray

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“Romeo and Juliet” at Shakespeare’s Globe

Director Sean Holmes gives his version of Shakespeare’s tragedy a Wild West setting. And why not? The play has been put into so many different times and locations it’s hard to keep track. Most importantly, though, this is a sold production that leans into the venue’s strengths and unique atmosphere so that it is sure to please.

What does this nineteenth-century American location add? Well, let’s say it doesn’t take anything away. And it might convince more if the accents employed were consistent. But a culture of violence and rough justice map onto the plot well. It’s the close study of the script that’s the important thing.

The concept is embraced by the leads – Rawaed Asde and Lola Shalam – who are both strong. There is an appropriate emphasises on their youth. Asde is a puppyish figure full of energy and Juliet feisty but also confused. Both are a little, well, silly; it’s a fair interpretation, some of what these loved up teens say, even if great poetry, is hyperbolic. The performances are enjoyable throughout and it’s a nice touch that, in this production, the couple get the last lines.

The rest of the cast is, unfortunately, just a little uneven. Older characters are too easily lost, especially the Prince (cast as some kind of Sheriff). Some voices are lacking range and a couple of performers sound hoarse. This is a tough performance space physically; poor Benvolio (Roman Asde) seems to have a plane overhead every time he opens his mouth. Thankfully, Jamie-Rose Monk’s nurse is super and Michael Elcock’s crowd-pleasing Mercutio one of the best I’ve seen. Importantly, the whole cast work well with the audience – a key to success at the Globe.

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Michael Elcock

Another highlight comes from Grant Olding’s work as composer. The mix of Americana adds to the atmosphere but never feels forced. Treating Shakespeare as your lyricist is surely intimidating but Olding makes light work of it. There’s a lot of singing and dancing all adding to a jolly feel. At least until just before the interval. The question arises – how does the humour fit with the tragedy?

It’s clear the tone of the piece needs to develop. And if there are still too many laughs for my liking, Holmes has the intriguing idea of introducing dreamlike elements. Aided again by Olding’s soundscape, a messenger to Romeo and the apothecary appear like somnambulists. In the tomb Juliet is joined by Mercutio, Tybalt and Paris (a good stage debut for Joe Reynolds) who move around in a trance and even line dance. It’s pretty creepy.

It’s a shame Friar Lawrence isn’t developed to play a part in these supernatural suggestions. But like the many dreams recounted, all the fear, blood and guts, and elaborate death throws make the violence nightmarish. The conceit might have problems, but it makes the play fresh and surprising. Introducing the unexpected into Romeo and Juliet is a big achievement.

Until 2 August 2025

www.shakespearesglobe.com

Photos by Tristram Kenton