2026

“Cable Street” at the Marylebone Theatre 

Tim Gilvin and Alex Kanefsky’s musical is marked by its ambition. The show, telling the story of the 1936 protest against a fascist march in London’s East End, is big in scope and full of ideas. This comes at a price, and there are snags despite this being the third iteration to be staged. But using the history – indeed, expanding on it to provoke serious thought – and a strong score make this a grand, impressive affair.  

Three strong leads are the focus. Isaac Gryn plays a local Jewish youth, Lizzy-Rose Esin-Kelly an Irish girl and Barney Wilkinson a young man new to London from the north of England. They all cover a lot of ground, sound great with difficult songs and illustrate, effectively, the complexity of the community the action is set in. The really smart move is to include a wannabe fascist among the trio. Giving time to his concerns – his radicalisation, you might say – is a brave move that benefits the show hugely. 

The stories are opened out by a hard-working cast. We get perspectives from each of the younger characters’ families (parents get strong songs) and there are some neat combinations of roles. The cast does a lot of doubling up and, despite its efforts and super-speedy costume changes, this is not always successful. It’s greedy of me, I know, but the production could really do with a couple more bodies. Director Adam Lenson’s work is commendable (he knows the power of a cascading leaflet from his work on Ordinary Days!), but the constant changes left me, if not the cast, a bit breathless. 

Kanefsky’s slightly baggy book is full of great ideas. A framing device of an East End walking tour is good but overused. Similarly, having one of our central characters as a part-time poet has mixed results. And I wonder if it might have been stronger to avoid a romantic subplot altogether? Songs flesh out the story better, and one about newspapers is a highlight (not least for Ethan Pascal Peters and Romona Lewis-Malley as The Daily Mail and The Times). But credit where it’s due: Kanefsky gives us even more after the interval. We don’t just get that famous battle (Lenson does very well here) and its aftermath, but rent strikes in the area are also included. Highlighting another topic that continues to be relevant is a powerful move.  

Most importantly, Gilvin’s music and lyrics are a huge achievement. The score uses all kinds of styles and the words are intelligent and demand attention. There are some wild moments to enjoy: the inclusion of rap and the ‘¡No pasarán!’ slogan from the Spanish Civil War are both excellent, though imagining the BUF as a boy band is hampered by its execution. But the show relies on a collection of solid songs that tap into a current mood of unrest while acknowledging the history of protest. Convinced about the power of musicals, the whole team carries the crowd with it. Cable Street is guaranteed to give you goosebumps. 

Until 28 February 2026 

www.marylebonetheatre.com/productions/cable-street 

Photo by Johan Persson

2026

“Safe Haven” at the Arcola Theatre

Documentary dramas are a challenging genre and this valiant effort from Chris Bowers cannot be considered a full success. Let’s start with what works. Bowers provides a history of the invasion of Kuwait, Saddam Hussein’s persecution of the Kurdish people and the international intervention to aid them. As well as being an important subject, the events are described in detail and from several perspectives. All good. 

The credentials behind the show are impressive. Bowers is a former diplomat and Consul General in Iraqi Kurdistan. And he used the memoir of one of his characters alongside his considerable knowledge. It is a lot to condense and, to the script’s credit, a sense of individual voices is preserved. The action is clear – a big achievement – aided by the capable direction of Mark Giesser, who makes the most of designer Jida Akil’s split stage. 

It is when we get to the drama that we encounter problems. There’s so much exposition that the dialogue is clunky and characterisation suffers. The frightfully posh chap from the British Foreign Office, beautifully spoken by Richard Lynson, ends up looking stupid. And that can’t be fair. Surely he would appreciate the problems of dispatching aid by air (I’m not sure even the audience needs it explained)? It’s the same for the American General (again, great accent work from Stephen Cavanagh) who you can almost hear thinking. The play’s heroine, Catherine, suffers too and that’s a real shame for Beth Burrows, who has a great go at expressing how awful events were. Trouble is that the disappointment with everyone around her comes across like reading a poor prep school report. When she gets to lay down the law, she does so like an Eton Dame. Maybe that’s accurate and a good way to deal with these fellows, but it doesn’t work on stage. And when it comes to a scene explaining the play’s title it’s just too much like the characters are doing a crossword. 

Thankfully, the Kurds in the piece are more engaging. They have a more emotive story, of course, but it is handled sensitively and without sensationalism. Eugenie Bouda and Lisa Zahra make an inspiring pair as they cross the mountains searching for safety. Similarly, a second heroic figure, Dlawer, who campaigned for his people while a doctor in London and then searched for his sister back in Iraq, is thoroughly admirable. The performance from Mazlum Gül (who also impresses with a second role as UN Ambassador Al-Tikriti) is a highlight. There’s a strong blend of reserve, determination and passion in the character that reflects the piece’s strengths. Safe Haven is admirably even-handed and well-intentioned, but it doesn’t quite work as drama.

Until 7 February 2026

www.arcolatheatre.com 

Photo by Ikin Yum 

2026

“Our American Queen” at the Bridewell Theatre

This sophisticated historical drama by Thomas Klingenstein examines Kate Chase, daughter of a presidential wannabe hoping to depose Lincoln during the American Civil War. The history is fascinating and the view of politics as “the art of ‘it depends’” insightful. The show balances romance and political ambitions well, showing how they connect without too much judgement. You might want more or less of the love stories, but the script, and direction from Christopher McElroen, are both admirably controlled.

The Chases, father and daughter, are great roles for Darrell Brockis and Wallis Currie-Wood. Both performers generate sympathy for characters who aren’t particularly likeable, taking the audience on a detailed and enjoyable emotional journey. It is easy to view Kate as “regal but cold”, yet Currie-Wood shows a lot of repressed emotion and gives the character’s self-sacrifice a certain dignity. Brockis has a good line in gravitas, too. I spent a lot of the play admiring this Secretary to the Treasury, persuaded by his humour and humility. But he is also ruthless figure. How much Kate becomes an “indispensable nag” to her father for his own sake, to progress his career, becomes an increasingly open question. And how much she is allowed to make this sacrifice adds further debate. Father and daughter have a lot to work out – if Klingenstein veers a little close to a therapy session at times, their relationship is always layered, intriguing and well performed.

Supporting roles are slightly less successful. Christy Meyer and Haydn Hoskins both do well as Mrs Eastman and General McClellan. But they are too obviously foils for the main characters and don’t convince as romantic interests for father and daughter. That’s partly deliberate – neither couple gets together. Kate’s heart is taken not by the General (an old flame) or her off-stage fiancé, but by Lincoln’s secretary John Hay, admirably performed by Tom Victor. Hay is a poet, and the love of literature he shares with Kate is the sweet basis of their relationship (Klingenstein gets a lot of mileage out of Whitman and Dickens – discussions of Great Expectations are a nice touch until they become laboured.) The wish for a happy ending works well, though, and is touching and thought provoking.

Although the piece is a static affair, the staging is strong. A video screen is made good use of, and McElroen does a great job injecting tension into staging a dinner party. The event is part of Kate’s strategy for her father’s campaign and leads to a fine theatrical moment – a great surprise – when tension explodes. A piece so wordy and cerebral isn’t to all tastes but Our American Queen is a quality affair: an interesting take on Great Men in history providing a valuable perspective with a clear intelligence. Does Kate get her happy ending? Well, it’s a truism that political careers always end in failure. But Klingenstein and Currie-Wood did raise my hopes, and that’s an achievement.

Until 7 February 2026

www.sbf.org.uk

Photo by Lidia Crisafulli

2026

“High Noon” at the Harold Pinter Theatre

It might seem a little odd to hold the world premiere of a Western, set in sun-drenched New Mexico, in wintry London. This new play by Eric Roth, based on the Oscar-winning 1952 film, feels like a labour of love that has questionable appeal. But it manages to entertain and, pretty much, convince.

The creative teams’ credentials are impeccable. Roth is no stranger to Academy Awards himself. This foray on to the stage is competent, if unimaginative, with strong characters and clear themes. It helps that the story is good, with recently retired Marshall Will Kane rejected by the town he served when he needs help the most. Thea Sharrock’s direction is tight, making the most of the idea that the action is in ‘real time’ and giving the impression that the cast is much larger than it actually is. Tim Hatley’s unfussy set also deserves praise, aiding some pretty clunky scene changes.

The casting is great, too. Movie star Billy Crudup takes the lead role and is suitably inspiring, making an asset of his character’s vulnerability. West End favourite Denise Gough is his love interest and benefits from the slightly more interesting role of Amy. Gough, always good with angst, gets the most out of her character’s religious questions and there’s a powerful chemistry between the leads. Their age makes the story slightly different, and both performers lean into this commendably. There is strong support from a hard-working James Doherty, who takes on three roles, including the show’s villain out for revenge. And there’s another nicely written role for Rosa Salazar as no-nonsense local businesswoman Helen Ramirez – she even manages to inject some much-needed humour into the show. You wait a long time for a scene between her and Gough. Thankfully, when it arrives it is a highlight.

Reservations arise, though. Having some singing in the show isn’t a bad idea. Gough’s voice is impressive. But her character’s refrain isn’t memorable and there are also recorded tracks that jar. It’s hard to avoid the notion that someone at some point wanted this to be a musical and then gave up on the idea. Some nods to the immorality of leaders lack subtlety and the need to make the piece ‘relevant’ doesn’t convince. But the moral of the tale isn’t as simple as it might be. Twists with Amy’s conscience are neat moves and the overall message of standing up for what you believe is suitably rousing, but also complex. To that end, the elevated story makes this show worth watching.


Until 6 March 2026


www.highnoontheplay.com

Photos by Johan Persson

2026

“Dressing Gown” at the Union Theatre

After a successful run at the Tabard Theatre, Andrew Cartmel’s farce has relocated to Southwark to provide more laughs and light relief. The suitable silly premise has a theatre director who can’t get dressed because his producer, writer and leading lady won’t leave him alone. Each interrupts his precious Sunday morning: accusing him of having an affair, gossiping about him having an affair, or trying to start an affair with him. And the poor man has a play to put on!


Of course it’s predictable (that’s part of the comedy), and it pushes credulity to the limit, which some people really don’t like. But Cartmel’s script is well written and he has some good lines. The physical comedy is minimal – there are no slamming doors and only one race around a sofa (which is a bit disappointing), so you can imagine the show as a radio play a little too easily. Nonetheless, director Jenny Eastop has done a great job injecting energy into the piece and keeping the action swift.


A top-notch cast makes the most of it all. Leading man Jamie Hutchins allows exasperation to get the better of him, but only a couple of times. And he is great at showing the too-smooth director’s conniving edge. Ryan Woodcock is credible as his nice but dim producing chum – it’s a sweet touch to make him so believably in love. Even theatre producers have hearts you know. Freya Alderson, as the temperamental writer with a hearing difficulty, does ditzy well, so it’s a shame this is the weakest role. In my opinion, Rosie Edwards takes the gold as a needy actor with some very odd ideas about revenge as she made me laugh the most. But you’re welcome to disagree and speculate about which character you identify with the most.


There’s a lot of fun around these theatrical types and the play they are struggling with. The conceit adds a neat layer to the drama. Yes, of course they are stereotypes, and rather retro ones at that. Some of the views expressed seem a little, well, 1970s. It’s part of an old-fashioned feel to the whole piece that is a little puzzling. I’m not sure if this is a knowing nod to the tradition of sex comedies or an endearing oddity. Not that it matters, Dressing Gown is entertaining and well executed.


Until 23 January 2026

www.uniontheatre.biz

2025

“Bengal Tiger at the Baghdad Zoo” at the Young Vic Theatre

It is to playwright Rajiv Joseph’s credit that his absurdist war drama packs a punch. Set just after the Gulf War, with Saddam Hussein and his sons dead, the piece focuses on the aftermath of bombing and is filled with ghosts. There is plenty that is powerful but, regrettably, not quite enough that is credible. While the mayhem and the murder around the conflict is clear, not enough time is spent on anyone’s motivation for the piece to convince.

Ammar Haj Ahmad plays a gardener turned translator for the army, troubled by the ghosts of his sister and Uday Hussein, who he used to work for. Patrick Gibson plays a soldier who comes to be haunted by his comrade, played by Arinzé Kene, after the latter has a nervous breakdown because he, in turn, is haunted by the tiger of the title. Director Omar Elerian manages to make the story clear, which is no small achievement, and the supernatural elements are staged well. But there are too many actions and responses from characters that don’t quite make sense.

The stories are interesting and the elements of horror intriguing. Lots of people lose a hand. There’s no need to go into details. It is fair to say that the play deals with extremes but, at times, the cast struggle with this intensity. In their respective roles, Haj Ahmad can show little more than anguish and Gibson only has anger to offer. Kene has a happier time of it as his character changes after death to become a polyglot intellectual – the alteration is handled with confidence but, again, it leaves too many questions.

The most notable spectre is the tiger himself, the most interesting character by far, and the play lags too much when he isn’t around. In the afterlife, the tiger becomes philosophical and brings a lot of discussion about nature and religion to life. Peter Forbes is fantastic in the role, his achievement all the more impressive given that he took on the part at the last moment (due to the indisposition of David Threlfall and after Kathryn Hunter filled in on press night).

Forbes gets laughs too but, overall, there are problems with the play’s humour. Not that it is too dark, which is to be expected, but that it is repetitious. Sayyid Aki has a good go at Uday, his caricature bringing a welcome break in the pace. But too much time is taken up with crudity and poor jokes about language differences. The problem is in keeping with a script that is too laboured, even if Elerian does a great job of injecting speed.

It isn’t that the metaphors here are bad, more that they are overused. I guess it’s easy to counter that there is nothing subtle about war. But Joseph struggles to tell us anything new. That war is bad and trauma has an impact are important lessons, but ones few can say they haven’t heard before. The frustration is that nobody seems to listen. I think the tiger would agree – but Joseph doesn’t explore this.

Until 31 January 2026

www.youngvic.org.uk

Photo by Helen Murray

2025

“Oh, Mary!” at the Trafalgar Theatre

Revising history has never been as much fun as this ridiculous reimagining from Cole Escola featuring Mary Todd Lincoln in the days before her husband’s assassination. The huge Broadway hit is a hoot – who knew the president’s wife used to be a showgirl? The former cabaret star is now a frustrated first lady and, to distract her Abe hires an actor to give her drama lessons. A romance starts, but Mary loses her lover. And her mind. Actually, that went long ago.

Mary is a monster, albeit an appealingly vivid one. Her flaws make her sympathetic and the lack of self-pity is refreshing but, make no mistake, she is every vice combined. This is a tremendous role that exercises every comedic skill. For this London premiere, Mason Alexander Park makes the most of Mary, refusing to hold back and getting to show off their voice in the startling – hilarious – finale.

While Escola has written a great star vehicle, smaller roles, such as Mary’s chaperone or her husband’s assistant, allow Kate O’Donnell and Oliver Stockley to also shine. The always excellent Giles Terera plays Lincoln and, while the play just calls him ‘Mary’s Husband’, he gets time in the spotlight. Terera scores a lot of laughs at Lincoln’s guilt about being gay – it really is a giggle. Finally, to avoid spoilers, let’s just say there’s a lot going on with that acting tutor. Dino Fetscher is perfectly cast and does a great job.

A lot of the jokes come from the historical figures swearing or having sex – the play is very rude. There are also plenty of gags about alcoholism and depression… and how ignorant Mary is. It’s all rather childish and stupid, so lots of it probably shouldn’t be funny. And I cannot understand why referring to a portrait of George Washington as her mother works so well. It really is a laugh a minute. 

The brilliantly exaggerated movements in director Sam Pinkleton’s production are part of the superb physical comedy. The lighting design from Cha See and costumes from Holly Pierson excel at aiding the humour. Mary’s hoop skirt deserves its own round of applause. 

The theatre itself is a big joke, too. And there’s a challenge here. Leaning into ‘low’ comedy and cabaret, it could be tempting to dismiss the play, especially with its sketch-like structure. But the short scenes end with plenty of punchlines that surprise and have an emotional edge. The action builds nicely to the night of Lincoln’s death – in a theatre, of course. And if you’ve never wondered who shot who, then perhaps you should?

Until 25 April 2025

www.ohmaryplay.co.uk

Photo by Manuel Harlan

2025

“Into The Woods” at the Bridge Theatre

Stephen Sondheim’s masterpiece deserves VIP treatment every time it is staged. Thankfully, director Jordan Fein steps up with this latest revival. A mash-up of fairy tales with a contemporary sensibility, very much for an adult audience, the piece is the gold standard for musical theatre. It should never be missed, and Fein’s respectful, conscientious, approach makes it a sure hit as well as a true pleasure.

The chance to see Little Red Riding Hood, Cinderella, Rapunzel and others interact provides plenty of laughs. Alongside their stories getting confused, the characters’ self-awareness adds a layer of metatheatricality that’s a long way from the Brothers Grimm. As well as being smart, this is a laugh-out-loud musical. But there’s poignancy, too, with its exploration of parenthood and what people –full of both hope and fear – wish for.

At the centre of the show are a Baker and his wife – it is their hope for a child that starts the action. Jamie Parker and Katie Brayben make a fantastic couple, showing us the stress in their characters’ relationship as well as the commitment they share. There is also a very strong performance from Jo Foster as Jack (of beanstalk fame) bringing tremendous energy to the role and tackling his puppet pet cow so well the animal almost steals the show. Nonetheless, leading the way for both comedy and tragedy is Kate Fleetwood, who plays the witch. Of course, in a show about fairy tales, it’s a starring role. But Fleetwood really does shine. Every moment is considered, the smallest gesture getting a laugh. Her singing is marvellous and, in the numbers addressed to her adopted daughter, heart-wrenching.

There is terrific support from Oliver Savile and Rhys Whitfield, who play the royalty in the show – their enthusiasm is contagious. The production is, almost, faultless. The priority for Fein is the acting skills his cast brings, so there are a few instances when you might wish for stronger singing. But there are fine voices here, including the excellent Gracie McGonigal, Bella Brown and Chumisa Dornford-May. Best of all, you can hear every word sung. Since Into The Woods has the cleverest lyrics – they are a benchmark to judge others – this is essential and it makes the production a pleasure at every turn.


Until 30 May 2026


www.bridgetheatre.co.uk


Photo by Johan Persson

2025

“Ride the Cyclone” at the Southwark Playhouse

This Canadian musical from 2009, by Jacob Richmond and Brooke Maxwell, arrives in London with fans primed and a cast that knows how to work the crowd. You can appreciate why people are keen. The whole thing is quirky, with lots of good songs and very clever lyrics that allow performers to show off their talent. Arguably, it’s a little too kooky for its own good, perhaps not as funny or as profound as it wants to be. But a fear that some will be offended by that assessment tells us something has gone right – cult is an overused term, but this show deserves it.

The scenario is just strange. After the members of a school choir die at a fairground accident a fortune-telling automaton (a predictably unforgiving role for Edward Wu) tells them they must decide which one of them can return to life. As if a cue were needed, each of the teens gets the chance to sing, including a Jane Doe who lost her head in the accident. It’s all a little too morbid and a touch predictable… but if you find it intriguing, then fair enough.

The contents of the show, though, are good. The songs are varied and full of surprises. The lyrics contain unexpected twists. All the numbers are more than catchy – they are worth listening to again and again. Sentimentality is kept in check and there are lots of ideas on offer. If the score doesn’t hold together – it’s more a collection of strong songs – then the show makes a virtue of that.

Director and choreographer Lizzi Gee’s production does well with the small stage and makes up for technical limitations with inventive touches. The sound needs to be bigger, the dancing sharper. But the performances are super. The sextet – Baylie Carson, Grace Galloway, Robyn Gilbertson, Damon Gould, Bartek Kraszewski and Jack Maverick – sound great and make their characters fulsome. Each gets a well-deserved rapturous response. Smart touches (extra points for a kazoo) and plenty of humour make Ride the Cyclone a neat surprise. But it is the atmosphere that really makes the show worth a spin.

Until 10 January 2026

www.southwarkplayhouse.co.uk

Photo by Charlie Flint

2025

“The Spy Who Came in from the Cold” at the Soho Place Theatre

There can be few complaints about this new show, arriving in London via the Chichester Festival Theatre. It’s as solid a four-star affair as you could wish for and, based on the great novel by John le Carré, makes for high-class, intelligent entertainment.

If you don’t know this famous twisty spy story, with its intricate plot and triple crosses, then you’re in for a treat. If you’re already a fan, you’ll love seeing favourites such as Alec Leamas and George Smiley brought to life. There are villains, Gunnar Cauthery’s Mundt is a great one, but it’s the complexity of the characters that everyone loves.

Le Carré was a master at showing the psychology and moral implications behind spying. The production enjoys focusing on these, indicating the strain Leamas is under as the scenarios play out in his head, and emphasising the role of his innocent girlfriend, Liz, who is accidentally caught up in a world that isn’t just murky – it’s downright dirty.

The talented cast respond positively to depth of their characters. It is no small praise to say John Ramm makes Smiley his own (and a small cameo during the play’s trial scene makes this is a great show for him). Rory Keenan is fantastic as Leamas, more heroic than I imagined but convincingly troubled. The chemistry with this love interest, portrayed by Anges O’Casey, is terrific. 

Surprisingly, this is the first time Le Carré’s work has been adapted for the stage. Of course, the film and TV versions of his work are famous. And you might argue that the excellent radio adaptations (with Simon Russell Beale) are the best. But adapter David Elridge has done a faithful job that allows newcomers to follow the action and fans to give their approval. It’s respectful rather than inventive, but that is sensible when working with such quality material.

The whole creative team add light touches to enforce theatricality. Paul Englishby’s music might be a bit light and, given how sparse the staging is, Max Jones’ set still comes across as fussy. Director Jeremy Herrin gets the final praise for dealing with theatre in round so superbly, making the action fluid and fast moving – and allowing a neat irony. These spies have nowhere to hide, despite the story being one of subterfuge.

Until 21 February 2026

www.spyonstage.com

Photo by Johan Persson