Category Archives: 2025

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

2025

“Precipice” at the New Diorama Theatre

There are lots of musicals about depressing subjects. Since director Adam Lenson’s show is set in a struggling post-apocalypse community 300 years after an environmental catastrophe, it certainly ticks that box. Created by new company Timelapse, the piece is an impressive achievement. Trouble is that it’s just too damn disheartening.

The doom and gloom are a shame because the show itself isn’t bad. The scenario of survivors in a tower block isn’t original, nor is the idea of them enacting some kind of ceremony based on a mysterious ‘founder’, but it is executed well enough. Flashback scenes that add a romance (about a young couple who lived in the flats before floods and disease) are also good. But the ceremony involves expelling a community member and the love affair we look back at is falling apart – the grim is relentless. And, I’m sorry guys, but it’s nearly Christmas.

You can argue, of course it’s a downer and be confident pointing out that the future will be bleak. And the company, which isn’t trying to put on a panto, has important points to make about consumption and blame. There’s a sense that this is a show written by a generation that feels lost and fairly sure things are only going to get worse. But that doesn’t make the work itself interesting. Yes, the issues are laid out well, but they are tiresomely predictable. You can admire the attention drawn to things audience members take for granted (a song about sandwiches is a great example), but there’s no relief.

It’s all rather draining – and credit to an amazingly talented cast for not letting it drag them down. The characters are well rounded and the performances strong. Max Alexander-Taylor impresses as a kind of balladeer for the community. Isabella Marshall makes an interestingly flawed leader, while her protégé Piper is a great role for Melinda Orengo. Holly Freeman and Eric Stroud have double roles, swapping from the future setting to our present day with great skill. Everyone sounds great and performs multiple instruments.

Songs connected to the ceremony are the poorest with some deliberately gauche (albeit brave) touches backfiring. But there are good numbers – two after the interval are especially strong – and some inventive touches (such as using a siren as the basis for a number). The score also fits together intelligently. Nothing stands out quite enough, which is a further shame given the creativity clearly present. 

To add to the frustration, Timelapse seems to know you need some hope in a musical. We are shown a sense of community, made to care about the characters and even given a suggestion that life outside the tower block might be possible. Which is a good thing since it looks as if this refuge is about to collapse. But any optimism – and there isn’t a lot – arrives too late. Quite simply, dystopia overwhelms the show.

Until 13 December 2025

www.newdiorama.com

Photo by Alex Brenner

2025

“An Instinct” at the Old Red Lion Theatre

Two men in an isolated cabin who are fleeing a virus makes a neat scenario for Hugo Timbrell’s new play. Making them ex-boyfriends expands the drama and adding a current partner provides twists. An Incident entertains and further impresses by tackling serious topics, of domestic abuse and mental health, in equal measure.

Max and Tom had a messy break up. That they remain emotionally involved is skilfully portrayed by Conor Dumbrell and Joe Walsham who take the roles. It becomes clear the relationship was abusive as Tom dramatizes the virus – the gaslighting is easy to spot but still convincing.

Walsham does a good job of making Tom frightening. You could easily imagine the character as a stalker. But the scenes are best when Tom is calmer, far more chilling. And his slippers are oddly scary too. Dumbrell has a tougher job as the victim. Frankly, it’s too hard to disagree when he is said to be stupid, maybe that’s my prejudice against Tarot card readers. But Dumbrell makes his character endearing and it’s a shame he doesn’t get more time for resolution in a final scene that needs a better build up.

The influence of the Covid lockdown is clear and Timbrell uses it well to make behaviour relatable (didn’t you make banana bread?). It is debateable whether making this virus different might dawn on the audience a little too late. But the sense of panic about contagion is strong writing.

Bringing Tom’s new boyfriend, Charlie, into the mix has, well, mixed results. The play takes a turn towards horror as the character is so deranged. Ben Norris’s portrayal of the part is committed but this “complicated” man needs filling out and the chemistry is lacking. Credit for all the coughing (that’s not easy) but Charlie isn’t frightening enough. Combining the horror genre with big topics is a good idea, but An Incident isn’t quite scary enough. Lucy Foster’s direction could be swifter but deals with the space well and the sound effects help a lot.

Reservations aside, An Incident is a sound four star show. Would someone really use a virus to their own advantage? Of course! Plenty of people don’t distinguish themselves in a crisis. That’s what really scary about Timbrell’s play. Making such a wild story believable is solid work and worth watching. 

Until 6 December 2025

www.theoldredliontheatre.co.uk

Photo by Craig Fuller

2025

“Drifting” at the Southwark Playhouse

Andrew Muir’s bizarre short play is puzzle. It deserves credit for looking at twenty-somethings in such a novel manner, although I’m not convinced it tells us all that much. As one of the many characters states about the ‘Young Man’ the play follows, the piece is cute but odd. Too odd, probably, to really work. But Drifting intrigues and has an impressive, quiet confidence.

Influences buzz around the play, which has the air of a fable, with a bit of Beckett and Kafka thrown in. Our hero, like many other characters he meets, is 26 and stuck in a small coastal town, prevented from leaving, possibly by a mist or fog. A series of contrived encounters – with a stranger, his kind-of-girlfriend, a colleague and a worker from an arcade – baffle. Each entertains, too, but the scenes are slightly too long and overplayed. The Young Man’s dream of making it to the city faces a lot of frankly silly obstacles. At least it’s clear, quickly, that the world of the play is different to one most of us recongnise. It jars with talk of zero-hour contracts and house buying, but the disconnect is different and adds originality on top of the whacky touches.

The execution is not quite even enough. Muir’s direction is good, although the speed could pick up. The playground-style set is highly effective and the lighting design proficient. Taking the lead, Trae Walsh gives a strong performance, balancing the frustration and hope that are clearly Muir’s preoccupations. But some of the other actors struggle a little. Olivia McGrath goes big on mysterious, Yarrow May Spillane channels manic, while Amirah Abimbola Alabere does well at showing someone who has given up on their dream. It would be easy to argue about which strategy works best. And I don’t think I know! But mashed together it makes a confusing, sometimes chaotic play. If the aim was to provide changes in pace, it has failed.

Everyone is on firmer ground when it comes to the comedy in Drifted. Walsh takes a back seat, while his mum, dad and manager – Phoebe Woodbridge, Toby Batt and Lewis Allen respectively – add some lovely comic touches. It isn’t a matter of rolling in the aisles, but it is enough to reassure us that the play, while being about serious stuff, doesn’t take itself too seriously. It’s a fine line and, if Muir loses balance, the effort is admirable.

Until 22 November 2025

www.southwarkplayhouse.com

Photo by Mark Douet

2025

“The Meat Kings! (Inc.) of Brooklyn Heights” at the Park Theatre

It was surely a dream come true for Hannah Doran to win the prestigious Papatango New Writing Prize for her debut play. The piece is a sure and sound choice that benefits from direction by Papatango’s own George Turvey. Set in the cutting room of a butcher’s shop, looking at the lives, loves and hopes of the staff, the story is simple but strong and delivered well.

With the business under pressure (cue nods to gentrification) two apprentices – JD and Billy – end up competing for one job. The lengths they will go to are complicated by an expired visa and a sick mother. The stakes are engaging and there’s a romance with new arrival, T, who is also (ex-convict) Billy’s cousin. So there’s lots of meaty drama to enjoy.

The work-place play is well-trodden ground, sure to remind many of pieces by Lynn Nottage (which is no bad thing). If there are touches of soap opera, it’s all good stuff.  Doran has a talent for filling in back stories and making us care about her characters, who she handles evenly – each of the roles interests and the performers respond accordingly.

If the older characters are slightly less convincing, strong performances ensure their success. It is easy to admire the struggling no-nonsense boss Paula (performed by Jackie Clune) and senior cutter David is an interesting, partly devilish creation that Eugene McCoy makes a lot of. David’s bromance with Billy is full of convincing touches. As for the main lovers, the couple are adorable. Marcello Cruz is a charming JD, while Mithra Malek makes an angry – and deliciously unexpected speech – that’s a highlight for T. The object of her ire is cousin Billy, a role Ash Hunter excels in. The audience when I attended had him marked as the villain… I’m not so sure and my hesitation is a good sign.

Billy’s desperate actions are a fine talking point – linking to the American Dream, of course. The play’s politics arrive relatively late and, if there aren’t surprises, the events are satisfyingly explored and staged well. There’s enough complexity in the emotions we see even to excuse a clunky speech from Paula. The whole play is neat, well-presented and served to perfection.

Until 29 November 2025

www.parktheatre.co.uk

2025

“Othello” at the Theatre Royal Haymarket

David Harewood as Shakespeare’s jealous general proves reason enough to see this new production from director Tom Morris. Having first played the part in 1997, Harewood has a special kind of experience. He is an imposing figure, presenting a dignified leader whose downfall increases in tragedy because of how inexplicable it is. Harewood is flawless. And Morris doesn’t exactly make mistakes. But this production is a strangely tepid affair and, overall, underwhelming.

Continuing the star casting, having Toby Jones as Iago is exciting and his performance is interesting. Leaning into a comic edge for the character is unusual. Iago’s wickedness can be funny (Tom Burn benefits as the dupe Roderigo). And the jokes suit Jones, who also uses an affable persona to good effect – you can see why people trust “honest Iago”. The laughter is too contagious though; there isn’t enough evil or fear around this “demi-devil”. Morris might want to emphasise chance and opportunism – Iago’s sexual jealousy is left out – but this aim is not clear enough.

There are more problems. While none of the acting is disastrous, too much is lukewarm. Caitlin Fitzgerald tries hard to focus on Desdemona’s independence which is, arguably, at odds with much of the text. This Desdemona is far too confident and worldly-wise. It becomes hard to imagine her putting up with much from a husband so the chemistry is lacking. Luke Treadaway’s Cassio is more a plot point than a person and Peter Guinness’ strange sounding Brabantio difficult to understand.

Morris keeps the action quick and that doesn’t leave much room for tension to build. There is help from PJ Harvey with the music, some swanky projections from Nina Dunn and admirable lighting design from Rich Howell. But none of it is used quite enough to make it memorable. More specifically, while the production does pick up, the starting point is timid so impact lacking. 

The death bed scene is strong – Harwood and Fitzgerald are both excellent. And Vinette Robinson’s barnstorming Emilia, an impassioned performance, comes close to stealing the show. It seems appropriate that at the end, her face is projected the same size as Desdemona. But these stylish touches don’t add up to a production that is more than the sum of its parts. It is Harewood’s justified confidence in the role, his beautiful delivery of the verse, that towers above all else.

Until 17 January 2026

www.othelloonstage.com/

Photo by Brinkhoff/Moegenburg