This is a circus that is keen to impress, to keep tradition alive but also to innovate and exceed expectations. I would recommend catching Circus Sallai where you can.
A Knight’s Tale takes itself far too seriously, missing a camp comedy open goal in its attempt to be intelligent – it’s well sung, but everything else leaves a lot to be desired.
The strengths of The Rise & Fall of Little Voice will always flow from the young woman playing LV and in Sarah Louise Hughes, director Michael Strassen has unearthed a gem.
Pigspurt’s Daughter is a kaleidoscopic, one-woman show in which Daisy Campbell takes the audience on a journey through the life of her father, the theatre legend Ken Campbell.
The Finborough specialises in producing neglected plays and they don’t get more neglected than Robert Graves’ But It Still Goes On: written in 1929 but never previously performed.
Locked Up, a tense two-hander, is both the professional London debut of writer Heather Simpkin and the first full-length play from emerging theatre company Bear in the Air Productions.
Overall, End of the Pier is a sharply observant play that is transformed into a compelling production that makes the audience sit up and pay attention.
A Monster Calls is billed for ten years old or more, and its protagonist is a boy of 13. But be warned: this Old Vic young adult summer special is no cosy Lorax.
Directed by Jess Williams and Sareen, Other People’s Teeth addresses the notion of being paid to hurt and kill people, yet still holding down a meaningful relationship.
