Frances Barber gives one of the performances of the year (yes I know it is only February) as Billie Trix in Musik, reuniting with Jonathan Harvey and the Pet Shop Boys.
Although Time and Tide ends on a hopeful note, it is not sickly sweet. The characters’ coming out and coming of age stories are grounded in the joys and disappointments of real life. The ending is just right for the characters.
Alexis Gregory’s script for Sex/Crime takes an uncomfortable glance at our obsession with serial killers, sexual violence and 21st century homosexuality.
In this touring production of Beautiful, following on from lengthy London and Broadway runs, Daisy Wood-Davis plays Carole King from innocent 16 year old with enviable talent to an older and wiser woman.
Presented by company Holy What, playwright Lulu Raczka’s reimagining of Sophocles Greek tragedy Antigone, uses an all-female cast.
As an insight into a member of society failed by systemic stupidity and social illiteracy, Athena Stevens’ new play Scrounger is particularly relevant.
Still, if you don’t mind the preachiness or the admonishment, The Wind of Heaven boasts a suitably earnest cast and fine staging.
What makes Crisis What Crisis special is the strong storyline and convincing performances in combination with game play.
Adapting a multi-generational family saga for the small stage takes ambition, confidence and knowing just where to cut, The House of the Spirits has all three covered.
With a few modern updates, this new interpretation of the Cinderella story in Soho Cinders boasts several top notch musical theatre ballads.
Chemistry is an at times unsettling, but always compelling evening. It humanises the stigmatised and touches the soul using a wonderdrug – intimate performance.
Lorna Dallas is the essence of old school cabaret distilled. She oozes glamour and combines the look of Blanche Deveraux with a spirit of a proper Illinois broad.
Presenting a revival of Ben Elton’s early 90s environmental farce Gasping in The Space, located just minutes from Canary Wharf, is appropriate.
Wunderkind actor-writer Arinzé Kene (how can one man be so talented?) knocks it out of the park with the revival of his 2011 play Little Baby Jesus.
After a run at the Southwark Playhouse, Afterglow, S. Asher Gelman’s story of polyamory in modern American, returns with a new cast.
The Knock Knock Club (Reece Connolly, Christopher Keegan, Caroline Buckley) investigate the venue and present their findings in Last Orders, as part of the London Horror Festival.
Jeremy Dyson and Andy Nyman’s Ghost Stories has been entertaining audiences since 2010 both on the stage and in a 2017 film adaptation and this revival at the Ambassadors Theatre is a welcome return.
Tom Ratcliffe’s one-man show Velvet follows a tributary of the River Weinstein to the English audition scene – a world of bits parts and capricious agents. Essentially, it’s a riff on the old joke, “who do I have to blow to get this job?”
In terms of performances and book Angela’s Ashes The Musical is a great show and a lovely adaptation of a well loved book. But less so an exceptional musical.
If the devil is in the detail, David Hare’s old polemic against rail privatisation, Permanent Way, is a satanic ejaculation.