Bath Forum – 17th May. Touring until 8th June 2025

Reviewed by Jacqui Radford

4****

After a ‘break in service’, Strictly Come Dancing stars, Aljaž Škorjanec and Janette Manrara are back on tour. Promising ‘A Night to Remember’, the show is big on dance, big on music and big on energy. It is a show that appeals to dance fans and big band lovers alike.

As you would expect, Aljaž and Janette have incorporated classic Latin and Ballroom dance into the show and their routines; fulfilling anticipation for stalwart fans and acknowledging the effect that ‘Strictly Come Dancing’ has had on UK audiences. However, they have also incorporated opportunities for more dance styles and new stars to showcase their own style and interpretation. Contemporary, Lindy Hop and even Tap dance are featured, supporting their stance that all styles of dance should be celebrated. The supporting dancers embraced the occasion and brought high energy to the stage; the only downside being that we saw less of Aljaž and Janette.

The live music is held together by Tom Seals with his ‘boogie woogie’ style, his live band and singer Jill Marie Cooper. The combined group provide incredible Jazz and Blues style music for songs that include Frank Sinatra classics, Elvis, Michael Jackson and more recent tunes such as Benson Boone’s ‘Beautiful Things’.

Aljaž and Janette have picked out the ‘best in the business’ to support them to deliver a show that feels like a huge jazz bar celebration. They clearly love what they do, have a deep connection with each other and huge respect for the contribution that live music makes to live dance performance.

The show celebrates big band music, a full range of dance styles and ultimately the joy and extra dimension that combining live music and dance brings to a night out. The promise of ‘A Night to Remember’ is fulfilled. All that is missing is a promise that Aljaž and Janette will be back with more shows this year!

Royal and Derngate Theatre Northampton – 17th May 2025

Review by Amanda Allen

5*****

The Birmingham Royal Ballet’s latest initiative, BRB2: Diaghilev and the Birth of Modern Ballet is Carlos Acosta’s Ballet Celebration, its designed to spotlight rising stars and delivers a double bill that pays homage to ballet’s transformative past while celebrating its dynamic present. The production is a tightly curated journey through the revolutionary works of the Ballets Russes, the early 20th-century company that redefined the art form. Visually rich and stylistically diverse, the program includes faithful renditions of iconic pieces like Les Sylphides and Le Spectre de la Rose. These works not only demonstrate the dancers’ versatility but also contextualize Diaghilev’s influence as a curator of innovation.

The programme opened with a rendition of Les Sylphides, a Classic, fluid and emotive start. The dancer’s glide across the stage with serpentine grace, their bodies echoing the sensibility that Acosta has championed in recent years. The choreography is sculptural and organic, pushing the dancers beyond classical confines while highlighting their adaptability. Performed in a beautifully classic style this was an excellent introduction to an afternoon of sublime movement.

The second half opens with “Sheherazade”, a bravura pas de deux that demands both explosive power and classical precision. Here, the lead pair deliver a dazzling performance, with secure pirouettes, immaculate lines, and commanding stage presence. It’s hard to believe these dancers are still at the start of their professional careers. The rest of the Second half showcased a vibrant selection of short works that highlight the versatility and commitment of the young dancers. From the very first piece, the ensemble demonstrates maturity beyond their years, with technically secure performances underscored by emotional depth. There’s an infectious passion on stage — a clear sign that Acosta’s nurturing influence and global vision have left an indelible mark on this next generation. The standout performance for me was The Firebird, which crackled with bold colour and precise foot work. The young BRB2 dancers rose to every challenge, embodying the mythical with astonishing control and nuance. Their energy was infectious, bringing fresh perspective to century-old choreography.

The entire programme was beautifully fluid, offering many a shift in tone and style. Acosta’s curation shows excellent classic choreography with a young ensemble at its best, reinforcing the importance of heritage in ballet, while also making a bold statement about its future. What sets this performance apart for me is not only the calibre of dancing but the palpable sense of purpose. BRB2 is not merely a showcase; it is a statement — an investment in the future of British ballet. The dancers’ commitment and potential shine through in every phrase, and the audience is left with the sense that they are witnessing stars in the making.

The staging and set designs are simple but elegant with lighting and costume choices that allow the dancers and choreography to remain the central focus. The programme moves at a brisk and satisfying pace, never lingering too long on any one mood or style making for a performance that ended far to soon for me. This is a wonderful way to introduce a new audience to the classical style of ballet with a contemporary twist, and I would encourage anyone to go along and see it if you can because by the time the curtain fell, it was clear that BRB2 is more than just a training ground — it’s a launchpad. Carlos Acosta’s vision is as inclusive as it is inspired, and this Ballet Celebration proves that the future of ballet is not only secure but scintillatingly bright.

Almeida Theatre – until 7 June 2025

Reviewed by Claire Roderick

4****

Henry VIII’s wives have been reimagined as wisecracking pop divas, and now Ava Pickett explores the lives of “everyday” women as Henry bends the world to realise his dynastical aspirations.

Three friends meet up in a field in Essex, Anna (Siena Kelly) – wild and unafraid to use her sexuality, Jane (Liv Hall) – less worldly and determined to be a good girl, and Mariella (Tanya Reynolds) – unable to marry the man she loves and hating her life as a midwife. It is clear from the beginning that this field is the only place that they feel free to share their true ideas and be themselves. When Jane runs frantically to tell Anna the news from London about the king, Anna isn’t interested as she thinks it will not affect her life. When the news turns out to be that the king has arrested his queen Anne Boleyn and charged her with treason however, the women react with disbelief and trepidation.

What follows over the period up to Anne Boleyn’s execution is a chilling story of the men around them becoming emboldened as they cite Anne Boleyn’s alleged crimes and paint her as the Whore of Babylon who bewitched their saintly king. The misogyny and hypocrisy of the respectable men of the town becomes increasingly dangerous for each woman in different ways. Anna – the most obvious parallel with Boleyn is wanted and hated by the men. She is a wanton shameful woman, but the men who have slept with her are blameless. Jane – the good girl like her queenly namesake – does exactly what is expected of her, pious and good, but discovers that this doesn’t bring her happiness, and Mariella lives on a knife edge, knowing that her midwifery is a dangerous job where the death of a baby or mother could have terrible consequences for her.

Although the town’s men are talked about, only two appear in the play. Richard (Adam Hugill), who meets up with Anna for sex in the field but marries another woman, and William (Angus Cooper), Mariella’s love who made a better match but obviously still cares for her. These men are written very cleverly, with Richard very obviously reflecting the general attitude towards girls like Anna, and William’s gentle nature cracking to reveal the anger and suspicion simmering beneath the surface.

This all sounds a little hard going, but Pickett has written sparky and irreverent dialogue for the three women. The lifelong friendship is believable through what is left unsaid between them, and the actors’ chemistry is utterly beguiling. They speak with modern rhythms and sound like three girls chatting at a bus stop except their topic of conversation is survival in a hostile time. The laughs come thick and fast, with lots of gallows humour about the horrific reality of their lives that cast a light on the unchanged attitudes of modern society.

Liv Hall is funny and sweet as Jane, but excels as her darker, steely will to survive emerges. Siena Kelly shines as Anna, never still and embodying the sense of being trapped in this unfulfilling existence, but her fire and fury never quite builds up her courage to move on. Tanya Reynolds is devastatingly sad and strong as the tragic Mariella – the anchor of the trio.

Lyndsey Turner directs with heart and urgency as Jack Knowles’s bucolic yet threatening lighting creates a sense of time on Max Jones’s set. The sudden loud between scenes are a little jarring but build tension.

A stunning debut from Ava Pickett – 1536 is a darkly funny and disquieting slice of Tudor life.

Jack Studio Theatre – until 17 May 2025

Reviewed by Claire Roderick

4****

This scintillating revival of Nick Payne’s beautiful love story is staged with a beautiful simplicity.

Beekeeper Roland (Freddy Williams) and physicist Marianne (Costanza Pucci Di Montaltino) meet at a barbeque. Their relationship plays out through multiple possibilities and universes towards a tragic end. Payne’s exploration of the effects of a different choice or chance can have in life cleverly portrays varying iterations of Roland and Marianne’s relationship in multiple universes. Dialogue is repeated with different outcomes or attitudes, there are some humorous dead ends and a darker vision of the future.

George Derry’s precise and insightful direction keeps the premise clear, with the simple but wonderfully effective use of hanging mirrors reflecting the actors and audience a visual reminder of the multiple possibilities at any given time. (Although Marianne also explains that time doesn’t exist at an atomic level so their love will endure.) Summer Keeling and Tasmin Wickmerante’s lighting signals changes in universes clearly and the intimacy of the space makes the production more heartbreaking as the couple’s stories evolve.

Freddy Williams is a warm and lovable Roland, playing wonderfully against Costanza Pucci Di Montaltino’s initially more standoffish Marianne. They play the awkwardness with great humour, and Marianne’s gradual mellowing as she becomes more comfortable (in some universes) is delightful. The actors’ chemistry is astonishing, the pair portray the excitement, silliness, frustration, anger and despair of the characters in a beautifully natural way, never veering into melodrama. Both shift body language and vocal tone with masterful subtly as the play shifts between universes, and the result is captivating.

Hampstead Theatre, London – until 7th June 2025

Reviewed by Celia Armand Smith

3***

Richard Bean’s 2010 adaptation of David Mamet’s House of Games brings the intriguing world of con artists and scammers to the Hampstead stage. There is a reason why podcasts and documentaries about people who inhabit this (of late largely online) space are so popular and Jonathan Kent’s production is a fun look at this world of devious thrills. .

In a bright tidy office, we meet Margaret (Lisa Dillon), a famous psychiatrist who is in session with trust fund kid turned gambler Billy (Oscar Lloyd). Billy is waving a gun around and talking about the shadowy world of the House of Games where he has racked up huge debts. Margaret, in need of new material for an upcoming book deadline does what anyone would do in this situation (?!) and decides to go and investigate. She goes down to the seedy dive bar, and it’s here we meet Mike (Richard Harrington) and his charismatic ragtag bunch of poker playing pals. There’s Bobby (Andrew Whipp) the hopeless Hell’s Angel bartender, George (Sion Tudor Owen) the sweary drunk distraction, and Joey (Robin Soans) the put together elderly gent in a suit and tie. As soon as she arrives to clear Billy’s debt, Margaret is drawn into the exciting world of confidence tricks and though she is there just to observe, she’s all in and the game is afoot.

Richard Bean’s adaptation does a commendable job of translating screen to stage especially in the utilisation of Mamet’s pacey dialogue and there is a feeling of low level peril throughout. It is however Ashley Martin-Davis’ split level set that is the star of the show. With fun little details in every corner, Margaret’s office is complete with Peter Mumford’s noir shutter blind lighting. The cleverest trick of the show being the switch from bar to office and back again.

At 100 minutes straight through, the pace doesn’t quite manage to maintain throughout, and what should be an exciting final reveal tails off with a dragging predictability. There is some great comic work from the gang of low level criminals, but it seems that this comes at the expense of some emotional depth.

Overall, House of Games is an entertaining evening. It’s clever, stylish, and slick, and no matter what the setting or the platform, I will always enjoy a tale of conmen, scammers and grifters.

Old Red Lion Theatre – until 24^th May 2025

Reviewed by Ben Jolly

4****

The Sociable Plover returns to the Old Red Lion Theatre in a triumphant twentieth anniversary production. The two-hander thriller by Tim Whitnall premiered in June 2005 in the perfectly rustic and intimate space in Islington, subsequently going on to tour the world before returning to the scene of the crime from whence it sprang.

Avid bird watcher and The Weakest Link enthusiast, Roy Tunt is just one sighting away from completing his list of every bird species recorded in Britain. On this thunderous, cold December morning, he has decided that with the perfect conditions in place, today will be the day he succeeds in fulfilling his life-long goal. That is, until mysterious stranger, Dave arrives in a flash of thunder to invade both Roy’s space and mind. What follows is a thrilling and witty two-hander peeling back the layers and back stories of these two individuals, gaining insight into their history and psyche, resulting in dramatic conclusions.

With a closed space and time setting, this pressure cooker of a play does not disappoint with its eerie psychological setup and humorous dialogue. As with any two-hander, the balance in chemistry between the two leads is crucial. Calum Lill as Dave executes the spot-on realism with a clean precision that is required for the space. He discovers every nuance and emotional beat within the material and has the ability converse with matter-of-fact suave only to raise the stakes within a single breath when the plot calls for. Jack Robertson is immensely charismatic in his portrayal of Roy; his characterisation choices result in a wonderful and loveable amalgamation of Hyacinth Bucket and Roy Cropper. The performance from Robertson sometimes overshadows Lill’s more nuanced performance resulting in a shift in balance throughout, however, the two actors are eventually in-sync as the play reaches the denouement.

Under the direction of Christa Harris, this wonderfully paced and concise 70-minute play never lingers or dwindles. Every moment is both necessary and entertaining, successfully delivering a truly nail-biting theatrical evening.

Hampstead Theatre, London – until 7th June 2025

Reviewed by Celia Armand Smith

3***

Richard Bean’s 2010 adaptation of David Mamet’s House of Games brings the intriguing world of con artists and scammers to the Hampstead stage. There is a reason why podcasts and documentaries about people who inhabit this (of late largely online) space are so popular and Jonathan Kent’s production is a fun look at this world of devious thrills. .

In a bright tidy office, we meet Margaret (Lisa Dillon), a famous psychiatrist who is in session with trust fund kid turned gambler Billy (Oscar Lloyd). Billy is waving a gun around and talking about the shadowy world of the House of Games where he has racked up huge debts. Margaret, in need of new material for an upcoming book deadline does what anyone would do in this situation (?!) and decides to go and investigate. She goes down to the seedy dive bar, and it’s here we meet Mike (Richard Harrington) and his charismatic ragtag bunch of poker playing pals. There’s Bobby (Andrew Whipp) the hopeless Hell’s Angel bartender, George (Sion Tudor Owen) the sweary drunk distraction, and Joey (Robin Soans) the put together elderly gent in a suit and tie. As soon as she arrives to clear Billy’s debt, Margaret is drawn into the exciting world of confidence tricks and though she is there just to observe, she’s all in and the game is afoot.

Richard Bean’s adaptation does a commendable job of translating screen to stage especially in the utilisation of Mamet’s pacey dialogue and there is a feeling of low level peril throughout. It is however Ashley Martin-Davis’ split level set that is the star of the show. With fun little details in every corner, Margaret’s office is complete with Peter Mumford’s noir shutter blind lighting. The cleverest trick of the show being the switch from bar to office and back again.

At 100 minutes straight through, the pace doesn’t quite manage to maintain throughout, and what should be an exciting final reveal tails off with a dragging predictability. There is some great comic work from the gang of low level criminals, but it seems that this comes at the expense of some emotional depth.

Overall, House of Games is an entertaining evening. It’s clever, stylish, and slick, and no matter what the setting or the platform, I will always enjoy a tale of conmen, scammers and grifters.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 17TH MAY 2025

REVIEWED BY MIA BOWEN

5*****

Paula Hawkins’ novel, The Girl on the Train, truly took the world by storm, shifting over 20 million copies and even sparking a Hollywood film with Emily Blunt in the lead! It’s been a while since we’ve seen a psychological thriller reach such heights. I’m usually of the mind that many beloved books are better left untouched, as adaptations can sometimes miss the mark. Yet, the collaboration between Rachel Wagstaff and Duncan Abel is a refreshing exception! Their writing delivers an engaging and complex story while adding a delightful theatrical twist. The visual elements and dramatic intensity bring the narrative alive in a way that only live performances can. This production keeps you on the edge of your seat, as the characters’ captivating twists and turns unfold. It will keep you guessing until the final moment, just as much as the book does. It’s a truly gripping mystery that is sure to enthral everyone!

The story centres around Rachel Watson, portrayed by Louise Lytton. As a divorcee who struggles with alcohol, she rides the same train each day, often spotting the home she once shared with her ex-husband, Tom, played by Jason Merrells. She finds herself captivated by a seemingly perfect couple she glimpses from the window. However, everything changes when the woman goes missing, and Rachel gets caught up in the investigation, with her hazy memories making things even trickier.

Lytton beautifully showcases Rachel’s inner battles and the shifts in her understanding, making her character feel really rich and relatable. Her ability to express Rachel’s feelings of confusion and turmoil stands out, adding such depth to the whole production and making it truly captivating.

Natalie Dunne, playing Megan Hipwell, and Samuel Collings as Scott Hipwell were fantastic in their roles! Dunne brought a beautiful mix of delicacy and strength, really shining in every flashback moment. Her unexpected disappearance kickstarts the entire story. On the other hand, Collings gave a gripping performance filled with grief and intensity. His character’s strong emotions make him a crucial part of the mystery, leaving everyone wondering whether he is innocent or hiding something darker. It’s a captivating experience for the audience!

Adam Wiltshire has created a lovely minimalist set for the performance, complete with video screens and a charming backdrop of rain that adds a wonderful atmosphere. The stage may have a dark and moody vibe, but the cast is always beautifully illuminated, showcasing their talents. I was curious about how the train journeys would be depicted, but the clever use of lighting on the stage floor really brings those moments to life, making it clear when Rachel is on a train. Jack Knowles’ lighting is simply brilliant, adding movement and intrigue with such an innovative approach—it’s truly impressive!

This adaptation, directed by Loveday Ingram, brings the gripping story to life on stage, offering a fresh perspective on the tale of obsession and mystery.

Leeds Grand Theatre – until Saturday 17 May 2025

Reviewed by Sal Marino

5*****

James Graham’s stage adaptation of Alan Bleasdale’s 1982 television series Boys from the Blackstuff, directed by Kate Wasserberg,  authentically  portrays working-class life in 1980s Liverpool. This brilliant production effectively captures the original’s moving depth and relevance.

Graham’s adaptation weaves together the narratives of the main central characters—Yosser (Jay Johnson), Dixie (Mark Womack), Chrissie (George Caple), Loggo (Jurell Carter), and George (Ged Mckenna)— as they all try to survive in Thatcher’s Britain.  Bleasdale’s original episodic structure is transformed into a collective experience for the stage instead of individual stories – and it works really well!  The tragic death of Snowy, a character from the original series, serves as a central motif and this is entwined within the characters’ individual odysseys whilst highlighting the themes of loss and community. 

Jay Johnson’s portrayal of Yosser Hughes must be praised for its intensity and child-like vulnerability. His performance captures the character’s internal turmoil that’s covered up with aggressive bravado. Caple’s Chrissie offers a multifaceted depiction of moral conflict, while Womack’s Dixie adds further complexity to the group. Under Wasserberg’s direction, the production balances humour with serious issues that keep the audience engaged.

Amy Jane Cook’s set design brilliantly captures the industrial backdrop of Liverpool, with towering gantries and gritty textures that ground the narrative in its socio-economic landscape. Jamie Jenkyn’s video projections enhance the setting, with the Mersey in the backdrop and the sad demise of Snowy. In between scenes, the crowd ensembles work together smoothly and add a rhythm and a beat that makes the whole production flow.  

James Graham’s Boys from the Blackstuff is a compelling adaptation that pays homage to Bleasdale’s original whilst introducing the story to a younger generation. It takes us on a journey of exploration in times when unemployment was rife and looks at how individuals and a community dealt with it.  Boys from the Blackstuff is an important piece of contemporary theatre as it gives us a glimpse of cultural history that is both entertaining and educational.   

Theatre Royal, Windsor – until Saturday 17th May 2025

Reviewed by Carly

4****

Windsor brings you (This is not a) Happy Room, a new play by Rosie Day, directed by Hannah Price.

It’s tells the story of the three Henderson siblings, who are meeting up in Blackpool at a hotel function room that has seen better days, for their father’s third wedding in which they feel will be just as unsuccessful as all the others.

One by one they begin to arrive at the venue and its clear to see that their relationships seem somewhat fractured.

You have Laura (Andrea Valls) the eldest daughter, who brings along her long suffering husband Charles (Tom Canji) and their newborn daughter along for the ride, or should I say rollercoaster seeing as they’re in Blackpool! She’s a successful Human Rights lawyer, who’s used to being in control!

Then arrives Simon (Declan Baxter) the brother who’s a hypochondriac who believes he’s going to die and insists all his issues are medically documented although his family believes otherwise.

The last of the siblings to arrive is Elle (Rosie Day). She’s a successful actress that has flown in from LA and seems to be the wild child out of the three, who’s harbouring her own dark secrets!

The last  to arrive being their Mum Esther (Amanda Abbington) wife No 1 who is purely there to stick her oar in and to let the new wife know she should “run whilst she can”, using the excuse of driving the Grooms Aunt Agatha (Alison Liney) to the wedding. Agatha likes to chat about their dad’s life growing up exposing secrets from his past, as well as forgetting about the present time and why she’s actually there!

But as the day goes on there seems to be no sign of the Bride and Groom! With everyone now complaining that it’s just typical of their fathers character to be late for his own wedding rehearsal dinner. Only for them to find out the devastating news that their father has been in a terrible car crash and has passed away!

Now leaving them the only option of not wasting the venue but instead turning it into his memorial telling guests on their arrival!!

All their hidden secrets and repressed memories and feelings combined together create a funny yet honest  portrayal of the dynamics of family life.

The cast done exceptionally well with such an eray of complicated characters, moving seamlessly from quiet serious moments and topics to light humour.

The stage was simple yet effective of a hotel function room with minor changes to signify the move from wedding to memorial service.

All in all a very complexed play that’s well worth a watch.