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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.

FIRST VENUES ANNOUNCED FOR A NEW MAYFLOWER SOUTHAMPTON TOURING PRODUCTION OF NOËL & GERTIE

Mayflower Southampton are delighted to announce a new production of the feel-good musical Noël & Gertie which will open at Mayflower Studios in September.

Directed by Mayflower’s Associate Artistic Director, Thom Southerland, the show will run at Mayflower Studios, Southampton from 19 – 27 September, before visiting Leicester Curve and The Grand Theatre Blackpool, with further tour venues and casting to be announced.

A heartfelt journey full of wit, warmth, and nostalgia, Noël & Gertie explores the fascinating friendship between two of the 20th century’s most iconic figures—Noël Coward and Gertrude Lawrence. Audiences will be taken to the glamourous era of British theatre, celebrating the special bond between the playwright and the actress.

Through a series of memories, the golden age of the West End is brough to life, where Noël Coward’s wit and panache for life meets Gertrude Lawrence’s elegance and grace. As well as highlighting their collaborative works, Noël & Gertie explores the personal chemistry that sparked their deep affection and fondness for one another.

Noël & Gertie director, Thom Southerland (Titanic The Musical, Chitty Chitty Bang Bang, The Illusionist) said “I am delighted that we can bring Noel and Gertie’s iconic story to the stage. This is a fascinating story about the lasting friendship between two of theatres biggest icons, with beautiful music throughout. I cannot wait to share this brand-new show that celebrates golden era of theatre with Mayflower and further audiences across the UK in our tour.”

Noël & Gertie features numbers from many Noël Coward works including Private Lives and the classic song, Don’t Put your Daughter on the Stage, Mrs Worthington, join one of the most legendary duos in show business history for an evening of style and elegance.

Mayflower’s Chief Executive Michael Ockwell says “We are incredibly proud to be producing Noël & Gertie and are delighted that the show will be visiting Leicester and Blackpool. This production not only celebrates the timeless brilliance of Noël Coward and Gertrude Lawrence, but also reflects our desire to be producing our own work and launching touring shows from Southampton. It will be a joy to bring this elegant and heartwarming story to life for audiences.”

Tickets for Noël & Gertie (Friday 19 – Saturday 27 September 2025) are on sale at mayflower.org.uk or 02380 711811

Billie Trix is back!

Critically acclaimed MUSIK
by Jonathan Harvey and Pet Shop Boys
starring Frances Barber
returns to London!

Wilton’s Music Hall
14th – 25th October

Six years after its sold out critically acclaimed world premiere at the Edinburgh Fringe and London transfer, outrageous MUSIK by writer Jonathan Harvey and Pet Shop Boys Neil Tennant and Chris Lowe is to return to London.

Billie Trix. Icon. Rock star. Screen goddess. Hedonist. Billie has lived a life of excess and shares it all in her one-woman show. Her journey takes us from post-war Berlin to the rock arenas of the world, via the Vietnam war, Andy Warhol’s Factory, and 10 years living in a Soho Square phone box.

A 60-minute, one-woman cabaret starring multi-award-winning actress Frances Barber reprising the role of Billie Trix she first created in the 2001 West End musical, Closer to Heaven, MUSIK will run at Wilton’s Music Hall from 14th – 25th October.

Frances Barber said:
“Of all the characters I’ve ever played, Billie Trix is the closest to my heart. A woman of a certain age (even she doesn’t know) who has lived a life that may or may not be entirely accurate, but what a ride! And she’s still here! Billie was born from the brilliant imagination of Jonathan Harvey & PSB  in Closer To Heaven over 20 years ago . When we embarked on her solo adventures PSB wrote six new songs for each chapter of her extraordinary experiences, woven into the magical narrative of Jonathan. She’s delusional, outrageous, accidentally hilarious and beyond loveable. I’m thrilled my journey with her is coming back.”

Jonathan Harvey said:
“It was such a treat reconnecting and working with Chris and Neil on this, over 20 years after our first foray into musical theatre writing. In MUSIK Billie, dried up, drug addled icon and rock star performs her self-penned self-directed one person art house extravaganza about her life, loves, and – amazingly – how she was present at every important moment in recent – and not so recent – world history. Is she telling the truth? Can she still nail a number after 10 lines of cocaine? Come and decide for yourselves!”

Pet Shop Boys said:
“When we wrote Closer to Heaven over 20 years ago, we loved the compelling outrageousness of the character Billie Trix as written by Jonathan and performed by Frances. We discussed for many years the idea of creating her own one-woman show which would give us the chance to write more songs for her as she looks back on her incredible career. It was thrilling when this show became a sold-out reality in Edinburgh a few years ago and we are delighted that it is returning to London in such a beautiful and historic venue. Frances Barber’s astonishing performance is not to be missed!”

Frances Barber
Frances Barber is an award-winning star of stage, screen and TV. Her extensive credits include the films Prick Up Your Ears, Sammy and Rosie Get Laid, Trick or Treat, King Lear, Hamlet and Film Stars Don’t Die in Liverpool. Her numerous TV credits include Silk, The Street, Beautiful People, guest starring episodes of Doctor Who as Madame Kovarian, Chelsea Detective and  three seasons of Whitstable Pearl. Frances won WhatsonStage Best Actress in a Musical for Closer to Heaven and An Offie Award for Best Actress for MUSIK.

Pet Shop Boys
Pet Shop Boys have sold more than 50 million records worldwide and are listed as the most successful duo in UK music history by The Guinness Book of Records. Since 1985 they have achieved 42 Top 30 singles, 22 of them Top 10 hits in the UK Singles Chart, including four UK number ones and at the 2009 Brit Awards, they received an award for Outstanding Contribution to Music. They have also written a score for the classic silent film, Battleship Potemkin, a ballet, The Most Incredible Thing, and performed at the BBC Proms their musical work inspired by Alan Turing, A Man From The Future.

Jonathan Harvey
Jonathan Harvey is an acclaimed playwright, novelist and TV writer whose work has earned many awards. His plays include Beautiful Thing, for which he won the prestigious John Whiting Award and Babies (National Theatre Studio/Royal Court Theatre), winner George Devine Award and Evening Standard’s Most Promising Playwright Award. On TV he wrote the cult comedy series Gimme Gimme Gimme, starring Kathy Burke and James Dreyfus, Beautiful People and is a regular script writer on Coronation Street.

LISTINGS INFO

MUSIK
by Jonathan Harvey
& Pet Shop Boys

Songs by Pet Shop Boys

Starring Frances Barber

Wilton’s Music Hall
Graces Alley,
London E1 8JB

Tuesday 14 – Saturday 25 October

Tuesday – Saturday at 7 30pm
Saturday at 2.30pm

Running time:
60 mins (no interval)

Venue Website  
https://wiltons.org.uk/whats-on/musik/

Box Office: 020 7702 2789

Tickets: from £12.50

Age recommendation
16+

Social media

Twitter:
@petshopboys
@cahootstc

Facebook:
petshopboys
cahootstheatreco

website
www.cahootstheatrecompany.com