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Weston Theatre, Theatr Clwyd, Mold – until Saturday 4th October 2025

Reviewed by Julie Noller

5*****

We arrived at Theatr Clwyd on a very wet Saturday for the matinee performance of Snake in the Grass, You can still smell the newness inside the all new brightly lit foyer welcoming you inside, up the small flight of stairs we are greeted by the busy and may I say through a rumbling tummy the delicious smells emitting from Bryn Williams new restaurant which has (as theatre clwyd always has had) fantastic views of the Clwydian Range including Moel Famau.

We were here to see a performance of Snake in the Grass, written in 2002 by renowned Play write and Producer Alan Ayckbourn who with over 90 full length plays under his belt well you know he has the pedigree. This play in particular lingers over farcical moments of black comedy, hints at loving family reunions before snatching away secrets and delving us into darker realms. Director Fracesca Goodridge warns us with one simple sentence to expect twists and turns! The Weston is the smaller of the two theatre spaces named in honour of the huge donation received to aid redevelopment, it’s a small black box that just like the Mix holds the same intimate impact but with far more comfort. That small black box was wonderfully transformed and you can be forgiven for your eyes missing certain layouts of the striking set design, it’s only when the lights flash and the loud bangs occur do I instantly realise it’s a house of sorts obviously in ruins with a tree growing through the roof (it’s actually a Summer House built to cover an old well) and the metal isn’t part of the new theatre design but actually garden fencing with gates.

Annabel Chester arrives through the same door we walked in though wearing a mac and looking like a latecomer only the fact she is portrayed with total stoic stiff upper lip by the formidable Sue Cleaver that clipped British accent covering all those years having run away at such a young age, used to hiding behind that mask. Her Sister is the total opposite Miriam Chester appears firstly as downtrodden tied to the apron strings unable to think for herself before slowly releasing an unhinged side, Nicola Stephenson is all fizzy hair and somewhat scary in a way you just don’t know what she’s going to do next. Our third protagonist is Alice Moody a disgruntled Nurse sacked by Miriam who uses the fact Annabel has long abandoned her family to sow seeds of doubt. I loved Lisa

Zahra who reminded me so much of Ruth Jones as Gwen, she is there to unite two bickering sisters or is she? The humour is delivered by a somewhat nervous, anxious ranting woman at the end of her tether when confronted if she killed her Father Miriam responds with ‘maybe a little bit’ ‘accidently’ pushing him down the stairs; never actually admitting to anything. This play is perfect for autumn, it’s main theme is perhaps ghosts, those who have long passed on and those which haunt the living through fears and long hidden secrets. It touches upon abuse and its effects just enough to make you start questioning, alcohol and pills as coping mechanisms and the long suffering effects all these things breed; from lost lives, businesses and ultimately sanity and let’s not forget extortion. I’ve avoided retelling the story for lovers of The Mousetrap will tell you shhhh do not spoil the enjoyment of a great mystery by revealing all the facts. The twists and turns are a plenty and you will be pondering “I wonder if?”, all the way through, including my husband who stated a fact during the interval only to be proved right, ‘told ya’ he muttered during a large bang . Snake In The Grass is an all round great play aimed across the board to the masses; well written, great stage direction, brilliantly acted, the set fantastic and lighting perfect. It invokes ghosts with murders but can you call the twists and turns before they occur?

Jack Studio Theatre – until 27 September 2025

Reviewed by Claire Roderick

3***

Oscar Wilde’s first play is a brave choice for Third Thing Productions’ debut. A disastrous history – cancelled in London because of a recent Russian assassination and fears of allowing an Irishman to stage nihilist terrorism; directorial misjudgement in a New York production creating a swiftly closing flop savaged by the critics – has meant that this has never been staged professionally in London. If Vera were of Wilde’s polished best, this would be unimaginable, and the play is a bit of a mess, but it is fascinating to see the struggle between Wilde’s intention of a serious examination of the violence of revolution and his sharp wit.

Celia Thoden van Velzen has reconceptualised the play into an 85-minute production with care and precision. Ruth Varela’s set of angular white screens creates a sterile icy atmosphere for the hot-headed action. But the plot feels like a template for a Hollywood potboiler. Vera Sabouroff (Natasha Culzac) is horrified when the army starts marching prisoners past her father’s tavern. An act of kindness leads to her discovering that one of the prisoners is her own brother, who the family thought was studying in Moscow, but had joined with the nihilists. Vera leaves for Moscow and her fury and drive launch her to become a fearless and lethal member of the group, and a target for the Czar’s men. Although the nihilists have sworn off love, Vera falls for Alexi (George Airey) who is viewed with suspicion by lovelorn Michael (Finn Samuels) and trailed back to the imperial palace. It turns out that Alexi is actually the Czar’s son, but unlike his father he has a vision of change to ease the suffering of the people. The Czar (Jonathan Hansler) is paranoid and feeble, manipulated and closely guarded by Prime Minister Maraloffski (Kat Kim). Vera’s mission to assassinate the Czar results in a final confrontation with Alexi as he tries to dissuade her from violence and explain his vision of peaceful revolution through votes and freedoms.

The political and moral discussions are all meant to be very serious, but Wilde couldn’t resist slipping in a witticism here and there. The tone changes rapidly when the conniving ministers are on stage, with even this well-meaning production unable to keep them from appearing as pantomime villains exchanging barbs. The character of the Prime Minister feels like it is from a completely different play. It is easy to see why the doomed American production played the entire story as comedy when you watch these scenes.

The committed cast and creatives give their all, but the writing of the characters (with the exception of Alexi) is not well-rounded and their fates don’t have any emotional weight. It is an interesting exercise to see this well-staged production, but the audience leaves with a clear understanding of why this play has been left to history.

Seven Dials Playhouse – until 20 September 2025

Reviewed by Claire Roderick

2**

The metaphor of the changing tides of the ocean and the building storm hang heavy over Miranda Lapworth’s play. Beginning as an interesting relationship drama as a retired couple move to their beach house as they come to terms with a cancer diagnosis, Lapworth’s writing is sharp and witty. The dynamics of Lou and Jack (Jenny Lloyd-Lyons and Neil Sellman) are fascinating, with their love for playing games together hinting at emotional gamesmanship as well. Their daughter Mariana (Steph Sarrat) is a daddy’s girl – visually balking at her mother, who distrusts Mariana’s partner Isobel (Sarah Cameron-West). The reasons for the fractured mother-daughter relationship are never fully explained, and Mariana and her mother act like petulant children when they are around each other. The first act ends with a tragedy that piles more angst and obstacles on the women’s relationship – and the long, long road to reconciliation of the second act.

The beach house is well-imagined in the intricate set, but there is too much focus on irrelevant props, with the crew coming on between scenes to place items simply for an actor to pick them up 30 seconds into the next scene and put them on a shelf. This drags out the play even more and is a huge distraction. The set is also too far forward on the stage and needs reconfiguring. Many scenes are played on seats very close to the audience, meaning that the first row has a wonderful view, but a lot of us were craning our necks to catch sight of the top of the cast’s heads, if we were lucky, during what were meant to be very emotional moments. Hopefully, the audience sightlines will be better considered in the next venues.

The talented cast do their best, but the characters and their choices, especially in the second act, become very cliched and it begins to feel like a family therapy session. Lapworth is obviously a talented writer – there are some wonderful musing and longing speeches and gorgeous wordplay as Lou and Neil sit together, but these really serve no purpose to the story and feel like passages from a novelisation rather than a play. The cycles of angst, discovery and attempted healing becomes repetitive, stretching out what could have been a focussed and intimate 90 minute drama into a sprawling production that begins to feels a little like The Return of the King with its many false endings as every single thread is tied up neatly. A talented dramaturg could shape this into a more engaging play.

Storms, Maybe Snow plays at:

Union Theatre, Southwark 30th September – 2nd October

Drayton Arms Theatre 4th – 8th November

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 4TH OCTOBER 2025

REVIEWED BY MIA BOWEN

4****

I’ve enjoyed many productions of Shakespeare’s Romeo and Juliet, but last night’s performance at the Everyman, directed by Ellie Hurt, truly brought new energy to this classic tragedy. Right from the start, the actors captured the audience’s attention with their vibrant performances and heartfelt emotions. The modern staging respected the original script beautifully, making the story relatable while preserving its poetic essence. It was a wonderful experience that really highlighted the power of Shakespeare’s work.

The two lead characters, Romeo and Juliet, were utterly captivating. Alicia Ford as Juliet and Zoe West as Romeo brought a remarkable authenticity to their roles, perfectly balancing youthful vulnerability with the passionate intensity of first love. Their chemistry felt natural and effortless, making their moments of joy irresistible and their tragedy even more poignant. Every exchange between them was electric, and their delivery of Shakespeare’s language breathed new life into the centuries-old text, making it feel immediate and relevant. However the magic of this production extends beyond the leads, as the supporting cast enriches the story with depth and wonderful layers of detail.

One of the most delightful surprises of the production was the choral singing, particularly during crucial moments that featured some of the play’s most famous lines. Rather than serving as a mere background element, the music became an integral part of the performance. Elliot Broadfoot, who portrayed Mercutio, and Milo McCarthy, who played Tybalt, delivered outstanding vocal performances.

The clever and expressive lighting design by KJ, transformed the stage to mirror the emotional journey of the story. From the gentle, intimate glow of Romeo and Juliet’s first encounter to the dramatic, shadow-laden scenes of conflict and tragedy, the lighting played a crucial role. It not only illuminated the action but also intensified the mood, expertly guiding the audience’s emotions at each pivotal moment.

This production goes beyond simply telling a story; it engages the emotions of the audience. Ellie Hurt has created a version of Romeo and Juliet that is impactful, contemporary, and unforgettable. This reflects her artistic vision and Everyman’s dedication to presenting Shakespeare in a way that resonates with today’s viewers.

Birmingham Hippodrome- until 27th September 2025

Reviewed by Emma Millward 

5*****

Walking into Birmingham Hippodrome’s auditorium for Black Sabbath – The Ballet conjured up a wide range of emotions and expectations. I was excited to finally see the show I’d heard so much about since its world premiere in 2023, and to see what the Birmingham Royal Ballet had created by bringing Ballet and the heavy metal music of local heroes Black Sabbath together. In light of the recent passing of Ozzy Osbourne and the worldwide outpouring of grief that followed, the show has taken on a new meaning for the audience, becoming an artistic homage to a life lived so loud, so vivid, and a person so loved and sadly missed.

The show consists of three acts. Act 1, ‘Heavy Metal Ballet’, choreographed by Raul Reinoso, delves into the history of Black Sabbath, Heavy Metal music and the industrial factory background that influenced it. This act sets the tone for the entire show,  featuring classic Sabbath songs such as ‘War Pigs’ and ‘Paranoid’ given live orchestral renditions. Marc Hayward joined the first ensemble as Guitar Spirit. He not only plays guitar, but he also plays it while being held aloft by the dancers. Minimal staging was used and the stage was mostly dark, albeit for light boxes displaying iconic images representing Black Sabbath. This act also features a hauntingly beautiful pas de deux entitled ‘The Eternal Kiss’, where two dancers remain locked in a kiss throughout, until the metal factory call to work finally breaks their embrace.  This dance was a quiet, more reflective moment in a loud and lively show.

Act 2: ‘The Band’, choreographed by Cassi Abranches, delves more into the formation of the band, using voice overs from the band and Sharon Osbourne recounting the mayhem of being in one of the most infamous bands in the world.  They reminisce about events that led to their distinctive sound, such as the band’s guitarist, Tony Iommi’s horrific workplace injury to his hand that he overcame. The backdrop represented the strings of a guitar as the dancers moved across the stage, seeming to represent the notes being played on the guitar. Throughout this section, the dancers dance in response to the voiceovers. We heard Ozzy’s musings on the workings of his brain as a female dancer performed a solo depicting the inner demons Ozzy felt. We also saw flashes of the band’s devilish mascot in the background, which returns in the final act.

Act 3: ‘Everybody is a Fan’, choreographed by Pontus Lidberg focuses on the band’s legacy and how their fans continue to feel about them. The dancers returned in bright coloured Sabbath T-shirts, a stark contrast to the darkness seen throughout the rest of the show. As the demon figure reappears atop an upturned car, The Guitar Spirit returns and moves and sways alongside the dancers, becoming part of the dance himself.  As the entire company took to the stage, the orchestra began to merge Sabbath songs, slowly building to a crescendo, as the iconic opening chords of ‘Paranoid’ rang out once more. Tony Iommi appeared as the opening night’s special guest, much to the delight of the audience. 

Although there are too many dancers to name individually, Birmingham Royal Ballet company as a whole, and Director Carlos Acosta have crafted a fantastic piece of art that has made Ballet more accessible to everyone, whether a fan or not. It attracts people who may never have considered attending before.  Black Sabbath – The Ballet is an innovative and emotional tribute that finds an unexpected harmony between metal and dance, and is a must-see!! 

Southwark Playhouse – until 11 October 2025

Reviewed by Claire Roderick

5*****

From the moment Tracie Bennett prowls onto the stage as Tallulah Bankhead, you know that this is something special.

Michael McKeever’s sharp and witty play explores the darker side of Hollywood as the cost and hypocrisy of maintaining the wholesome image demanded by the studios and the public is laid bare. Billy Haines (John Partridge) was once the biggest actor in Hollywood. In 1950, his films are largely forgotten outside the industry but he is a renowned interior designer. Enjoying drinks with his great friend Tallulah Bankhead, they are joined by agent Henry Wilson (Nick Blakeley) and his new protégé Chad Manford (Solomon Davy)

Beginning as a delightful exchange of barbs and stories between Haines and Bankhead, things get darker when Wilson and Manford arrive. Wilson is working on Manford’s image and wants Billy’s help to manoeuvre Solomon’s boyfriend out of the picture. This begins a battle for Solomon’s integrity as Billy and Tallulah use wit and their experiences to reveal to Solomon the personal cost of not being true to himself, while Wilson counters with the career ending consequences of not playing by Hollywood’s rules – using Billy as his prime example.

Ethan Cheek’s glorious set, lit beautifully by Jack Weir, is straight out of a movie set, evoking glamour and chic, framed by a torn and tattered giant billboard advertising Hollywoodland that signals the seedier reality of shattered dreams. The production exudes cinematic beauty and Hollywood melodrama, with slick direction from Christopher Renshaw. The blocking could have been disastrously clunky in this auditorium, but Renshaw has the characters moving instinctively during confrontations, allowing good sightlines from the side seats throughout. It all feels very voyeuristic, as if we are peeking behind the curtain at the darkness, and McKeever cleverly includes some fourth wall breaking moments as Bankhead shares her observations on homosexuals with the audience.

The cast are incredible. Tracie Bennett is a force of nature as Bankhead, drinking, swaggering but oh so fragile even as she delivers zingers with venom. Bennett’s expressions and body language as she listens silently to the men are a masterclass in stage presence. This performance could overshadow a weaker cast, but not in this production. Partridge is phenomenal as Haines, charismatic and likeable, but full of quiet strength and integrity. Blakeley is wonderfully contained as Wilson – slightly creepy at first but gradually revealing himself as a venomously driven as a cog in the Hollywood machine. Haines’s disgusted but despairing understanding of Wilson’s choices is written beautifully. Davy is heartbreaking as the naïve young actor offered the world. His reactions as Haines and Bankhead try to explain the reality of his situation are devastating.

McKeever has created colourful but nuanced versions of Bankhead, Haines and Wilson, and imaging them sparring like this is fantastic fun, even as bleak realities are revealed.

The world should have moved on from the morality of the 1950s, but the curation of public image, judgemental morality and hypocrisy of The Code are oh so relevant and present today. McKeever’s brilliantly biting and funny play is unmissable.

Garrick Theatre – until 21 February 2026

Reviewed by Claire Roderick

5*****

Patrick Marber’s fantastic production of Mel Brooks’s hit play/musical/film transfers to the West End and everything the Menier run got right shines even brighter on the bigger stage of the Garrick. This is a show packed with insane characters, crazy comedy, brilliant visual gags, catchy tunes and OTT performances – guaranteed to have audiences roaring with laughter.

The story of the unlikely partnership of failed Broadway producer Max Bialystock (Andy Nyman) whose every show is a flop, and accountant Leo Bloom (Marc Antolin) is still an absolute blast. When Leo realises that the surefire way to make a profit is to produce a show that will close on opening night, they plot to produce the worst show Broadway has ever seen. Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden by Franz Liebkind fits the bill, and in the hands of the worst director they know, Roger De Bris (Trevor Ashley) everything goes right – too right – as the audience love the all-singing, all-dancing Führer.

Brooks and fellow writer Thomas Meehan’s humour never offends in this production, as jokes, whether aimed at Jews, Nazis, gays, or sexist tropes are all delivered with a gleeful shrug and wink as the biggest joke is on the theatrical nonsense.

The cast are incredible. Andy Nyman is on fire and makes the sleezy Max pathetic, loveable, and very, very funny. His chemistry with Marc Antolin’s sweet but determined Bloom is wonderful, and each moment the pair share on stage is a delight. And their voices! Throwing a spanner into this relationship is the fabulous Joanna Woodward as Ulla. Trevor Ashley is superb as the preening De Bris, wringing laughs from every gesture and glance to the audience as Raj Ghatak brilliantly grimaces in distaste as his warring partner Carmen. Harry Morrison’s unhinged Fritz is unmissable. The wonderful ensemble is full of energy and pull off every silly gag and knowing look with glee.

There is an array of visual gags in the background – Fritz’s pigeons almost steal the show, and this production’s version of Springtime for Hitler is gloriously daft, with Trevor Ashley’s entrance drawing howls of laughter that build as his Hitler works the audience.

Scott Pask’s set enables swift changes between Maz’s office, Roger’s glamorous apartment and Fritz’s rooftop. Paul Farnsworth’s costumes are simply glorious and Lorin Latarro’s superb choreography is wonderfully old-school and silly – the little old ladies dance is inspired.

Bold, bonkers and simply brilliant, The Producers is the funniest show in town.

Nottingham Theatre Royal – until Saturday 20 September 2025

Reviewed by Amy V Gathercole

4****

“A fresh new take on a much-loved TV favourite!”

The West End and UK theatre in general has been awash with jukebox musicals, nostalgic film-to-stage adaptations, and the latest trend: parody over the past few years. I should let you know up front that I’m a huge fan of Friends and it’s been a comfort show for years, so I am certainly the target audience for this show.

Director Michael Gyngell, the very talented cast and producers have crafted a wave of 90s revivalism that’s bringing beloved pop culture back to life. Enter FRIENDS! The Musical Parody, or as fans might call it, The One Where the Cast of Friends Sing and Dance.

An impressive multi-talented cast has been assembled for this show, as they’re all tackling such beloved, well-known, and quoted characters at a very fast pace.

The New York-based gang of: neurotic Monica (Alicia Belgarde), her super-nerdy (and needy) brother Ross (Enzo Benvenuti), his oh-so awkward best mate Chandler (Daniel Parkinson), his actor bestie Joey (Ronnie Burden), and making up the rest of the crew, beyond kooky Phoebe (Amelia Atherton). Rounding out the gang is, of course, Daddy’s little princess and Ross’s greatest love, Rachel (Eva Hope).

Condensing 236 episodes into roughly a two-hour musical is no small feat. The book and lyrics by Bob and Tobly McSmith manage to hit nearly every major moment and memory from the sitcom’s ten-season run. Hats off to them—some scenes even get their own full musical numbers, including a standout Chicago-inspired “Central Perk Tango” and a hilariously dramatic ode to one of the show’s most quoted moments – “Pivot!”

The actors nail the mannerisms, especially Enzo as Ross—his nauseating Ross whine is spot-on—and Daniel really brings Chandler’s sarcasm and awkward charm to the forefront of his performance.

The first half is tight, clever, and packed with punchlines, but the second half veers into chaotic territory, with some jokes that don’t quite land and a few questionable puppet appearances that left the audience blinking in confusion.

One particularly disappointing moment in the second half was “The Ballad of Fat Monica” – a full song dedicated to a gag that’s been rightly criticised for fat-shaming in recent years. It felt out of step with the otherwise affectionate tone, and thankfully the audience weren’t laughing as loudly here.

That said, the show shines when it celebrates the side characters. Gunther (Edward Leigh) gets his moment, and Janice’s number—“OMG It’s Janice!”—is a campy delight as the art of drag is embraced by Daniel.

In terms of set design, it’s slick and unique as a bunch of moving boxes are on stage. As the stage constantly has to change between the iconic sets of Central Perk, Monica’s apartment, the boys’ apartment, and how they changed over the seasons. There’s also some large set pieces towards the end of the show that will just make you smile—no spoilers!

Jennie Quirk gets a lot of kudos, being responsible for all of the costumes. Rachel’s and Phoebe’s especially look exactly like what they wore in the TV show, and Monica’s fashion is well represented too.

I spoke to a couple of audience members post-show who had never seen an episode of Friends. One said they enjoyed the energy and humour, while the other admitted they hadn’t a clue what was going on.

That’s the nature of parody – it’s experimental, referential, and best enjoyed by fans who know their “Smelly Cat” from their “We were on a break!”

I would recommend seeing it if you’re a fan. It’s not perfect, but it’s packed with heart, hilarity, and a whole lot of nostalgia.

Could it be any more fun?

FRIENDS! The Musical Parody is visiting theatres across the UK in 2025 and you can purchase your tickets at www.friendsthemusicaltour.co.uk

Playhouse, Sheffield, until September 20th 2025

Reviewed by Sharon Farley

5*****

Performer and writer, John Rwothomack, is present as the audience enters the Playhouse theatre, playfully inviting people to join him in spinning a wooden top. In this clowning, Rwothomack (On Missing, The Devil in Mary, The Lost Theatre) creates the secure, joyful atmosphere of child’s game, leaping around and adopting a high pitched voice as the central character, Okumu, a young child of about 7 or 8 years old playing with his brother in a north Ugandan village. But this fragile peace is shattered as the game is abruptly halted by an armed attack on their village, and we are introduced to the actions of the Commandant, a sadistic, pot-bellied, guerrilla leader.

In the 1980’s, the world became uncomfortably familiar with the name Joseph Kony, the real life leader of the Lord’s Resistance Army (LRA) – represented here by the Commandant – who became known for his tactic of recruiting soldiers by kidnapping young children and forcing them to become killers. Rwothomack walks us through the horrifying steps of the dehumanisation of Okumu using a combination of mime and storytelling, supported by the concerted talent of the creative team providing the lighting, sound and set design that adds layers of drama and texture to this production. In addition, the decision made by director, Mojisola Elufowoju, to stage Far Gone in the round further draws the audience into “the world of the play.”

As Okumu’s journey becomes progressively darker, we are captivated by the ease with which Rwothomack slips from one character to another – the Commandant, the brother, the gunman, and Okumu, both as a child and a soldier – adjusting his voice and physicality to bring forth the various personalities. He does this so well we are never in any doubt as to who is being played. The audience become part of the performance, lending their voices to provide the chanting of the child soldiers.

As might be predicted, it is a disturbing tale with no happy ending, though we are provided a
lesson that should be shared far and wide; that in wars we are killing those who are exactly like ourselves, whether we recognise them as such or not. It is an important message that deserves to be shared far and wide. Fortunately, this is the beginning of a world tour for Far Gone, look out for your nearest opportunity to witness this highly energetic and deeply moving piece.

In addition to the teaching it provides, Far Gone also contributes to social factors. At the age of 8, John Rwothomack himself was nearly kidnapped by Kony’s LRA in Uganda, so now tells this story for all of those who were not fortunate enough to escape this fate. These performances also raise funds for the Women’s Advocacy Network of the Justice and Reconciliation Project, a forum where war affected women and men come together to advocate for accountability, justice and acknowledgments of the sexual and gender-based violations they suffered during the conflicts in northern Uganda.

Rwothomack uses his talent to deliver African stories, culture and history through the stage, either in the material of the performance, the artists involved, or by adapting classics to African contexts. He appears to be a performer and writer worth keeping an eye on.

Leeds Playhouse – until 4 October 2025

Reviewed by Dawn Smallwood

5*****

Harper Lee’s To Kill A Mockingbird comes to life on stage at the Leeds Playhouse. Lee’s novel, written in 1960, is adapted by Aaron Sorkin and directed by Bartlett Sher. The novel is set in the United States’ Deep South, in the 1930s and the Great Depression Era. It explores first hand innocence and issues that resonate today such as racial injustice and inequality triggering systemic and propagated misinformation.

Innocently and to some extent, cautiously, the story is forefront narrated by Scout (Anna Munden). Scout is in the company of her brother, Jem (Gabriel Scott), their friend Dill (Dylan Malyn) and their father, Atticus Finch (Richard Coyle) who is a small town but successful lawyer. The story centres round Atticus defending Tom Robinson (Aaron Shosanya), an innocent black man who is accused of raping a young white woman. The trial unravels the racial injustice Robinson faces and how racist slurs, racism and segregation tragically epitomise the defender’s fate and its consequences.

To Kill A Mockingbird entertains humour, warmth, and wit amid poignancy throughout. However, Atticus (Coyle) is not afraid to challenge the prejudices that face the defendant and how they are systemically intertwined in everyday life including the justice system. He is consciously aware, morally factual, and empathetic and it is observed how the defence shines through the dark times.

Miriam Buether’s staging is versatile for the stories told and the space is well used particularly for a courtroom and is ambiently complimented with Jennifer Tipton’s lighting and Scott Lehrer’s soundscapes.

Munden, as Scout, successfully narrates and keeps the audience engaged with what is happening in the town along with the numerous characters’ updates. An excellent portrayal of Atticus by Coyle, who is recreating the role after performing it in the West End production, and he projects passionately the quest for true justice for Tom Robinson. One is moved by Shosanya’s humble and emotive portrayal as Tom Robinson.

To Kill A Mockingbird consciously captivates those issues and the short-lived innocence experienced and how they resonate today as much as then. It is an excellent, well planned, and innovative production that gives insight to how fragile lives can be and how lives can be totally ruined by prejudices, individually and systematically. It is important, more than ever, for society to rise together, and to recognise what divides them, and importantly to pursue humanity, kindness, justice, and truth.