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Hall for Cornwall, Truro – until the 20th September 2025

Reviewed by Kerry Gilbert

5*****

‘A compelling and powerful story, beautifully portrayed on stage’

I was thrilled to review The Shawshank Redemption at the wonderful Hall for Cornwall. I watched the film many years ago which was based on the 1982 Stephen King novel and was nominated for seven Academy Awards. The stage adaption delivers the same level of drama, emotion and tension.

The show has been produced by Bill Kenwright, directed by David Esbjornson and brought to stage by Owen O’Neill and Dave Johns. It is a thrilling stage production which explores themes such as injustice, friendship and hope behind the claustrophobic bars of the maximum security facility.

After settling into my seat, the curtain was drawn to reveal two men standing almost naked, clutching their new prison clothing, with the grey set of the Shawshank State Penitentiary looming behind them. We were immediately addressed by Red, an older prisoner, who introduced the audience to Andy Dufresne, who had been wrongly accused of murdering his wife and her lover. The story then followed Andy through his years in prison, his growing friendship with Red, and his work for prison warden Stammas.

The all male cast are outstanding, with each actor capturing our attention with their strong stage presence. Ben Onwukwe’s performance as Red was tremendous throughout, and his characterisation of Red as wise and calm invited the audience to grow close to the prisoner. His final monologue is incredible. Joe McFadden, playing Andy Dufresne brings the character to life, from cautious and cagey to a clever and resilient member of the inmate community. Bill Ward, playing Stammas portrays the ruthless prison warden and is perfect for this part, successfully treading a fine line between ‘authority’ and ‘downright nasty’.

The staging by Gary McCann and lighting by Chris Davey transports us to the gritty reality of prison. The sounds of door slamming and the clink of keys. The set invokes an uneasy feeling of claustrophobia. Minimalistic scene changes create a cell, the governor’s office, and even the prison library.

The Shawshank Redemption is a compelling and powerful story, beautifully portrayed on stage. It is as powerful now as when the original novel was published in 1982. I’d highly recommend seeing this whilst it’s in Cornwall.

Yvonne Arnaud – until 20^th September 2025

Reviewed by Heather Chalkley

5*****

Award winning playwright Karis Kelly slowly builds drama into this dark comedy, finishing with a grand reveal to tingle anybody’s spine. This is a nightmare not a party!

Four generations of Northern Irish women come together for a 90^th birthday gathering no one really wants! Julia Dearden (Eileen) provides a deep throated, frank and forthright matriarch, making this very clear, bringing acid comedy to the play from the start. Her blood curdling laugh turns the audience cold. Andrea Irvine (Gilly) captures the hysteria of an oppressed woman with a gut wrenching secret that is trying to play happy families, creating this party for her mother. Her hilarious manic moments can be felt by every woman trying to hold a family together.  Jenny (Caoimhe Farren) digs for the truth about her father, consuming vast quantities of wine in the process. Farren (Jenny) is impressive in her ability to glug down the wine, career around the stage and finally completely loose the plot, bringing the performance to a crescendo. The youngest member of the family, Muireann (Muireann Ni Fhaogain) grasps the root cause of the family’s generational repression and her own mental health challenges, connecting with her great grandmother to solve the riddle. Muireann plays her character with youthful honesty and facial expressions that speak a thousand words!

The creative team  gives us a well-equipped kitchen that cleverly reflects the course of the play, revealing itself to be not so beautiful in the end. The light and sound effects give an eerie background, providing another level of unease. 

This is a genius level play not for the faint hearted and will rock the foundations of any family, especially if you have skeletons in the cupboard!

York Theatre Royal – until 27 September 2025

5*****

Myself and my friend, both Military Wives (me past, now married to a Veteran and her present, married to a Colonel), approached Military Wives the Musical at York Theatre Royal with both excitement and trepidation, wondering how closely it would capture the unique highs and lows of life within the forces community. What unfolded on stage was not only an evening of remarkable theatre, but also an experience that felt deeply personal – so authentic that we found ourselves laughing and crying in equal measure.  Recognising every character on stage.

The evening began in a moving and joyful way with a special performance from the WAGS Choir of Catterick Garrison. For those who may not know, this is the very first Military Wives Choir, the pioneering group whose story inspired a nationwide movement. To hear them sing before the curtain even rose was incredibly poignant; their harmonies filled the theatre with a warmth and strength that perfectly set the tone for what was to follow. It felt like more than just a pre-show entertainment – it was a reminder that this story belongs not only on the stage but in real communities up and down the country.

Once the musical began, it was clear that Debbie Isitt had captured the essence of military family life with honesty and sensitivity. Her script and the songs (arranged by George Dyer) shone a light on the unique challenges that come with constant change, long deployments, and the uncertainty that shadows everyday life. At the same time, it celebrated the humour, resilience, and friendships that sustain military families through the toughest times. The emotional truth of these moments resonated so strongly with us. One minute we were wiping away tears, the next we were laughing aloud – just as we often did in the real world to keep ourselves going. The simple stage design by Kate Lias utilised what looked like packing boxes and MFO boxes used with versatility to make them look like buses and mountains. The falling of poppies at the end was incredibly poignant

The performances themselves were nothing short of outstanding. Sydney Isitt-Ager, as Sarah, delivered an absolutely incredible portrayal, balancing vulnerability and strength in a way that was both captivating and heartfelt. Her performance felt so true to life that I often forgot I was watching an actress at all. Jess Daley, as Jenny, meanwhile, brought endless comic energy to her role. Her timing was impeccable, and she gave the audience much-needed bursts of laughter in between the more poignant moments. Both women anchored the production beautifully, each showcasing different sides of the choir’s story.

That said, the excellence of the show did not rest on just two shoulders. The entire cast (Kayla Carter, Emma Crossley, Ashleigh Gray, Joe Kelly, Bobbie little, Billy Roberts, Caroline Sheen, Rachael Wooding, Stewart Wright) was outstanding, bringing energy, authenticity, and warmth to every scene. Adrian Hansel, Luke, deserves particular praise – his rich voice and stage presence provided depth and gravitas, while his characterisation was heartfelt and deeply engaging. Together, the ensemble created a believable, uplifting community on stage that mirrored the camaraderie and support we found in real military life.

By the final number, the theatre was filled with emotion, applause, and a sense of unity. For me, the experience was more than just a night at the theatre; it was a reminder of a part of my own life, brought vividly to life with truth, humour, and compassion. This story must NOT end here. A home has got to be found on the West End and then a UK tour to follow.

Military Wives the Musical is a triumph – moving, uplifting, and unmissable.

Park Theatre, London – until 20 September 2025

Reviewed by Claire Roderick

4****

Benny Ainsworth’s dark and twisted play is not for the faint hearted, finding humour in the bleakest of moments. The romance between Benny (Ainsworth) and Rachel (Sally Paffett) starts in macabre circumstances as they crane for the best view of a suicidal trespasser from their train window. A fast but seemingly conventional relationship finds them moving into their new three bedroomed home – one bedroom each (Billy snores) and a room for their baby. Ainsworth and Paffett initially have a cheerful chemistry, taking turns to tell their story and watching each other eagerly. As they settle into the house and realise that they are not alone, the infestation of rats drives them apart and the shared narration becomes more fractured and antagonistic. The couple’s different attitudes towards the rats in their house could not be further apart, with Billy reverting to his childhood fascination of finding the most painful deaths possible for animals, and Rachel bonding with the creatures and treating them like family. A late scene explains the part burying loss and grief has played in the unravelling of their relationship and their descent into violent madness.

Ainsworth and Paffett are mesmerising as the troubled pair and deliver passionate portrayals of the broken characters. Ainsworth is horribly dynamic as Billy describes the deaths he inflicts, while Paffett is astonishing portraying Rachel’s heartbreakingly desperate search for what she has lost. The characters become more articulate and almost poetic when describing their grotesque obsessions and violent acts, and the play escalates to Shakespearean levels of betrayal and gore.

Michael Parker’s astute direction focuses on the storytelling: Ben Sorab’s sound design and Alex Lewer’s lighting build the tension and all this stellar cast need are two chairs and Ainsworth’s incredible script. Unmissable and unsettling fun.

Marylebone Theatre – until 12 October 2025

Reviewed by Claire Roderick

3***

Alexander Molochnikov brings his bold and witty off-Broadway production to London. Inspired on his own experiences and presented in cabaret style with an MC (Andrey Burkovskiy) presenting the show, the play begins at the prestigious Moscow Art Theatre. Kon (Daniel Boyd) is directing his mother, Olga (Ingeborga Dapkunaite), in Chekhov’s Seagull, and his directing style of exploring emotions is frustrating some of the cast, who just want him to tell them what to do. As he guides them into an exhilarating celebration, everything comes to a halt as the news breaks that Russia has invaded Ukraine. Urged by his mother to keep quiet and apologise for his anti-government statements, Kon flees to New York.

The second act finds Kon free of censorship, but as he struggles to find a producer for his Chekhov play, he is now discovering the constraints of commercialism as soulless high-tech immersive experiences are the money makers here. Kon meets actor Nico (Stella Baker) and begins his own doomed love story as his life and the play echo and intertwine. The frustrations and ecstasy of creating together are captured wittily, as is the bemused reaction of his mother when she watches the play. As Kon eventually sells out and directs a ridiculous “experience” the promise of freedom in New York seems lost, but letters from his writer friend Anton (Elan Zafir), thrown in prison for his views, remind him of why people write.

Performed on Alexander Shiskin’s split stage – black box behind the red curtain and dressing room kitsch in front, writer Eli Rarey has crafted a bizarrely affecting fun romp, fuelled mostly by the manic energy of Burkovskiy’s MC – his appearance as a bare-chested Putin on horseback has to be seen to be believed. Ohad Mazor, Myles McCabe III, Quentin Lee Moore and Keshet Pratt are the energetic troupe of actors. The manic playfulness could dissipate any meaningful messages about freedom and censorship, but the wonderfully gentle moments of tenderness and despair portrayed by Boyd and Zafir as the driven director and writer are the beating heart of the play.

Playful and energetic, Seagull: True Story is lots of fun.

Park Theatre, London – until 20 September 2025

Reviewed by Claire Roderick

4****

Nicole (Natasha Cottriall) has to face adult life suddenly when her mum dies suddenly. It’s 2010 and, flying back from a hen do in Kavos, the nineteen-year-old has to deal with funeral arrangements and her mother’s estate.

As she sits alone in the family home, treasured memories are triggered and dealt with by listening to her mum’s collection of Northern Soul records. Describing how her parents met through their love for Northern Soul, Nicole needs time before she texts her father about the loss. Brought up by a single mum, as one of the few mixed-race people in Wigan Nicole is used to being asked where she’s from from but knows nothing of her Jamaican heritage. With the support of her loud and confident best friend, Sally, and her slightly judgemental but well-meaning gran, Nicole begins to deal with the aftermath of death. Left a BMW and a sandwich shop, Nicole has to decide what to do with both. Then there is the organisation of the funeral. Devout Catholic Gran is on the case, along with her pet priest. Nicole’s doubt in the existence of god and her veganism obviously confuse Gran, but she works through this to both ensure a funeral that her daughter would have approved of.

Cottriall has created a wonderfully nuanced teenager thrust into adult responsibilities with no clue what to do. Her characterisation of a stalwart Northern grandmother is hilariously on point and the relationship between the pair is sketched subtly and lovingly. Director Hannah Tyrell-Pinder allows the silences to breathe and the grief and desolation to creep in before Nicole pulls herself together to get on with tasks. Alex Marker’s eye-catching and atmospheric design evokes homeliness and nostalgia as stacks of retro speakers reveal hidden cabinets and Richard Williamson’s lighting and Chris James’s sound design carry Nicole away to happier times. The music is glorious, setting the audience’s toes tapping and some singing along.

Cottriall approaches bereavement with a light touch that captures the hopelessness and emptiness of loss alongside the struggle to cope with everyday life and responsibilities. The hour is punctuated by moments of mundanity, devastation and joy as Nicole learns to cope, but Cottriall’s gorgeously raw acting in the final scene leaves the audience in no doubt that this will be a tough struggle for the heartbroken young woman.

An emotional, thoughtful and funny examination of grief and belonging, this has lots of potential.

Playhouse, Sheffield – 13 September 2025

Reviewed by Sharon Farley

5*****

It may be best to go into this show completely unprepared with no prior knowledge of what might occur, especially as so much of it is improvised… so I could tell you about the events I witnessed, but you may not experience the same thing. Having said that, the props Masli pulls out denote that she has a talent for predicting the type of answers her question to the audience (“problem?”) will elicit, and her spoken responses and follow up questions reveal a sharp, inventive mind.

In this show, Julia Masli (Choosh, Stampdown Comedy Night, The Kingdom of Humour and Fun) is trying to solve people’s problems using crowdsourcing and Google as aids. And a fair number of the audience members. She will move amongst you, she may even convince you give up items of clothing or set you tasks to do, she will almost certainly provide an evening of some of the most original work you have ever seen. It’s also likely that some truly beautiful messages will emerge from the collective efforts of Masli and the audience. Though the details of each performance will vary wildly, the underlying themes are very human and relatable; that the urge to help others sits very close to the surface within each of us; that we all want to see a better world; and that many of us are prepared to get hands on and make it happen. Despite the detached nature of the character, the performance promotes connection amid the absurdity.

What probably is guaranteed is the grace and childlike wonder that Masli injects into this performance, although the character seems to be something akin to an AI bot – or perhaps a Pierrot – there is an underlying warmth that comes through, endearing the audience to her and inspiring them to play along. Even extending to some that are not actually in the room.

Beyond commenting on the atmospheric use of spotlighting, the clever application of plastic limbs and technology, and the inventive costume design, this show is one that defies accurate description and is best experienced live and direct. Just be sure to leave your inhibitions at the door, they will not serve you here.

Connexin Live, Hull – 13th September 2025

Reviewed by Dawn Bennett

5*****

I have been a fan of Strictly Come Dancing since the first series in 2004 so I jumped at the chance to review this show, and what a show it was…it was fantastic!

The Legends in question were Brendan Cole, James Jordan, Pasha Kovalev, Vincent Simone and Ian Waite all dancers with lots of experience and talent. We found out bits about their time on Strictly, who was their favourite partner and judge and they talked about winning the glitterball or not as the case might be! Also, they talked on how the television show had changed over the years. We got to see some of their favourite dances including the Waltz, Samba, Paso Doble, Rhumba and Argentine tango. The group numbers were brilliantly choreographed, it was difficult to know where to look as the whole stage had something going on. The legends had brilliant dance partners Lowri Beth, Alexandra Busheva, Julia Ruiz Fernandez, Polina Mayer and Dance Captain Victoria Martin, all of them were very talented dancers

From beginning to end there was banter between them all, they obviously got on really well, they were really funny especially the bits that were off script!

And were this brilliant group of dancers Legends? Oh absolutely, they were stars in Strictly and are even more so now. They announced that a different show was coming out next year but there are still a few dates left on this tour, if you want a brilliant night out and to watch some first-class entertainment this is the show for you, miss it at your peril, I don’t think that you will be disappointed! Oh, and a television programme starring the Strictly Legends…Yes Please!

Grand Opera House York – until Saturday 20th Sept 2025

Reviewed by Michelle Richardson

5*****

The Grand Opera House York is currently hosting York Stage’s current production, The Wizard of Oz. The theatre was decorated inside with balloons, arches and poppies, perfect for that all important photo opportunity and it enhanced the whole theatre experience. I tried to make an effort, with my emerald green tights and cardi, and I did notice a few going down the Dorothy theme.

The Wizard of Oz remains one of the most celebrated musicals of all time and continues to enjoy widespread recognition since its original film release in 1939. Growing up I can remember watching The Wizard of Oz around Christmas time, I have lost count how many times I have seen the film, so it does have a warm place in my heart. This stage adaptation, directed and produced by Nik Briggs, brings the classic story to life and captures the spirit of the original film, creating an evening full of wonder and amazement.

For those than don’t know, The Wizard of Oz tells the story of Dorothy, a young girl from Kansas, and her dog Toto. She dreams of something more than the simple life she leads, with her Aunt Em and Uncle Henry on a farm. After Toto is threatened by neighbour, Miss Gultch, they run away, only to be caught in the path of a tornado. Swept up and away she finds herself greeted by a vision in pink, Glinda a good witch, welcoming her to the magical land of Oz and introducing her to the Munchkins. There is one small problem though, her house has landed on the Wicked Witch of the East and her sister, the Wicked Witch of the West is not happy, vowing to get vengeance and taking custody her dead sister’s ruby slippers that now adorn Dorothy’s feet. In order to get back home, Dorothy and Toto must follow the yellow brick road to the Emerald City, to get an audience with the Wizard of Oz. On their travels they meet a scarecrow, a tin man and a lion, who are all lacking something. As the unlikely group set off in search of what they desire, not all is as it seems with the great and powerful Oz, and they discover what they were looking for was right there all along.

Erin Childs takes on the role of Dorothy with a charming, wide-eyed innocence reminiscent of Judy Garland, leading much of the show’s action. By her side is Toto, delightfully portrayed by the real-life dog Freddie in the Kansas scenes. He was absolutely adorable and captured the audience’s attention whenever he appeared on stage. When the action moved to the Emerald City, a puppet took his place, expertly operated by Sarah Jackson. I expected the presence of a puppeteer to be off-putting, but the way the character was brought to life soon made me forget.

Carly Morton, as both Aunt Em and Glinda, has a stunning voice, even as she is whizzing through the air on fabulously decorated arial hoop. Emily Alderson is thoroughly evil as both Miss Gultch and the Wicked Witch, suddenly appearing at the worst of times in a puff of green smoke. Stu Hutchinson gave a touching rendition of If I Only Had A Heart, as the Tin Man.

The two standout performers for me were Flo Poskitt as Scarecrow and Finn East as the Lion. Flo delivered an outstanding performance, fully embodying the character through her expressive movement, vocal delivery, and overall presence. Her comedic timing was

impeccable, and it’s hard to picture anyone else portraying the role so brilliantly. Equally impressive was Finn’s performance as the timid yet endearing lion. His commanding presence on stage shone through, and his version of If I Were King Of The Forest struck the perfect balance between humour and heartfelt emotion. He epitomized the role of the King to perfection.

The talented ensemble of actors, dancers, and Munchkins brought an extra layer to the production. Their boundless enthusiasm was evident throughout, working together seamlessly to deliver a vibrant and captivating performance. Choreographer Damien Poole has done a brilliant job in coordinating the dance routines, sharp and energetic. The Poppies routine being a memorable highlight. His choreography allowed the dancers to demonstrate their abilities to the fullest, highlighting their skill and versatility on stage. The costumes by Charades, Sheffield Theatres and York Stage, were a visual spectacle, with many seamless costume changes for the ensemble.

The production’s set and staging were truly outstanding. Some remarkable video projections are used to great effect and add another dimension to the show. The scene where Dorothy and Toto get swept up by a tornado was amazing to watch, you can see them floating up in the air whilst a projected twister is swirling all around, is a breathtaking spectacle. In Kansas the set is dull and muted, but once we get to Oz everything is colourful, from bright houses to rainbow arches. The flying monkeys also make an appearance.

Once again York Stage Production treats us to an evening of excellent music played with skill and enthusiasm by a fabulous live orchestra, led by Jessica Viner.

York Stage have set the bar high with this production of The Wizard of Oz. It has the feel of a big budget show and would look right at home in the West End, all achieved with local talent. It is a standout show, full of brains, heart and courage that deserved the standing ovation.

This is an unmissable, wonderful, fantastical family show. It deserves to be seen, so make sure you get your tickets, you won’t be disappointed.

Curve Theatre Leicester – 12th September 2025

Reviewed by Amarjeet Singh

4****

Mohit Mathur’s funny and touching one-man-play brings us the story of Uday Kumar, a plucky young call centre worker who dreams of a better life. Abandoned by his father, and stuck in a dead-end job he envisions leaving India and making a new life in the UK. The promised land is promised to him as a place of hope and plenty. His journey is not an easy one, it calls upon him to make some questionable decisions and take some troubling actions, but such is the lure of London, Kumar is willing to take the risk.

Setting his heart on a degree and becoming an influencer, he soon finds things are not what he imagined them to be. To survive he has to abandon his studies and become a carer to the elderly. Unable to secure housing he pursues avenues which begin to change him. The smile fades and the hope dwindles. Kumar struggles to stay in the UK, but having sacrificed so much, going back to India is not an option. Trapped in this bind, Kumar goes underground as an undocumented migrant. No recourse to public funds, and with no access to health care he must hide in the shadows to avoid deportation. After 10 years he might have an opportunity to stay in the UK if he can prove it has been his home for a decade. Only then can he become a part of society again.

This play explores why and how hundreds of young men like Kumar come to the UK and vanish without a trace. We get to see beneath the tip of the iceberg and are given a taste of the hardship, both at home and here in the UK. We see and hear about the prejudice individuals face from people of different races but also the lack of support they receive from people of their own race because they are divided by nationality. We hear the harrowing situations migrants find themselves in, which force them into making difficult decisions for survival.

Written and performed by Mohit Mathur and directed by Phill Willmott, it could have been a very heavy and emotionally draining piece, however there is magic in its creation. Both its presentation and writing are incredibly engaging and witty, the humour catching you off guard at some points. This one man show, employs photographs to show us other people involved in Kumar’s story and a mobile phone with tripod to demonstrate the influencer scenes. The pacing could be worked on as some poignant moments and salient bits of information may be missed, which would be a shame as there is incredible layering and nuance to the tale. No character is black and white, they all have reasons for their behaviours and their actions cause ripples.

With themes of exploitation, loneliness, racism, and identity amongst others, this is a highly emotive and relevant piece of theatre. Packing a poignant punch, it will hopefully make you question the propaganda which is being peddled by the press and see the humans behind it all