Notes From Row H

Review: Heathers the Musical at The Arts at Marble Arch.

15/07/2026

West End (PR/Gifted)

Westerberg High is back—and it is still dangerously entertaining.

Dear Diary…

The temporary theatre is an exciting addition to London’s theatre scene, although its nature as a pop-up venue is noticeable. Frequent noises from outside the auditorium, with a lack of soundproofing allowing external sounds to filter through, occasionally distract from the action happening on stage.

Despite this, Heathers quickly proves that it does not need a traditional West End home to make an impact. With its bold style and dark humour, the production settles into its temporary surroundings with confidence and delivers the chaotic energy audiences have come to expect.

High School Musical’s Darker Cousin

If High School Musical is the colourful and optimistic version of teenage life, then Heathers is its much darker, edgier cousin. Following the students of Westerberg High School as they navigate the highs and lows that come with adolescence, the musical explores friendship, popularity, relationships and the overwhelming desire to fit in.

However, this is far from a typical high school story. Beneath the bright colours and catchy songs is a much darker and sharper satire about social status, peer pressure and the consequences of chasing acceptance. It is twisted, outrageous and often uncomfortable—but that is exactly what makes Heathers stand out.

The Songs We Came For

Fans will be delighted to find all the iconic numbers that have helped establish Heathers as a modern musical favourite. From the explosive energy of “Candy Store” to the boldness of “Dead Girl Walking” and the emotional sincerity of “Seventeen”, the score remains one of the production’s biggest strengths.

The songs perfectly balance humour with genuine emotion, taking audiences from laugh-out-loud moments to unexpectedly heartfelt scenes. The soundtrack remains as memorable as ever, explaining why fans continue to return to Westerberg High time and time again.

A Standout Cast at Westerberg High

At the centre of this production are Gerardine Sacdalan as Veronica Sawyer and Louis Hearsey as JD, who bring incredible talent and chemistry to their roles. Both performers confidently carry the emotional demands of the story, navigating the show’s rapid shifts between comedy, darkness and vulnerability. Their dynamic makes Veronica and JD’s complicated relationship compelling to watch, and they prove to be strong leaders of an extremely talented cast.

The iconic Heathers are brought to life brilliantly by Liberty Stottor as Heather Chandler, Jessica Ibadin as Heather Duke and Lou Henry as Heather McNamara. Each brings their own distinct personality to the trio, capturing the glamour, confidence and cruelty that make the characters so unforgettable. Together, they perfectly embody the intimidating social power at the heart of Westerberg High.

Adding even more comedic energy are Markus Södergren as Kurt Kelly and Beau Jackson as Ram Sweeney, whose excellent comedic timing and commitment to their roles create some of the production’s funniest moments. They embrace the exaggerated nature of their characters while bringing a huge amount of energy to the stage.

Design: Bold and Iconic

David Shields’ set and costume design, and Ben Cracknell’s lighting design perfectly capture the exaggerated world of Westerberg High. The vibrant visuals and sharp lighting shifts complement the show’s darker moments, while the iconic 80s-inspired costumes bring the characters’ personalities to life—especially the Heathers’ instantly recognisable looks. It is stylish, colourful and completely in keeping with the musical’s larger-than-life energy.

A Show That Knows Exactly What It Is

Part coming-of-age story, part dark comedy and part social satire, Heathers fully embraces its own outrageous identity. It understands that teenage experiences can feel dramatic, overwhelming and world-ending, while also poking fun at the absurdity of high school politics.

It is loud, stylish and unapologetically dark, but underneath the sharp humour is a story about identity, loneliness and the search for belonging.

Final Thoughts

Heathers the Musical remains every bit the chaotic, dark and brilliantly entertaining show audiences have fallen in love with. While the temporary Arts at Marble Arch venue presents some challenges, the energy, talent and enthusiasm from the cast ensure that Westerberg High remains a place worth visiting.

With its unforgettable score, sharp humour and a hugely talented ensemble, this production proves why Heathers continues to hold its place as one of musical theatre’s most beloved cult classics.

Heathers the Musical is playing at the Arts at Marble Arch until 22^nd August, then it is embarking on its UK tour from 26^th August 2026 until 1^st May 2027.

Get your tickets here: https://heathersthemusical.com/uk-ireland-tour/tour-dates-uk-ireland/

Photos by Pamela Raith

Written by Helena Featherstone
Review: The Flutter Paradox at the Golden Goose Theatre

12/07/2026

Off West End (PR/Gifted)

A Question of Fate and Free Will

What if your entire life has already been mapped out by someone else? The Flutter Paradox, written by Nellie Elms and Cheta Mmeka, takes this intriguing premise and turns it into a witty and thought-provoking exploration of fate, free will and the unpredictable nature of being human.

Scientists Freddie and Zoey believe they have Gina and Archie’s futures carefully calculated, but their subjects have other ideas. Unaware that their choices are being monitored, Gina and Archie refuse to conform to the plan, leaving the scientists questioning whether human behaviour can ever truly be predicted.

The play raises interesting questions about free will and whether we are truly in control of our own destinies. These ideas are explored in a way that feels particularly relevant to younger audiences, capturing the uncertainty of growing up, making choices and trying to understand the paths we are taking.

Strong Performances Drive the Story

The four-strong cast brings energy, humour and warmth to the production. Lizzie Coles and Oliver Manley create a believable and strong connection as Gina and Archie, grounding the more philosophical elements of the play in recognisably human experiences.

Max Gardner and Nellie Elms provide much of the comedy as the increasingly frustrated scientists, delivering sharp timing while also exploring the uncertainty that comes when their confidence in control begins to unravel. The chemistry between the cast keeps the pace lively and ensures the characters remain at the centre of the story.

Inventive Direction and Design

Directors Corey-Rhys Edwards and Hayden Watts handle the play’s shifting timelines and perspectives with clarity and confidence. The pacing is well judged, allowing the comedy to land while giving the larger questions surrounding choice and destiny room to resonate.

The minimal set is used effectively, providing enough structure to establish locations and anchor the audience within the changing timeline without distracting from the performances. Lighting design by Cwtch Productions is particularly successful, helping to shape mood, define transitions and support the play’s narrative structure.

Final Thoughts

The Flutter Paradox explores complex ideas without becoming overly heavy. It is funny, philosophical, and compelling, while its characters provide the emotional connection needed to make those questions matter.

As a piece of new writing, it has strong foundations for the future. Its themes are relatable, particularly for younger audiences navigating questions of identity, choice and uncertainty, and offers an engaging and enjoyable theatrical experience.

Written by Helena Featherstone
Review: The Guilty at the Donmar Warehouse

11/07/2026

Off West End

When One Call Changes Everything

There is something compelling about a story told in real time, particularly when the stakes are life and death.

Written by Chloë Moss and directed by Felix Barrett, The Guilty follows Joe, a 999-call handler with a troubled past, who is stuck on the night shift when a call comes in that changes everything. What follows is a night of twists and turns, revelations, and tension that keeps you on the edge of your seat.

Russell Tovey Commands Every Moment

Russell Tovey proves more than equal to the challenge in this one man play. He never lacks energy, and his portrayal of Joe is emotionally raw and balanced.

With only a headset, a desk and the voices on the other end of the phone, Tovey creates an entire world through subtle shifts in expression and physicality. It is an impressively sustained performance that anchors the production throughout.

Tovey’s ability to shift between controlled professionalism and emotional collapse keeps Joe’s journey compelling. Even in quieter moments, he ensures there is always a sense of something unsettled beneath the surface.

The Design Does Much of the Heavy Lifting

Anna Watson’s lighting design is particularly effective. The cold, clinical lighting of the call room immediately reinforces Joe’s isolation, creating an environment that feels both sterile and oppressive. As the pressure builds and Joe begins to spiral, the lighting subtly reflects his deteriorating mental state, helping to convey his loneliness and growing sense of panic.

Gareth Fry’s sound design is equally vital. In a play centred around emergency calls, sound is the world of the play. The constant presence of voices, background activity and the atmosphere of the call room immerses the audience in Joe’s working environment. It succeeds in making the audience feel part of the call centre, surrounded by the pressures of the job while also highlighting Joe’s isolation within that space.

A Strong Premise That Doesn’t Quite Build

Despite the promising premise and the talent on stage, the rhythm of the play never quite settles. Just as the suspense reaches boiling point, the script pivots into quieter exchanges or moments of humour that feel at odds with the mounting urgency. While these lighter beats are presumably intended to offer emotional relief, they instead interrupt the momentum, making the overall experience feel slightly disjointed.

The play’s central device—a 999 call handler responding to emergencies over the phone—is undeniably effective. However with the reliance on telephone conversations, there are moments where the experience feels less like watching a thriller unfold and more like overhearing a series of phone calls.

Personal Demons That Never Quite Connect

Running alongside the emergency call is Joe’s own troubled personal life, gradually revealed through conversations and fragmented details.

Yet these elements never feel fully integrated with the central narrative. Instead, they sit alongside it, and they ultimately feel somewhat tacked on rather than woven organically into the main story.

A Twist That Raises More Questions Than Answers

Without giving too much away, the final revelation is certainly unexpected. The play clearly aims for an ending that forces audiences to reassess everything they have just witnessed.

For me, though, I was more confused than reflective. The mechanics of the twist are not explored in enough detail to make the conclusion entirely satisfying, and I left the theatre with more questions than answers. Ambiguity can be powerful, but here it feels as though a crucial piece of the puzzle is missing.

Final Thoughts

Despite some uneven pacing and an ending that doesn’t entirely stick the landing, The Guilty is an engaging theatrical experience, thanks to Russell Tovey’s commanding central performance.

The uneven pacing, repetitive reliance on phone conversations and underdeveloped personal storyline prevent the play from reaching the heights its premise suggests.

The ingredients for a truly gripping thriller are all present: a compelling concept, a superb central performance and a brilliantly realised atmosphere. But The Guilty ultimately feels like it is not quite the fully realised drama it could have been.

Written by Helena Featherstone

Get your tickets here: https://www.donmarwarehouse.com/events/the-guilty/?instance-type=standard#content-dates-and-times
Review: The Producers at the Garrick Theatre

04/07/2026

West End

First Impressions

Some musicals politely invite you into their world. The Producers grabs you by the hand and drags you in, promising an evening where absolutely nothing is off limits.

The Producers follows washed-up producer Max Bialystock and timid accountant Leo Bloom as they discover there is more money to be made from a flop than a Broadway hit. Their brilliantly terrible plan? Create the worst musical imaginable, guaranteed to close on opening night. The only problem is that their carefully engineered disaster becomes an unexpected smash success.

Featuring Nazi pigeons, outrageously camp characters, gloriously inappropriate humour and a string of irresistibly catchy songs, Mel Brooks’ musical is a fearless celebration of theatrical chaos.

It is loud, surreal, and completely unashamed of itself from the very first moment.

Performances

A huge part of what makes this production land is the central pairing. Andy Nyman as Max Bialystock leans into the character’s slippery charm. Part hustler, part showman, entirely convinced he can talk his way out of anything – Max is thoroughly entertaining even at his most shameless.

Marc Antolin’s Leo Bloom is a brilliantly judged piece of comic performance. He handles the score with clarity and control, and what stands out most, is Bloom’s gradual transformation from anxious observer to self-proclaimed “Brutal Producer”. It makes the comedy land even harder.

Together, they click in a way that keeps the whole evening anchored, even as everything else spirals.

Comedy with Precision

For all its madness, The Producers is remarkably well crafted. Every misunderstanding, every eccentric character and every seemingly throwaway joke feeds into the next, building a farce that is as tightly engineered as it is chaotic.

The comedy is broad, bold and unapologetic, but it never feels lazy.

That is part of the joy of it – no one is holding back, and the material is allowed to land at full theatrical volume.

The Showstopper Everyone Talks About

Let us talk about the elephant tap dancing across the stage – Springtime for Hitler.

It has earnt its reputation. It absolutely should not work, and yet on stage it becomes something far sharper than shock value.

It is not about glorifying anything – it is about stripping power down to absurdity. The number takes something historically monstrous and transforms it into vanity, delusion and ego in rhinestone costume.

This makes it highly memorable and completely surreal to watch – and it is brilliant.

Design: Maximalism with a Wink

Scott Pask’s set design fully embraces the show’s love of theatrical excess. It constantly shifts between the dingy world of desperate Broadway scheming and the exaggerated spectacle of musical theatre.

Paul Farnsworth’s costumes are the highlight of the show. Nothing feels subtle, but that is the point – the design mirrors the show’s own belief that more is always more. From showgirls and a ballet dancing Nazi pigeon to accountants and old ladies, there is a deliberate sense of exaggeration throughout.

Tim Lutkin’s lighting ties it all together with bold shifts in tone and colour, helping scenes snap between gritty backstage plotting and full musical spectacle.

Theatre After Dark

The charm of Mel Brook’s book and lyrics is the clear understanding of theatre itself. They poke fun at ambition, ego, producers chasing glory, and audiences who think they have seen it all – while also being a genuinely loving tribute to the chaos of live performance.

The songs help enormously. They are catchy, knowingly theatrical, and delivered with such commitment that you leave the theatre humming them, despite yourself.

Final Thoughts

The Producers is not subtle, and it does not try to be. It is hilarious, camp, and completely outrageous. It is serious nonsense.

With strong central performances from Andy Nyman and Marc Antolin, incredibly dazzling dance routines, and a design that embraces theatrical excess at every turn, The Producers is a feast for the eyes.

It is one of the great modern farces: tightly built, wildly performed, and endlessly entertaining.

You leave feeling slightly breathless, mildly scandalised, and very aware that you have just watched a show that knows exactly how far it can push things… and then pushes a little further anyway.

Written by Helena Featherstone

Photos by Manuel Harlan

The Producers ends on 19th September – Get your tickets here! https://nimaxtheatres.com/shows/mel-brooks-the-producers/
Review: Cyrano de Bergerac at the Noël Coward Theatre

25/06/2026

West End

What it’s About

Cyrano de Bergerac is, in many ways, the original “friend zone” story — a man so in love that he becomes the voice and the wit of the man his beloved actually loves. What begins as a comedic love triangle and extraordinary sword play, it becomes something far more painful: a man actively participating in his own invisibility.

In 17^th Century France, Cyrano, a brilliant poet and swordsman, is in love with Roxane. Convinced that his appearance will put her off, he hides his feelings and instead helps the handsome but inarticulate Christian woo her. Cyrano feeds him words and the already precarious situation threatens to come crumbling down when the two men are sent off to battle (the Thirty Years War).

This adaptation by Simon Evans (also the director) and Debris Stevenson for the RSC, brings a contemporary clarity to the text without stripping away its romance, comedy or emotional weight.

Adrian Lester at His Finest

At its centre, is an outstanding Adrian Lester. Charismatic, witty and effortlessly commanding, he perfectly captures Cyrano’s razor-sharp intelligence and wonderfully dry humour, whilst keeping his vulnerability close to the surface.

Lester handles the play’s shifts from comedy to heartbreak with remarkable ease, drawing the audience in with laughter before quietly breaking their hearts.

More Than a Simple Love Triangle

Susanna Fielding as Roxane matches Lester’s performance perfectly – and is refreshingly intelligent and self-possessed. She brings lightness and a dry humour to her performance which is lovely to watch. Their scenes together have warmth, humour and genuine affection, which make the emotional stakes feel even more devastating.

Alongside her is Levi Brown as Christian de Neuvillette, who plays him with an easy, unforced sincerity. He is not a caricatured fool, which is a relief; and Brown keeps him grounded and likeable, and slightly stranded in the wrong story.

The World of Cyrano

The costumes by Grace Smart are beautifully realised. They are rich in period detail and quietly expressive, helping to root the production firmly in its time. Her set design too is simple yet practically effective. Also, Joshie Harriette’s lighting is excellent throughout, and helps to create the production’s shifting emotional landscape.

The best touch though is ‘Cyrano’s band’ and their presence on stage, and also in two boxes in the auditorium throughout the show. This really helps to connect the audience to the stage and immerse them – whilst Alex Baranowski’s composition provides beautiful underscoring.

Final Thoughts

Very funny, clever and immersive, this Cyrano de Bergerac is an easy evening in the best sense – lively, well-paced, and full of energy, with swordplay, romance and sharp exchanges all handled with real confidence.

At its centre is the familiar figure of Cyrano — poet, soldier, lover — a man built for expression in every form except the one that matters most to him. That tension between brilliance and self-denial is really what the evening rests on.

A thoroughly enjoyable revival, with enough depth beneath the surface to stay with you afterwards.

Written by Helena Featherstone

Photo by Marc Brenner

Get your tickets here! – https://buytickets.delfontmackintosh.co.uk/tickets/series/COWCDB
Review: Hot Mess – A New Musical at the Other Palace

25/06/2026

Off West End (PR/Gifted)

What It Is About

What if the longest relationship in history was also the messiest? In Hot Mess: The Musical, Earth and humanity’s turbulent, millennia-long romance is laid bare through catchy and emotionally charged songs, sharp wit, and plenty of emotional baggage.

Earth is still getting over her ex (who was taken out by a poorly timed asteroid), and when she has finally started to lose hope of ever dating anyone that is not a single-celled organism, Hugh-manity abruptly evolves. And immediately starts to get on her nerves.

What follows is a whirlwind tour of the most chaotic relationship in history.

A Relationship Through the Ages

From the early days of tentative curiosity—fire, farming, and the first signs of ambition—to the increasingly tense modern era of industrialisation and overconsumption, the production cleverly structures history as a series of break-up milestones.

From the start, the show leans confidently into this surreal but instantly recognisable dynamic, reframing the climate crisis as a dysfunctional love story that is as funny as it is unsettling.

Each era arrives with its own burst of energy, driven by vibrant staging and catchy musical numbers that shift effortlessly between comedy and emotional punch. The pacing keeps the audience constantly engaged, as centuries of human behaviour are condensed into a rapidly escalating romance gone wrong.

Earth and Humanity on Stage

The heart of the production lies in its characterisation.

Earth is portrayed with dry humour, weariness, and a growing sense of disappointment that feels oddly relatable. Danielle Steers as Earth is such a joy to watch and completely owns the stage during her solo numbers, most noticeably in ‘My House’, which is incredible.

Morgan Gregory as Humanity is equally as impressive– particularly in ‘One in a Trillion’. He is impulsive, charming, and persistently convinced that he will “do better next time” and will get round to solving all the problems he has created eventually.

Their interactions play out like a couple locked in a cycle of apologies and repeated mistakes. Ellie Coote’s writing gives both sides personality without ever losing sight of the metaphor’s broader environmental message, making the dynamic entertaining while still grounded in something recognisably human.

Music, Comedy, and Chaos

One of the show’s greatest strengths is its ability to balance tone. The humour lands consistently, often through Jack Godfrey’s sharp lyrics and clever wordplay, while the music injects momentum and emotion into even the most chaotic moments.

There is much more than the typical ‘humans are ruining the earth’ angle. Instead, the climate crisis is used as a metaphor for a modern relationship – and this growing sense of urgency never feels preachy. Instead, the production uses its musical energy to draw the audience in before gently revealing the seriousness beneath the spectacle.

The World Is A Hot Mess

Shanko Chaudhuri’s set design is simple yet effective. It has a modern look but it feels equally as timeless, with curved edges and smooth surfaces.

Sarah Mercadé’s costume design perfectly makes this show feel ageless yet modern too, as Earth and Humanity carry on their relationship through the millennia.

Ryan Joseph Stafford’s lighting design makes the whole show feel cinematic and completely immerses the audience.

Final Thoughts

Hot Mess: The Musical it is a bold, inventive, and thoroughly entertaining piece of theatre—one that uses humour, heart, and certified bops to explore one of the most pressing issues of our time. It does so with impressive style and imagination.

It shifts from playful satire into something more reflective. The question of whether Earth and humanity can repair their relationship lingers, leaving the audience to sit with the uncomfortable possibility that some damage may be difficult to undo.

There is also some irony hidden in there somewhere that I saw this musical on the hottest day of the year too. So this was the perfect show to see!

Get your tickets here: https://theotherpalace.co.uk/hot-mess/?gad_source=1&gad_campaignid=23707649754&gbraid=0AAAABDP5hyw3-eWilfQ2NwNes3rfPHB0s&gclid=CjwKCAjwgO7RBhBKEiwAZNP85hlvWkK6idh45uPyqfYFsYHppCxEZvoY7tTUWYBpkFIbvvAJVb-1uhoCI5EQAvD_BwE

And stream the cast recording wherever you get your music!

Photos by Pamela Raith

Written by Helena Featherstone