Notes From Row H

Review: Heated Rivalry – The Unauthorized Musical Parody

26/10/2026

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“I’m coming to the cottage.” Five words that sent everyone on the internet into meltdown – and now, it has made its way to the stage. Fresh from the Edinburgh Fringe (one of three separate theatrical parodies of the hockey romance phenomenon to emerge), Heated Rivalry: The Unauthorized Musical Parody arrives at Underbelly Soho. Clearly, Shane and Ilya’s grip on the internet shows no signs of loosening – and this production is certainly not playing it cool.

A puckin’ good time

Riotous and sexy, this show gives the internet’s favourite hockey romance the gloriously unhinged musical treatment it deserves. Dylan MarcAurele’s songs are absolutely brilliant, adding an extra layer of comedy, camp and romantic drama to the already over-the-top premise. Catchy, cheeky and packed with laughs, they are a real highlight, scoring goal after goal with their playful take on Shane and Ilya’s relationship.

The story is ‘narrated’ by Susan (May Tether), a viewer of the show whose commentary adds another wonderfully meta layer to proceedings. This provides plenty of opportunities to poke fun at the fandom itself, making the parody just as entertaining for those who have watched Heated Rivalry obsessively as for those who are still wondering what all the fuss is about.

These players bring the heat

Under the direction of Alan Kliffer, the physical comedy is hilarious, and adds a wonderfully ridiculous dimension to the romantic tension and takes full advantage of the absurdity of the situations Shane and Ilya find themselves in. Combined with the sharp jokes and gloriously over-the-top musical numbers, it keeps the laughs coming throughout. The comedy is anything but a cheap shot, and the performers clearly know how to work the ice.

Joseph Dann brings Ilya to life with all the attitude and cheekiness you could hope for, while Zhang Xi Yong makes a charming Shane, capturing the character’s appeal and the chemistry that makes this pairing so compelling. Together, they bring bags of energy to a parody that understands exactly what its audience has come for – and is more than happy to deliver.

Final thoughts

Heated Rivalry: The Unauthorized Musical Parody is riotous, sexy and an absolute blast from beginning to end. With absolutely brilliant songs, hilarious physical comedy, knowing in-jokes and plenty of cottage-worthy moments, it is 75 minutes of pure joy.

Whether you are a devoted fan or a newcomer to the rivalry, this production scores a winner. It is a love story worth cheering for, a comedy that never drops the puck and, frankly, an invitation to the cottage that would be rude to refuse.

Written by Helena Featherstone

Get your tickets here: https://underbellyboulevard.com/tickets/heated-rivalry-the-unauthorized-musical-parody/

Photos by Matt Crockett
Review: The Penelopiad at York Theatre Royal

25/10/2026

Regional

We have all heard of The Odyssey and Odysseus’ 20-year-long absence from Ithaca. But what happened whilst he was away?

Based on Margaret Atwood’s novella, The Penelopiad answers this question, shifting the focus from the legendary Greek hero to the wife he left behind. Rather than accepting Penelope’s reputation as the ever-faithful wife, this retelling gives her the chance to tell her own story.

But she is not the only one demanding to be heard. The twelve maids hanged upon Odysseus’ return also get their say, challenging the version of events that has relegated them to the sidelines.

A witty and vulnerable Penelope

Amelia Bullmore leads as Penelope, narrating the action with a performance that is witty and measured, yet underpinned by vulnerability. Her wry delivery brings a bit of humour to Penelope’s recollections too – which is always welcome to balance the play’s dark undertones.

An ensemble with plenty to say

The all-female ensemble is equally strong, bringing energy and versatility as they switch between roles. Functioning like a Greek chorus, they interrupt Penelope’s account to offer alternative perspectives, ensuring the maids’ voices are not lost in her narrative.

The physical theatre adds another dimension, with circus elements bringing a dynamic, often playful energy to the storytelling. The ensemble’s physicality makes for a visually engaging contrast with Penelope’s more measured narration, bringing the world of the myth to life beyond words alone.

The use of masks to represent the suitors is another ingenious touch, allowing the ensemble to transform into a crowd of unwanted men, and it is a simple but effective device that complements the play’s Greek roots while keeping the storytelling fresh.

Striking, stripped-back staging

Director Juliet Forster brings together contemporary style and ancient Greek influences, with Sara Perks’ all-white set, punctuated by red rope, providing a striking visual backdrop. The simplicity of the design allows the cast’s physical performances and circus elements to take centre stage, while the ropes become an increasingly sinister symbol as the story unfolds. The white backdrop also gives Alexandra Stafford’s lighting design room to shine, making shifts in colour and atmosphere more expressive and visually striking.

However, the shifts between Penelope’s reflective narration and the more exuberant musical and physical sequences can feel uneven and slightly jarring, occasionally disrupting the flow.

Final thoughts

The Penelopiad offers a witty and inventive retelling of a familiar Greek myth, giving a voice to those too often overlooked in the stories of its heroes. Amelia Bullmore’s compelling performance, the energetic ensemble and the inventive blend of physical theatre, circus and striking visual design make for an engaging production, even if some tonal shifts feel a little jarring. With its mix of humour, physicality and fresh perspective, there is plenty to enjoy in this reimagining of Penelope’s story.

Written by Helena Featherstone

Buy your tickets here: https://www.yorktheatreroyal.co.uk/show/the-penelopiad/

Photos by Pamela Raith
Review: The Pianist at Park Theatre

22/10/2026

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Against the backdrop of Nazi-occupied Warsaw, The Pianist tells the extraordinary true story of Polish pianist Władysław Szpilman, whose love of music becomes a thread of hope through unimaginable suffering. Told through his own words and compositions, the production takes us from the vibrancy of pre-war Warsaw in 1939 to the devastation of the Holocaust and its aftermath. It is a story of survival, memory and hope in the face of unspeakable darkness.

A commanding central performance

Dan Krikler commands the stage as Szpilman. He never leaves it. Part of the action like an omniscient narrator, he guides us through the story with a quietly devastating performance, capturing the fear, vulnerability and determination of a man fighting to survive as his world falls apart. He holds the audience’s attention throughout, making this extraordinary story feel intensely personal.

Malcolm Forbes Peckham as the Pianist, Rosalind Ford as Mother, TJ Holmes as Father and Nitai Levi as Henryk are all excellent, bringing warmth and humanity to the production. The ensemble captures the vibrancy of family life before the war, making its subsequent destruction all the more heartbreaking.

An ensemble in harmony

One of the production’s greatest strengths is its actor-musician format, with the cast playing a variety of string instruments throughout. Their musical contributions are woven seamlessly into the narrative, creating moments of extraordinary beauty amid the brutality.

The piano remains a constant presence, with the action unfolding around it as it is wheeled around the stage. Sliding doors at the back of the stage create an effective divide between scenes, while Krikler even stands on the piano in the second act. At the very end, he takes his place at the keys himself – a particularly poignant moment that brings the story full circle, connecting Szpilman’s survival with the music that has sustained him throughout.

Final thoughts

The Pianist is not an easy watch, but nor should it be. Krikler’s commanding performance, supported by a talented ensemble of actors and musicians, makes for intimate, heartbreaking storytelling.

What makes this production so affecting is its ability to find beauty without diminishing the horror of the events it portrays. In a world stripped of almost everything, music becomes a reminder of the humanity that cannot so easily be destroyed. It is a haunting piece of theatre that stays with you long after you leave the auditorium – and one that makes the silence after the final note feel just as powerful as the music itself.

Written by Helena Featherstone

Get your tickets here: https://parktheatre.co.uk/events/the-pianist/#event-instances

Photos by Anthony Leary-White
Review: Dog Mom at Southwark Playhouse Borough

17/10/2026

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A dog is man’s best friend – or in this case, a dog is a woman’s initially reluctant acquaintance.

From Reluctance to Retriever

Written by Tate Elizabeth Hanyok, Dog Mom follows divorced middle-aged Sarita (Vinita Belani) who is lost and struggling to find herself again after years of looking after other people. Then, one day, a stray golden retriever (Patty Gallagher) comes into her life, and so begins a journey of learning, self-acceptance, and love. Along with her neighbour (Joanna Holden), their dog Ruben (Tom Barnes), and a range of characters (Jarreau Antoine), Sarita’s life is gradually transformed, and slowly she becomes a ‘Dog Mom’.

A Little Dog-Eared

It is a sweet story that will feel familiar to dog owners, packed with canine shenanigans and humour that anyone who has shared their home with a four-legged friend will recognise. With the dogs played by human actors, the production embraces a slightly surreal style, bringing an amusing theatricality and attention to the everyday quirks of dog behaviour.

The slow-motion sequences accompanied by operatic music are particularly funny, adding an exaggerated, melodramatic quality to the canine chaos. However, the central premise follows the well-worn trope of a woman insisting she does not want a dog, only to inevitably fall in love with one. The surreal staging adds a quirky twist but is not quite enough to make the story feel fresh.

More Than Puppy Love?

Beneath the canine comedy lies a more poignant exploration of loneliness, identity and learning to put yourself first. Sarita’s journey towards self-acceptance gives the story its emotional core, although the predictability of the plot means that few of its developments come as a surprise. The sentiment is sweet, but the production does not always dig deeply enough beneath its feel-good premise to make its message truly resonate.

Final thoughts

Ultimately, Dog Mom is a charming, if somewhat uneven, production. The anthropomorphic dogs and playful staging provide some entertaining moments, but the novelty wears thin before the story can deliver a particularly affecting conclusion. There is warmth here, and dog lovers will find plenty to smile about, yet the production never quite turns its charming premise into something theatrically distinctive.

Written by Helena Featherstone

Photos by David Jensen

Get your tickets here: https://southwarkplayhouse.co.uk/productions/dog-mom/
Review: Lady M at Playhouse East

16/10/2026

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What exactly goes on inside the mind of Lady Macbeth? Lady M is a surreal, one-woman play starring Jessica Kinsey, exploring Shakespeare’s infamous queen and blending the original text with contemporary writing and physical storytelling. It is an intriguing premise, but as the production veers between psychological drama and sexual provocation, its intentions become increasingly difficult to decipher.

An intriguing idea

There is plenty of potential in exploring Lady Macbeth beyond her reputation as a ruthless, power-hungry villain. Examining the psychological turmoil beneath her ambition offers an opportunity to revisit a familiar character from a fresh perspective, and rather than just retelling Macbeth, Lady M attempts to plunge the audience into the fractured workings of its central character’s mind.

However, what could have been a compelling exploration of guilt, identity and psychological unravelling becomes increasingly difficult to follow, with little sense of a clear narrative to guide the audience through the experience.

A little too much madness

The production moves between Shakespearean language and contemporary dialogue, which creates an interesting contrast, but one that feels a tad jarring. These shifts make it difficult to settle into a consistent rhythm, particularly when combined with the increasingly frantic physical storytelling.

There are moments when the deliberately chaotic approach feels as though it is intended to reflect Lady Macbeth’s deteriorating mental state. Yet, with so much shouting and heavy sexual undertones, it is not always clear what the individual moments are trying to communicate. The intensity becomes repetitive, and the psychological portrait at the heart of the production gets somewhat lost in the noise.

An unconventional approach

The physical storytelling is impressive though and provides some of the production’s more unusual moments – moving beyond conventional Shakespearean staging in favour of something altogether more playful and surreal. However, at points, the retelling of Macbeth turns into a miniature performance featuring toy dogs, Barbie dolls and rubber ducks which is very at odds with what came before.

Final thoughts

Ultimately, Lady M is an ambitious attempt to look beyond the familiar image of Shakespeare’s “fiend-like queen”. Its unconventional approach and willingness to embrace the surreal demonstrate an intention to do something different with well-established material. Unfortunately, the production’s shifting tone, unclear narrative and increasingly manic energy prevent its central ideas from landing as effectively as they might.

There is an interesting concept here, and a psychological exploration of Lady Macbeth has the potential to be genuinely compelling. However, a little more cohesion and restraint would have helped bring that potential to the surface.

Written by Helena Featherstone

Get your tickets here: https://shows.playhouseeast.com/lady-m
Review: Ghosts at Jermyn Street Theatre

15/10/2026

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Norway 1881 – Oswald Alving returns to his childhood home – and to his mother Helene. His return coincides with the grand opening of an orphanage that is being built to commemorate the anniversary of his father’s death – and long buried secrets are uncovered, threatening to consume and overwhelm them both. Does the need to be free outweigh the cost of the truth?

Ghosts by Henrik Ibsen is a gripping exploration of family secrets, social hypocrisy and the consequences of trying to bury the past. In this production at Jermyn Street Theatre, directed by Kwame Owusu and adapted by Richard Eyre, Ibsen’s 19th-century drama feels anything but dated. Instead, it is an unsettling reminder that the ghosts we inherit from previous generations can be the hardest ones to escape.

A family with plenty to hide

At the centre of the drama is Flora Montgomery as Helene Alving, a woman who has spent years protecting her late husband’s reputation at the expense of her own happiness. Montgomery is excellent, balancing Helene’s composed, respectable exterior with the frustration and anguish bubbling beneath the surface.

Joe Pitts brings an equally compelling vulnerability to Oswald, whose return home exposes just how much his family history has shaped his future. His performance captures the painful tension between a son desperate to live freely and the devastating reality of what has been passed down to him.

Oliver Alvin-Wilson is also excellent as Pastor Manders: self-righteous and rigidly moral. His insistence on respectability, even when confronted with uncomfortable truths, makes him a fascinating and often infuriating presence. Meanwhile, Cecilia Appiah brings an engaging sense of ambition and determination to Regina, and Peter F. Gardiner adds a calculating edge to Jacob Engstrand.

An intimate and unsettling production

Jermyn Street Theatre’s intimate space is perfectly suited to this claustrophobic family drama. Cara Evans’ dark, wood-panelled set makes the Alving home feel like a place where the past can never truly be escaped, while Ben Ormerod’s lighting subtly reinforces the increasingly unsettling atmosphere.

At just 90 minutes, the production keeps the tension building as each new secret comes to light, leaving little opportunity to catch your breath.

Final thoughts

More than 140 years after it was written, the themes Ghosts poses are still very relevant: inherited trauma, patriarchal expectations and the damage caused by prioritising appearances over honesty. It still poses questions about responsibility, freedom and whether the truth is always worth the pain.

The past may be dead and buried, but as Ibsen so brilliantly demonstrates, that does not mean it has stopped haunting the living.

Written by Helena Featherstone

Photos by David Monteith-Hodge

Get your tickets here: https://www.jermynstreettheatre.co.uk/show/ghosts/