Notes From Row H

Theatre Reviews

recent posts

  • Oliver!

    West End Theatre Review – The Gielgud Theatre

    Playing at the Gielgud Theatre until 4th October 2026, Oliver!, directed by Matthew Bourne (Mary Poppins)  comes to London after premiering at the Chichester Festival Theatre in 2024. It follows Charles Dickens’ story of Oliver, a young orphan, who grows up in a workhouse but then is sold to an undertaker because he became too much trouble. Then, escaping to London, he is welcomed into a gang of pickpockets and his trauma seems to be over. However, circumstances change and he, along with his new friends, is once again plunged into hardship and adversity. Will he ever find the love he is looking for?

    The performances are second to none. Ava Brennan (Nancy) captures Nancy’s depth but also her innate goodness and humour perfectly. Her powerful rendition of ‘As Long As He Needs Me’ was full of emotion and despair, whilst her ‘Oom-Pah-Pah’ was hearty and joyful.  Aaron Macgregor (Artful Dodger) portrays Dodger’s  cheekiness and precociousness superbly, and his performance of ‘Consider Yourself’ was full of fun and set the tone for the show perfectly. Aaron Sidwell’s (Bill Sikes) portrayal of the villain encapsulates everything that Sikes should be: menacing, and terrifying. His ‘My Name!’ was skin crawling and cements the character’s power and threatening presence within the story.

    The standout performance though, has to be from Simon Lipkin (Fagin). His portrayal is a masterclass in managing to balance humour with emotional depth, and there are some pieces of dialogue that are so well done that it is impossible to know if they are improvised or not. His ‘You’ve Got To Pick a Pocket or Two’ and ‘Reviewing the Situation’ are two of the best performed songs in the show, and succeed in painting Fagin as a father figure to his gang of thieves. The relationship between him and his boys is tender and comical at the same time, and it is very special to see it played out with such great care. In many ways, this environment is the emotional core of the show, and Lipkin does exceptionally well with balancing this father-like responsibility with the responsibility of being the boys’ protector and friend. The show trades the cariactured aspects of Fagin’s Jewish heritage, and makes him more nuanced and layered than the 1968 film did, but still making him recognisably Jewish. He is portrayed as more sympathetic and charismatic than previously, and his moral angst is explored more – which makes him more human.

    These incredible performances are matched by the creativity of the creators. The meticulous and superbly detailed set and costume design by Lez Brotherston (Woman in Mind) succeed in placing the show into Victorian London, and the use of the revolve creates a truly immersive experience, and helps to transition the story along. The precise choreography by Matthew Bourne is sharp and clever, and the incredible lighting design by Paule Constable (Cock) and Ben Jacobs (Bring it On) support each other to make the show a visual feast.  

    This musical is incredibly impressive. It manages to pay tribute to Lionel Bart’s original score whilst making a unique mark on the material itself. I really hope that this show runs for a long time in the West End!

    Written by Helena Featherstone

  • When We Are Married

    Off West End Theatre Review – The Donmar Warehouse

    Directed by the Donmar Warehouse’s Artistic Director, Tim Sheader (Hello, Dolly!), J.B Priestley’s marital comedy When We Are Married is playing at the Donmar Warehouse from 6th December 2025 until 7th February 2026. 

    This play follows three married couples when they are told their marriages, which all took place on the same morning, are void due to a clerical error. It explores the ripple effect of this revelation, and their questioning of their relationships now they are free from their supposed ‘marital bonds.’ It scrutinises the dynamics of a marriage in a humorous way and subverts expectations when it comes to the male and female roles within that mould, again, making the whole play have a tinge of humour to it. 

    The cast are superb. The three couples are: Siobhan Finneran and John Hodgkinson as Maria and Joseph Helliwell, Jim Howick and Samantha Spiro as Herbert and Clara Soppitt, and Sophie Thompson and Marc Wootton as Annie and Albert Parker. These three couples and their unique dynamics are played superbly well, and the actors give a witty and comic depth to the characters. Ron Cook as Henry Ormonroyd, Janice Connolly as Mrs Northrop, and Tori Allen-Martin as Lottie Grady provide needed comic relief and a lightness in the shape of a drunk photographer, a nosey housekeeper, a scorned woman. All of this combine to make a play that is joyful, nostalgic, and offers light-hearted escapism in the form of a well-crafted farce. 

    The set, designed by Peter McKintosh (South Pacific), is simple yet elegant and effective, and the costumes by Anna Fleischle (The Constant Wife) are beautiful.  

    This was the first time I have visited the Donmar Warehouse, and after this play I will definitely be going again. I really enjoyed this production of When We Are Married because the cast were incredible, and their comedic delivery was impeccable. Go and see it, if only for the giant aspidistra!

    Written by Helena Featherstone

  • Into the Woods

    Off West End Theatre Review – The Bridge Theatre

    Playing at The Bridge Theatre from 2nd December 2025, until 18th April 2026, Stephen Sondheim’s and James Lapine‘s Into the Woods is directed by Jordan Fein (Fiddler on the Roof), and the set and costumes are designed by Tom Scutt (Little Shop of Horrors). 

    It is the story of a childless Baker and his wife (Jamie Parker and Katie Brayben), who, under the instructions of the Witch (Kate Fleetwood), go into The Woods in order to find four objects that will help to lift the curse on their family line. Along the way, they meet several other fairytale characters: Jack (Jo Foster), Little Red Riding Hood (Gracie McGonigal), Cinderella (Chumisa Dornford-May), and Rapunzel (Bella Brown). They all quickly become embroiled in each other’s stories, and the story grows and snowballs until the characters are faced with the question – is what they wished for really worth it in the end? 

    The talent on stage is superb, and for both singing and acting, every member of the cast was incredible. From the two Princes’ (Oliver Savile and Rhys Whitfield) pompous ‘Agony’ to the Witch’s haunting ‘Last Midnight’, Sondheim’s iconic music and lyrics were performed beautifully. It was spell binding. Amongst all of the dark tones of this show, there are moments of fun and light which makes the tone so multi-faceted and deep, whilst being superficially light-hearted. 

    The crowning glory of this production is the set and costume design by Tom Scutt. The Bridge Theatre is well known for its staging, automation, and pyrotechnics, and this particular show does not disappoint. The forest, through which the characters weave and run throughout the show, provides the main set, and its life-like trees create such an immersive yet intimate feel to the whole musical. The set is strongly supported by the very clever and precise lighting design by Aideen Malone (Kyoto), and the sound design by Adam Fisher (Kinky Boots). All of these components blend together to build something that is visually and creatively stunning – and mixed in with the talent on stage, this musical is phenomenal. 

    This is the first time that I had been to The Bridge Theatre, and based on Into The Woods, I will definitely go again. This musical is one of the best I have seen, and I hope it has a longer life after it finishes in April 2026. 

    Written by Helena Featherstone

  • Christmas Carol Goes Wrong

    West End Theatre Review – The Apollo Theatre

    As part of its tour, Mischief’s Christmas Carol Goes Wrong is playing at the Apollo Theatre from 6th December until 26th January, before going to Nottingham, Aylesbury, Edinburgh, Glasgow, and Canterbury. This show is written by Henry Lewis, Henry Shields, and Jonathan Sayer, and directed by Matt DiCarlo (Moulin Rouge).

    After a disastrous run of Peter Pan, the hapless Cornley Polytechnic Drama Society tries to put on a show again: this time a rendition of Charles Dickens’ A Christmas Carol. But much to the chagrin of Chris Bean (the director), the show inevitably goes off the rails from the very beginning: with falling set pieces, missed entrances, a giant box of Maltesers, and a Kelly’s kitchen – amongst other things. As per the Cornley motto, “The show must go on, no matter the human cost”.

    This show is full of festive fun, and it is full of laughter and joy – which is something that we can always rely on Mischief to deliver. Like The Play that Goes Wrong, it is a laugh a minute, and there are splashes of physical comedy thrown into the mix, which adds to the hilarity. 

    For the second time this year, Mischief is back on the West End: The Comedy about Spies having had a very successful run at the Noel Coward Theatre earlier this year. Christmas Carol Goes Wrong is back in the ‘goes wrong’ style that Mischief is internationally renowned and loved for, and it does not disappoint. 

    As always, the actors were superb: Henry Lewis gave a particularly hilarious performance as Robert/the Ghost of Christmas Present, and so did Chris Leask as Trevor/the Ghost of Christmas Future. Jonathan Sayer as Dennis/Bob Cratchit was very amusing, and Daniel Fraser as Chris Bean/Scrooge was extremely entertaining. Nancy Zamit as Annie/The Ghost of Christmas Past/Fred was very humorous, and Sasha Frost as Sandra/Belle/Mrs Cratchit was equally as hilarious. Matt Cavendish as Max played many roles too, which were all very comical. 

    The set was designed by Libby Todd (The 39 Steps), the lighting by David Howe (Mrs Warren’s Profession), and the costumes by Roberto Surace (The Play That Goes Wrong).

    I was very lucky to have gone to one of Mischief’s open rehearsals for this play earlier this year, and I absolutely loved the experience. It was fascinating to be able to see behind Mischief’s process, and then to see it on stage a few months later, was very enjoyable.  

    I absolutely loved this show, and I whole heartedly recommend it to anyone who wants to have a festive and absolutely hilarious time. BAH HUMBUG! 

    Written by Helena Featherstone

  • Murder, She Didn’t Write

    West End Theatre Review – The Duchess Theatre

    As the last stop of their 2025 tour, Degrees of Error took over the Duchess Theatre for one night, to improvise a murder mystery play – and so of course, hilarity ensued. 

    Led by Agatha Crustie and Jerkins (an audience member who was chosen at random by Agatha flinging a deer stalker at them), over 2 hours, the ensemble improvised a murder mystery: think an interactive Cluedo with added fun. 

    The show is different every night, and for the show that I saw, the mystery was based on trip to Bradford in 1933, and the mysterious object was chosen to be an orange wooden leg. Add in a love triangle involving a Titanic survivor and a run in with a walk-in freezer, the show was hilariously macabre and riotous.

    The cast themselves were flawless, and their improvisational skills were seamless and masterful. Their ability to take everything in their stride (even the absolutely bizarre and wacky) and draw together all the seemingly non sensical elements to make a coherent Agatha Christie-esque mystery, was very impressive. 

    The audience are made to feel very included: Agatha Crustie takes suggestions at the start of the show to help determine key plot elements, like an important item and an event, then later on, the victim and the killer. This makes them even more integral to the story line, and the action on stage more chaotic and spontaneous! 

    The improvisation is enormously supported by the set design, costumes and improvised music, which help to make the show more immersive and also feel as if it is a ‘proper play’. 

    In 2026, Degrees of Errors will return to the Duchess Theatre as part of a wider UK and Australia tour. This show is thoroughly enjoyable and rewatchable: I will definitely be seeing it again!

    Written by Helena Featherstone

  • Coven

    Theatre Review – Kiln Theatre

    Coven is a feminist, powerful, and poignant new musical written by Rebecca Brewer (Foot) and Daisy Chute (Shaun the Sheep) and directed by Miranda Cromwell (Death of a Salesman). It is playing at the Kiln Theatre from 31st October to 17thJanuary. 

    Set in Pendle, Lancashire in 1612, Coven follows Jenet Device (played by Gabrielle Brooks) when she becomes the one accused of witchcraft, 21 years after accusing her own family of the same crime. It delves into her tussle with her own mind, the secrets of her past, and her eventual epiphany about who she is. Jenet is joined in Pendle jail by five other women who are accused of witchcraft, each with their own stories of male-oppression and heartache. They help Jenet to confront the misogyny and social attitudes that led her there. 

    These stories weave together to create and explore their trauma, and the struggles of women to make themselves heard in a world of men: this an empowering message which resonates even in our modern age.  

    Gabrielle Brooks (Jenet) strongly leads this all-female cast with an intense energy that effortlessly portrays Jenet’s staunch morality and subsequent internal conflict. Nell (Allyson Ava-Brown) is caring yet determined, Rose (Lauryn Redding) is a drily humorous and combative character, who, yet sometimes exhibits vulnerability. The relationship between her and her mother Martha (Penny Layden) is truly touching, which is only deepened when Martha sacrifices herself for Rose’s freedom. Frances (Shiloh Coke) provides a pious aspect to the narrative, and Maggie (Jacinta Whyte) is a healer, who is a calm and kind presence in the volatile atmosphere. Diana Vickers gives a creepy performance as jailor Covell but provides a starkly contrasting performance as Edmund when he raps his testimony during Jenet’s trial. 

    The crowning glory of this musical is of course the music, which is a mixture of folk, laments, power ballads, and rock. A highlight is “Burn Our Bodies” which is an extremely powerful and catchy feminist anthem about protest and resilience. The musicians join the performers on stage, which only adds to the feeling of feminine power and community. 

    The lighting designed by Zeynep Kepekli (The Talented Mr Ripley) and set and costumes designed by Jasmine Swan (Babies) are instrumental in helping to capture the emotions and attitudes of the time. A highlight is the puppet of 9-year-old Jenet Device which plays a crucial part in demonstrating Jenet’s past and her eventual role in her family’s death. 

    Sometimes, it feels as if the narrative is too full which leads to some of the women’s storylines being underdeveloped and the theme of injustice being repeated continuously. Even though the rap numbers were very amusing and provide some levity, they do slightly make the tone of the show uneven.

    All of these elements combine to make a show that is full of thought-provoking themes, and it gives a voice to the nameless women who suffered and were silenced by misogyny.

    Written by Helena Featherstone

  • Wendy & Peter Pan

    Theatre Review – The Barbican Theatre

    Wendy and Peter Pan Tickets - RSC London Season

    Written by Ella Hickson (Oedipus and ANNA), but based on the book by J.M Barrie, the RSC’s production of Wendy & Peter Pan is playing at the Barbican Theatre from 21st October until 22nd Nov 2025.

    Following the traditional Peter Pan story, with a few tweaks that make the storyline feel a tad more modern – namely Wendy and her brothers need to go to Neverland to search for their lost brother, ‘Tom’. The audience sees the story unfold through Wendy’s eyes, so it has a feminist twist which is refreshing, and is what the entire play seems to rest on. This show is full of the magic, sword fights, and flying which is expected from a Peter Pan story. 

    The Shadows show an incredible physicality and help to add humour in a very playful way. Scott Karim (Smee) brings a campness to the story that is very fun, and Ami Tredrea (Tiger-Lily) has a subtle charm too. Hannah Saxby (Wendy) and Daniel Krikler (Peter Pan) have a chemistry that treads the line between whimsical and painful – but sometimes does fall foul to the traditional themes of Mother and Father.

    This show is visually stunning: the set and costume design by Colin Richmond captures the fantastical element of the play perfectly and are the centrepieces of this play, with special mention going to the full-size pirate ship, which is breathtaking. These are aided by the striking lighting and projections by Oliver Fenwick. 

    That being said, there were several times where the scenes seemed to drag, and the pacing seemed a bit off despite the high energy action sequences and run time being longer. I am unsure who this play is aimed at too, because the tone seems to shift between serious themes (child loss), and childlike (almost pantomimic) humour.  

    The use of anachronistic words such as ‘rizz’ and ‘sliding into his DMs’ pulled me out of the world of Neverland, and at times, made this magical story feel like a pantomime. 

    Also, Wendy’s desire to team up with Tink and Tiger Lily, clearly meant to be a Girl-Power moment, felt tacked on and a bit flat after all three had been jealous enemies throughout, and Wendy had been in a perpetual state of stress and mental anguish for the entire show. 

    There are a lot of components of this show that I can get behind: the acting and physicality, the set and lighting, and the obvious magical feel of the story. However, there are issues that outweigh these aspects – namely the pacing, unclear aims, anachronisms, and seemingly last-minute character changes which are only made in order to fit the character into the narrative.

    Written by Helena Featherstone

  • How To Give Up On Your Dreams

    Theatre Review – Greenwich Theatre (PR/Gifted)

    Playing at the Greenwich Theatre from 4th November until 8th November, How to Give Up On Your Dreams is a one woman show performed by Meg Chizek and directed by Carly Polistina (Please Help, A Place for Ashes), and was the winner of the New York City Fringe Sell Out Award.

    She takes the audience through her life, from aged 8 to now (donning wigs, dancing jazz and tap numbers, and singing along to Musical Theatre Songs in the process) and tells the story of her dream of being a dancer: more specifically, her dream of joining the Rockettes, and her trials and tribulations whilst auditioning for shows in NYC.

    She expertly tells her story in an energetic and witty, but emotional way and manages to hit the balance between the two perfectly. Among the various musical numbers and in the engaging narrative, Chizek’s self-deprecating one-liners make the audience question our own dreams and perceptions of success which makes this show have a hint of existentialism.

    Chizek herself is a very expressive, talented dancer, and her story is poignant and humorous in equal measure. She immerses the audience into the world of dance, and in the end, the title of How To Give Up On Your Dreams comes to fruition in a satisfying yet touching way.

    Written by Helena Featherstone

  • Fanny

    Theatre Review – The Kings Head Theatre

    At the Kings Head Theatre from 17th October until 15th November, Fanny follows Fanny Mendelson’s journey from Germany to England when she intercepts a letter from Queen Victoria, intended for her brother Felix, inviting him to her court to play for her. Fanny takes his place because she feels that she has been passed over for far too long– resulting in heaps of hilarious shenanigans. Full of laughter and feminine strength, this play is written by Calum Finlay (Paddington Lo-Commotion & The Peter Rabbit Easter Adventure), this play has lots of heart and portrays a woman’s struggle to make herself heard in a world of men, in a comedically sincere way. 

    Charlie Russell (Fanny) gives a masterclass in comedy – especially during the elements of audience participation and improvisation. As well as this however, she also gives Fanny an emotional depth and a fallibility that makes the show feel richer. Kim Ismay (Lea), Jeremy Lloyd (Paul), Riad Richie (Wilhelm), Danielle Philips (Rebecka), and Daniel Abbott (Felix) are incredibly talented too. They all deliver such impeccable individual performances, and add a richness to the narrative that is needed when there is one too many puns, or a scene is a bit too long.

    This play is directed by Katie-Ann McDonough (The Comedy About Spies), with Yshani Perinpanayagam (Showstopper!) as Musical Director & Composer, Sophia Pardon (Head Over Heels) as the Set and Costume Designer, and David Howe (Mischief Movie Night) as the Lighting Designer. 

    This was my first time at a pub theatre, and I enjoyed it immensely. I attended the second preview performance too, so the show will have been through some changes since. I will definitely be back to the Kings Head Theatre in the future!

    Written by Helena Featherstone

  • The Bacchae

    Theatre Review – The National Theatre

    Written by Nima Taleghani and directed by Indhu Rubasingham (the first play that she has directed as the National Theatre’s new Artistic Director), this refreshing interpretation of The Bacchae follows Euripides’ classic tragedy whilst subtly injecting it with contemporary themes. Some more prominent than others, the timeless themes of feminism and masculinity, satire, protest, displacement, sexuality and humour are centre stage. All of these components are effortlessly weaved into the storyline by Taleghani and makes the tragic plot into a bold and empowering retelling. 

    The Bacchae themselves shone: their dancing and chanting helping to add to their intimidating aura. Particularly, Claire Perkins as Vida radiated charisma and authority, and her fellows Anna Russell Martin and Sharon Small gave incredible performances as Kira and Agave respectively. James McArdle as Pentheus and Ukweli Roach as Dionysus were magnetic and they gave incredibly emotionally rich performances: moving between charm and menace with speed and effortlessness.

    The set (designed by Robert Jones) and lighting (designed by Oliver Fenwick) are another character in this play, and they easily match the incredible talent on the stage. The set shifts subtlety and the lighting features a dominant tilting ring that allows the audience to easily envision the palace and wilderness, as well as adding an intensity to the dialogue. 

    Playing at the Olivier Theatre in the National Theatre from 29th September until 1st November, The Bacchae is, at its core, a Greek tragedy but with a clever modern twist. It sublimely emphasises its modernity whilst honouring the ancient Greek themes that were first introduced by Euripides. This is such a unique piece of theatre, and as soon as it ended – I wished I could see it again!

    Written by Helena Featherstone