Notes From Row H

Silver & Gold

26/02/2026

Off West End theatre review – The Golden Hinde (PR/Gifted)

Performed on The Golden Hinde by James Hyland and produced by Brother Wolf Productions, Silver & Gold is one of a few immersive plays that are written and directed by Hyland – this time, this one is inspired by Robert Louis Stephenson’s Treasure Island. Is there anywhere better for a swashbuckling story about a pirate (although he goes to pains to say he is not) trying to change his story, than on the lower decks of a full-sized reconstruction of the Elizabethan galleon? Absolutely not.

As soon as he enters down the ships stairs, Hyland’s characterisation of Long John Silver is exceptional. He has such a strong stage presence and embodies Silver with a vivid intensity which is creates an incredibly engaging atmosphere. He perfectly captures Silver’s rage when he is challenging the ‘lies’ spread about him by his former cabin boy James Hawkins in Treasure Island. What makes it even more immersive, was him making us part of crew, which sometimes (especially when he fell over when he was shot) made us actually wonder whether we should help him.

The rich narrative that Hyland created was brilliantly clever too. The language he used was a mixture of Elizabethan and modern and painted the picture perfectly. Sometimes reading from a book, the speed at which he was able to switch between amusing and sincere was breathtaking and sometimes unnerving.

Our surroundings completely magnified the story. Along with the extremely low ceilings and the slight motion of the ship rocking, we were sat on the benches that the Elizabethan crew would have sat on when the ship was circumnavigating the globe. Being in the belly of this magnificent ship really added a different meaning to the story and provided it with a dose of reality – it was incredible.

Theatre does not get any more immersive or atmospheric than this – everything was ship shape and anchored in the talents of James Hyland, and the story of a maligned pirate that he has masterfully created.

Written by Helena Featherstone
The Shitheads

21/02/2026

Off West End theatre review -The Royal Court Theatre – PR/GIFTED

The Shitheads, Jack Nicholls’ debut play, which is directed by Aneesha Srinivasan and David Byrne, takes us back to prehistoric times – when giant elk roamed the land and people lived in caves, afraid to go out into the world. In this psychological horror-drama, stories and memories are used as a method of survival – and the play itself is a story of survival, strength, and ultimately, how love and violence are often two sides of the same coin. A bizarrely weird and strange emotional rollercoaster, this prehistoric play takes us back to the root of what humans are, through a parody of a family comedy. Imagine The Royale Family, but with a dash of cannibalism.

Centred around a cave-dwelling family – the wild but capable Clare (Jacoba Williams), her eagerly innocent younger sister Lisa (Annabel Smith), and her menacing, indoctrinating father Adrian (Peter Clements), The Shitheads tells the story of when Clare meets Greg, a spirited young man who lives above ground with his family, when she is hunting elk. He is what her father calls a ‘Shithead’ – a lesser species, so Clare is surprised when Greg can understand her and talk. They click immediately, but that stops when she kills Greg and eats his brain in order to absorb his stories. Clare invites Greg’s partner, Danielle (Ami Tredrea) and child (a wonderful puppet controlled by Scarlet Winderink) into their cave, and then the plot turns into a slight comedic family drama – helped by Anna Reid’s set design, which mixes ‘cave’ with ‘modern living room’. There are bone light fixtures hanging from the ceiling and numerous cave paintings, along with a modern standard lamp and armchair, so this sets the anachronistic tone. There are even more dramatic and strange twists and turns, and of course more blood spilt – there is even a scene which involves hallucinogenic mushrooms.

The incredible use of puppets (particularly the elk) and Alex Fernandes’ creative lighting design (and Anna Reid’s set design), make this show visually impressive. When the elk first came onto the Jerwood stage, the audience audibly gasped – it was magical. Anna Reid also designed the costumes, and amongst the fur and leopard print of the caveman, there are modern twists that make sure the modern world is not far away.

Jack Nicholls’ imagination has run wild, and he has created a play that is bloody and gripping, but one that has elements of comedy that help to alleviate the dark material. This was my first time visiting the Jerwood Theatre Upstairs at the Royal Court Theatre – and it was such a great introduction. I cannot wait to return in the future to see what other plays are put on here.

Written by Helena Featherstone
Arcadia

16/02/2026

Off West End Theatre review – The Old Vic

This most recent staging of the late Tom Stoppard’s classic 1993 play, Arcadia, at the Old Vic, is full of promise and has all the elements of being a meaningful and deeply philosophical experience. With strong performances from the cast, and delightful set, costume, and lighting design – these elements are given the space to breathe and grow, however, sometimes it felt a bit challenging to follow and understand the complicated dialogue and ideas.

Set in the same house, and following two timelines that are 200 years apart, Arcadia is packed with wit, humour, flirtatious energy, and intellectual passion. It is an exploration of everything from mathematics and philosophy to history, art, and romance, and is set in the fictional estate of Sidley Park. In the 19^th century, it centres around the teenage prodigy Thomasina Coverly and her grappling with the mysteries of the universe and scientific ideas, with her tutor Septimus Hodge – all while the adults around her are becoming slowly romantically involved with each other. In the 21^st century, and in the same house, two scholars are trying to piece together the events of the past, and are also trying to answer one big question: did the poet Byron visit the estate?

The performances by the cast are exceptional – especially Isis Hainsworth as the remarkable Thomasina Coverly, and Seamus Dillane as her charismatic tutor, Septimus Hodge. The chemistry between the two is a corner stone and the driving force of this play. In the 21^st century, Prasanna Puwanarajah and Leila Farzad form a strong duo – both with cutting remarks and dry humour. However sometimes, there did not seem to be cohesion between the two, and at times, their scenes felt like a side plot, rather than of equal importance to the 19^th century plot.

The stage is ‘In The Round’, and this is used to its full potential by director Carrie Cracknell (The Grapes of Wrath). When the narrative switches from one timeline to another, the stage turns and with Guy Hoares’s (The Father) lighting design, the discs that are above the stage light up with beads of light. This efficiently differentiates the two time periods and separates the two in the mind of the audience. Alex Eales’ (Portia Coughlan) set design is simple yet effective – with central and outer tables loaded with books and objects from the two centuries. The costume design by Suzanne Cave (A Very British Scandal) is essential in telling the difference between the two centuries, and the 19^th century costumes are particularly striking.

This was my first time seeing a production of a Tom Stoppard play – and also of Arcadia. I thoroughly enjoyed the way the narrative progressed, how the two timelines combined, and particularly the performances. However, I did find the material very dense, and at times, it involved a lot of mental gymnastics. I am not a maths or science person, so those aspects did go over my head and slightly impeded my ability to enjoy the play in its entirety. However, I was able to see the genius of Tom Stoppard’s writing – even if I did not understand its intricacies.

Written by Helena Featherstone
The Unlikely Pilgrimage of Harold Fry

10/02/2026

West End Theatre Review – Theatre Royal Haymarket

Playing at the Theatre Royal Haymarket from 29^th January until 18^th April, The Unlikely Pilgrimage of Harold Fry is a hilariously funny musical that tugs at the heartstrings, and makes you think about how life should be lived. It is a journey of self-discovery, an exploration of grief – and ultimately, joy. With catchy, heartfelt, and foot stomping songs by Passenger, this musical has something for everyone.

Based on the book by Rachel Joyce, and directed by Katy Rudd (Ballet Shoes), The Unlikely Pilgrimage of Harold Fry follows Harold Fry (Mark Addy) when he embarks on a pilgrimage from his home in Devon, to Berwick-upon-Tweed in order to see an old friend of his called Queenie, who is in a hospice. Thanks to his popularity on Instagram, through-out his journey he is joined by other pilgrims and also a stray dog (which is a charming puppet).

Whilst Harold Fry goes on a physical journey, there is also an emotional journey which is exceptionally woven into the narrative. Throughout his pilgrimage, he grapples with his guilt over the death of his son but also the decline of his marriage to Maureen (Jenna Russell). This mental journey is personified by the omnipresence of his son (Noah Mullins) – which is at first benign, then progressively gets more agitated and angrier.

First as the Balladeer, then Harold’s and Maureen’s son, Noah Mullins is mesmerising. Their vocals are captivating and strong and provide a solid foundation on which the musical rests. Mark Addy as Harold Fry perfectly captures the depth and humour of his character and situation but balances it well with the more serious aspects too. Jenna Russell as Maureen is magnificent – she plays the detached and somewhat isolated character superbly – and her vocals are equally as incredible too.

The lighting design by Paule Constable (Oliver!) is striking and is complimented by Joseph Bisat-Marshall’s (Summerfolk) playfully lo-fi set and costume design. The musical’s charm is compounded by the fact that the ensemble are often stand-ins for washing lines and various animals that Harold comes across. The simple yet effective set design is very clever too, because it allows the audience to be immersed and to use their own imagination.

I first became aware of this show when it was at the Chichester Festival Theatre in 2025, so when I saw it was coming to the West End, it was on the top of my list. Before seeing this show, I had not read the book or seen the film, so I went in completely blind. I knew it was about a man walking a long distance, but I had no idea about why or where – so I was completely blown away. Passenger’s songs are incredible, but also the plot and its subtleties completely enthralled me. I will definitely be seeing it again before it ends on 18^th April!

Written by Helena Featherstone
Ballad Lines

29/01/2026

Off West End Theatre Review – Southwark Playhouse Elephant

Playing at Southwark Playhouse Elephant from 23^rd January until 21^st March 2026, Ballad Lines is a folk musical that has been created and composed by Finn Anderson (Islander) and Tania Azevedo (Heathers), who is also the director. It is centred around Sarah and her journey when she opens a box filled with her family history – along with its ripple effects. Not a massive fan of her family, she initially wants to donate it but her girlfriend Alix persuades her to give it a chance. Sarah delves into the box and is absorbed by what it contains – and it plays out in front of her: either in flashbacks or in her imagination. She learns about her ancestors’ hardships, and their struggles within their traditional roles. All this information changes Sarah – much to the consternation of her girlfriend.

The narrative is woman centred, with queer stories, chosen family, self-discovery, and of course, folk and Appalachian music. It is full of heart and, running through it, is the story of female agency and freedom. Also weaved into the story, is how questions about independence and motherhood are passed down from generation to generation – the same questions being asked, but in a different time and context.

I would say that the best part of this musical, is the vocal talent on stage. Frances McNamee as Sarah is incredible as the central character – she gives a depth to the character which is wholesome yet heartbreaking. Sydney Sainté as Alix gives an equally strong performance and sometimes provides some much-needed relief through her witty one liners. Kirsty Findlay as Cait and Yna Tresvalles as Jean, give tremendous and heart wrenching performances as two of Sarah’s ancestors – their vocals are flawless. Ally Kennard multiroles perfectly between Jamie, Thomas, and Ronan – who are husbands and friends of Jean and Cait.

Musically, this show is impeccable. The songs provided a natural undercurrent for the events happening on stage, and during the group numbers, each character has a distinct voice and they all complemented each other. The songs themselves are beautiful earworms, which will have you humming them for days afterward. They are Benjamin Button-esque too, which I loved and was very comforting. The choreography by Tinovimbanashe Sibanda (King of Pangea) was visually incredible too and enabled the seamless transitions between the generations.

In terms of the staging, it was very cleverly done. As the stage was quite long and thin, they made use of the aisles and floor space, which made the whole show feel more immersive and allowed the audience to feel included in Sarah’s discoveries. TK Hay (The Jungle Book)’s set design was simple yet effective, and the lighting design by Simon Wilkinson (Bedknobs and Broomsticks) added a layer of visual entertainment too. The costume design by Carly Brownbridge (House of Flamenka) was vital in being able to discern between the different time periods when the ancestors were on stage at the same time.

I absolutely loved this show because it had so many elements that I love: a women centred narrative, incredible music and talented singers, and queer stories. If you are fan of these things, then I would strongly recommend this musical – run, don’t walk to get tickets! Also, if you are fan of The Curious Case of Benjamin Button, then this is one for you too. Also, a cast recording of Ballad Lines was released in 2025, so you can now listen to the album on your favourite music platform now!

Written by Helena Featherstone
Mrs President

28/01/2026

Off West End Theatre Review – The Charing Cross Theatre (PR/Gifted)

Playing at the Charing Cross Theatre from 23^rd January until 8^th March, the two-hander Mrs President is written by John Ransom Phillips (Fatherless Sons) and is directed by Bronagh Lagan (Broken Wings).

Mrs President tells the story of Mary Todd Lincoln (Keala Settle) and her desire to be photographed by the avant-garde photographer Mathew Brady (Hal Fowler). She is attempting to find her own identity and does not want to be defined by men or the people around her. Throughout her sitting, Mary is shaped by events around her, and her grief and trauma is then used by Brady to try and take a photograph of her that will make the public more amiable and sympathetic toward her: and also make him more famous.

In a non-singing role, Keala Settle plays Mary Lincoln and gives a strong performance – even if the material does let her down. She captures the depth of Mary’s character and is very watchable. Hal Fowler plays opposite her as the formidable Mathew Brady, and again, puts in a strong performance even if his material is slightly underwritten and under done. Together, they work very well. The shifting power dynamics are thrilling and are the core of the play.

Whilst the concept of Mary wanting a perfect picture to make her stand out amongst powerful men this is a promising concept, it fell a bit flat. And despite the strong performances of the actors, it was the writing which was the major flaw in this iteration of Mrs President. Sometimes confusing, and sometimes just bizarre, it felt underdeveloped and convoluted. There were inconsistencies in the plot, and the rich possibilities that come with the concept, were not properly explored, but were merely showed quickly and somewhat randomly – then never referenced again.

The narrative also jumps around, and at times, it was confusing where in the timeline the scenes were taking place. Also, it was unclear what scenes were taking place in ‘real time’ or in Mary’s mind. The character of Mathew Brady was perplexing too. It was hard to tell sometimes whether he was mad or a genius, whether he was just trying to mould her into what he sees Mary to be or genuinely trying to help her come out of the shadow of her husband. There were times that it was very hard to discern what his goal was, and it did feel sometimes that the two actors were in two different plays. Despite the short running time of 85 minutes, it felt sometimes that the pace was slow and dragging in places. It is not to say that these issues cannot be fixed, but the show and the writing needs more time to develop.

The use of projections and lighting was clever and helped to make the play visually interesting and were two of the play’s major strengths. Also, Anna Kelsey’s (The Curious Case of Benjamin Button) set and costumes design are striking and come alive when combined with the special effects.

I came out of the performance feeling very conflicted about what I had just watched. I liked the whole concept of Mary Lincoln wanting to step out from her husband’s shadow and be her own woman, whilst being hounded by her own feelings of grief, and the conflict that that created. However, I felt that the narrative jumped around, was underdeveloped, and did not mine that rich wealth of material deeply at all. I liked the message about not being defined by men or the social and political environment, and her taking her own picture at the end, so she could allow herself to be perceived in her own way. However, the journey to get to that realisation was bumpy, and this play would benefit from having more time to develop and understand what actually it wants to focus on.

Written by Helena Featherstone
Showstopper! The Improvised Musical

27/01/2026

West End Theatre Review – The Cambridge Theatre

Every month the Olivier award winning Showstopper! takes over the Cambridge Theatre on the West End, and with help from the audience, the cast improvise an entire musical. This means everything: from the songs and plot to the music and lighting is completely made up on the stage – which is extraordinary.

For two hours of pure joy and laughter, we watched a musical called ‘Uncloved’ which was set on the Isle of Wight during their famous Garlic Festival. The styles of songs (which were audience suggested) were: The Book of Mormon, Les Misérables, Lin Manuel Miranda, and Titanique – all of which are obviously completely and utterly at home in a musical about a garlic festival on the Isle of Wight. This particular musical was full of impressive dance and song numbers (including a fosse dance break) and vampires, all of which culminated in a heartwarming love story ending in a tragic death – there is something in it for everyone.

The cast themselves were flawless. They were clever, quick, infectiously funny, and extremely talented singers – at one point they all gave a tremendous rendition of a version of One Day More from Les Mis that was particularly impressive. You would not have thought that the cast on stage were making it up on the spot, because they were so natural and quick off the mark, that it almost felt as if it could have been a West End musical!

As well as their monthly shows at the Cambridge Theatre, Showstopper! is hosting a 50-hour Improvathon at The Pleasance, London from 27^th February until 1^st March. It sounds like it is going to be chaos!

This was my first time seeing a Showstopper! show, despite hearing about them about four years ago – however, it certainly will not be my last! It is such a fantastic show, and I cannot wait to see them again.

Written by Helena Featherstone
Back To The Future – The Musical

14/01/2026

West End Theatre Review – The Adelphi Theatre

This Olivier Award winning musical, directed by John Rando (Mr Saturday Night), is playing at the Adelphi Theatre until 12^th April 2026, and Great Scott! If you haven’t done so, this musical should be one that you go to see before it is too late! Much like the 1985 film, this musical follows Marty McFly, Doc Brown, and their attempts to time travel. Marty accidentally travels to 1955, and mistakenly changes his own future – and only a younger version of Doc Brown can help. Can Marty get his parents to meet before he is erased from history?

The performances are fantastic: Caden Brauch as Marty and Cory English as Doc Brown are a natural and comical duo, and they have incredible chemistry. Individually, Brauch’s youthful energy, and vocal clarity anchor the whole show, and English’s impeccable performance gives the show comedic momentum whilst capturing the spirit of Doc Brown, without imitating the screen version. Maddie Grace Jepson as Lorraine Baines gives an incredibly strong performance too. Probably the most stand out performance is given by Orlando Gibbs, playing George McFly: his physical comedy and his character arc provides some of the most engaging and hilarious moments.

Musically, this show includes both songs that are in the 1985 film – The Power of Love and Johnny B. Good, and original songs that are written by Alan Silvestri (Romancing the Stone) and Glen Ballard (Jagged Little Pill). Sometimes, the original songs are not that interesting to listen to, but they are also not hard to listen to either.

This show’s crowning glory though, is its staging and design – it is the most incredible and perfectly executed design that I have ever seen. The set designed by Tim Hatley (Dreamgirls) and the lighting design by Tim Lutkin (The Crucible) create an immersive visual feast. The use of the light is particularly impressive when the lights (that look like bolts of electricity and surround the audience) flash and change colour when the DeLorean is travelling. It makes the audience feel even more connected to the action on stage. The exceptional video design by Finn Ross (My Neighbour Totoro), and sound design by Gareth Owen (Starlight Express) truly make the show come to life – especially when the Doc is up the clock tower. The DeLorean itself is an incredible feat of automation and technology, and when it was being ‘driven’ – all the lights, sound, and projections came together to make it truly magical and unforgettable. The DeLorean’s story comes to its culmination at the very end of the show, and it made me gasp with surprise. It was visually stunning.

I went to see Back to the Future without any prior knowledge of the plot, apart from the fact that Marty McFly goes back in time and meets his parents. I thoroughly enjoyed this musical – especially for the visuals and technical aspects of it. If you have not seen it yet, I strongly recommend watching it before it zooms out of the West End in April!

Written by Helena Featherstone
Oliver!

03/01/2026

West End Theatre Review – The Gielgud Theatre

Playing at the Gielgud Theatre until 4^th 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

17/12/2025

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 6^th December 2025 until 7^th 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

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