Notes From Row H

In Some Dark Valley

05/04/2026

Off West End theatre review – The White Bear Theatre, Kennington (PR/Gifted)

A very fitting subject matter for Easter Saturday, I went to see the last performance of the London transfer of In Some Dark Valley – a one man show written and performed by Robert Bailey, who has also just won the Best Solo Performance at the Los Angeles Drama Critics Circle 2025 for this role.

Reverend Brand, a fiery post-civil war Appalachian preacher, tells his life story – and guided by his faith in God, he suffers the consequences of his harsh and blind will. Poverty, death, and famine shape him into a man who, at the end of his life, is alone and potentially mad. Adding a depth to story, the intense narrative is interspersed with haunting Appalachian songs and music from a harmonica that Bailey plays.

Bailey’s performance throughout was outstandingly powerful. He seamlessly transitioned between the various characters in Reverend Brand’s story – some humorous, some tragic, some tender: he adopted their physicality and voices perfectly. His storytelling was thoroughly engaging and easily conjured the world of Reverend Brand.

There were a few times when I lost track of the story though because it was so imagination heavy and the pace was a little fast, but that is easily fixed and did not have a significant effect on the wonderfully crafted story.

It being staged in a small space above a pub made it feel very intimate, and the simple set (only two blocks) made the story and Brand’s character even more intense. Clever use of minimal lighting also helped to signal when time jumped or his mood changed.

Robert Bailey was absolutely brilliant in this play and I cannot wait to see what life it continues to have after its run at the White Bear Theatre Kennington.

This was my first time at this theatre and I will definitely be going again!

Written by Helena Featherstone
Kinky Boots – The Musical

03/04/2026

West End theatre review – The London Coliseum

Fresh off a successful UK tour and 7 years since it was last on the West End, Kinky Boots is strutting back on to stage for a limited run at the London Coliseum – from 17^th March until 11^th July 2026.

Starring Strictly pro Johannes Radebe as Lola and Matt Cardle as Charlie Price, this show has everything that could be wanted from a musical about drag queens and fabulous red boots. Add to that songs written by Cyndi Lauper, a script written by Harvey Fierstein, and direction by Nikolai Foster, and you have a show that is full of fun, heart, and warmth.

Based on the true story of Steve Pateman and his family’s Northampton shoe factory in the 1990s, Kinky Boots tells the story of Charlie Price and how, in his desperation to save his shoe factory from closure, he turns to the only market that he can think of – high heeled boots for drag queens. His salvation comes in the form of Lola – a drag queen with bright ideas and who, with the help of the other factory workers, help design and make the iconic red boots – with the aim of showing them in Milan. But will they make it there?

Along with the bright colours and dazzling costumes, Lola’s presence is met with undercurrents of bigotry and a touch of reluctance – but in the end everyone works together and learns to accept people for who they are. This is such a clear and powerful message that cannot be understated. It also explains why this musical has meant so much to everyone that it touches and continues to be as popular as it is – especially in the current climate where sexuality and gender are so politically charged.

Johannes Radebe as Lola is a stroke of genius. He brings a fabulous energy to the character and despite not normally being an actor or singer, his performance wows – and his Lola is fierce, powerful, and magnetic. He is also given chances to show off his strong dancing talents too which are, of course, incredible. Matt Cardle as Charlie Price performed well – and was note perfect – especially during ‘Soul of a Man’, which received a well-deserved lengthy applause after the final note. I did find that Radebe did slightly overshadow Cardie at times, and when Lola and Charlie spoke to each other, it did sometimes feel a bit stilted.

The standout performance for me though was Courtney Bowman as Lauren. Her performance of ‘A History of Wrong Guys’ was incredible. Her vocals and comedic timing were perfect – and she had such a tangible warmth to her. Scott Paige too was hilarious as George. His natural comedic timing garnered so many laughs from the audience that it was such a pleasure to watch him.

All of this would be nothing without Leah Hill’s superb choreography – from Lola’s first entrance on a rising platform to group dances and the Act 2 Finale, the choreography perfectly captures the sentiments of the show. It is complimented by the beautifully designed costumes by Robert Jones (also the set designer) and Tom Rogers. All these elements combine to make Kinky Boots a visually stunning musical – and also help the narrative to become richer.

This show is an explosion of colour, music, and queer energy, whilst at its heart being a story of acceptance and hope – all of which is becoming increasingly needed in this time we are living in. Despite a couple of incredibly minor issues, this show is a beautiful reminder of what happens when people work together and accept who people are. It has a charming warmth, and people will definitely be falling head over heels with it for years to come.

Written by Helena Featherstone
Rosie: A New Musical

19/03/2026

West End Theatre review – The Adelphi Theatre (PR/Gifted)

Coming off the back of its highly acclaimed 2024 studio cast album, Rosie: A New Musical came to the West End for a semi- staged one night only concert – and from the synopsis and the cast involved, it promised to be a spectacular evening. However, despite the strong vocal performances by the cast, and the beautiful score – I left the theatre feeling a bit underwhelmed.

Based on a true story and written by Chris Broom, the musical centres around Rosie Boote (played by Lucy Thomas) – a girl from a convent in Ireland with a dream of becoming a West End star in Edwardian London. From the start, we are introduced to Rosie’s hard start in life – her father dies and her mother gives her up to a convent, where she grows up. The setting changes to London, and we see Rosie after she has had her bag stolen – and she is looked after by Lily Turner (played by Desmonda Cathabel). Rosie then auditions for the Gaiety Girls, and everything is looking up for her. The element of love is then introduced when Rosie meets Geoffrey Taylour – the Marquis of Headfort, and then the musical turns into a story of man and woman who are forbidden to love each other, and yet against all odds, defy social norms, and come out the scandal stronger than ever.

That is not to say that this formula is nothing special, but the way the book goes about telling it – is the main problem. Throughout, whenever Rosie (and also Geoffrey) must overcome a hurdle, they do this seemingly without any problem, making the musical have no real stakes, and so there is not really any emotional connection to the plot for the audience. This could be remedied by a few of the songs being cut and more story exploration, thus allowing the characters to develop more depth and significance – because now, it just seems that the dialogue between the songs are just being said for exposition sake and not for any other reason. Sadly, the dialogue did not match the excellent and captivating quality of the music and lyrics, which made the transitions between them a bit jarring and sometimes clunky.

The shining light of this musical though, were the actors on stage. Lucy Thomas as Rosie Boote had beautiful vocals, as did Will Callan as Geoffrey Taylour – and the two complimented each other very well. Desmonda Cathabel as Lily Turner had a powerful – yet underused – voice too. Sally Ann Triplett as the Dowager Marchioness of Headfort (Geoffrey’s mother) was superb in her opposition to the union of her son and Rosie – representing their society’s disdain with dry sarcasm and calculating fury. With it being such a stacked and talented cast, there were a few whose talents felt underutilised – namely Dylan Wood and Helen Woolf.

This musical shows great promise and could be something very special in the future – but further tweaks and development in its writing are needed to make it reach its full potential.

Written by Helena Featherstone
Unfortunate – The Untold Story of Ursula the Sea Witch

07/03/2026

Off West End theatre review – The Other Palace

Written and directed by Robyn Grant, and also written by Daniel Foxx, with music by Tim Gilvin, Unfortunate is the story that Disney does not want you to know – the story of Ursula the Sea Witch, and it is at The Other Palace from 7^th March until 5^th April.

Is Ursula actually as bad as The Little Mermaid makes her out to be? She tells us her story – and it is not the villainous story that Disney tells you that it is. Starting during her school days in Atlantica and then playing through the events of the Little Mermaid and its aftermath, this musical is camp, raunchy, and full of energy. It is a refreshing and chaotic breath of fresh air and is quite the opposite of its name – it is fortunate AND fabulous.

Sam Buttery is Ursula and brings a riotous energy to the show. She gives an extremely charismatic performance and commands the stage with a filthy and unapologetic presence from the start. Her Ursula is witty, outrageously funny and self-aware – but balanced with genuine emotion. Her vocals are incredible too and does justice to Robyn Grant and Daniel Foxx’s lyrics.

Julie Yammanee as Ariel brings a satirical energy to the character – framing her as an obsessive teenager and an air head. Her parody of ‘Part of Your World’ was roof-raising and was hilariously dirty. Blair Robertson as King Triton is a marvellous pairing with Buttery – their chemistry is magnetic, and their rendition of ‘Suckin’ on You’ is one of the best songs in the show. Allie Dart as Sebastian (and others) was a bundle of energy, and her use of castanets was *chefs kiss* (no pun intended). James Spence gives a very engaging performance as the flute-loving Prince Eric and brings chaotic energy to every role he plays. There is no weak link in this production – they all have superb comedic timing, which makes it such an enjoyable watch.

Despite only having a cast of seven, it actually feels as if there are more – and that is because of the multi-rolling, which is expertly done by all the cast, and adds an extra layer of chaos to the show. An absolute highlight is when Allie Dart is changing between Sebastian and Chef Collette in the same scene, and it is superb.

This queer, fast paced and outrageously filthy musical is nothing without the marvellous set and costume designs of Jasmine Swan, Melody Sinclair’s choreography, and Adam King’s lighting design. The puppets are added stroke of genius – and their song ‘We Didn’t Make It To Disney’ was hysterical. The set, costume, and lighting design combine to give us a visual feast, and a very aquatic feel to the musical. The choreography too helps to create a unique look and subtle elements of comedy that are just perfect. Particular highlights of mine are the can-can routine that is very reminiscent of Moulin Rouge, and a graveyard scene that has very Disney-centric themes. It is all just bonkers – but it just works.

This musical is flawless – and frankly I have used my thesaurus so much, that I have run out of synonyms for ‘excellent’ and ‘hilarious’ – if I could give it six stars, I would. It is a queer, fabulous, bonkers mixture of incredible performances and genius writing. It also has a core that is unapologetically itself, and touches on underlying themes of body confidence and self-worth with an empowering balance of care and campness. It was a riotous show, and I absolutely loved every second of it – go and see it before it ends!

Written by Helena Featherstone
The Last Days of Liz Truss?

07/03/2026

Off West End theatre review – The Other Palace (PR/Gifted)

Written by Greg Wilkinson, produced by Oxia Productions, and fresh from two critically acclaimed and sold-out performances at the White Bear Theatre in Kennington, The Last Days of Liz Truss? has transferred to the Other Palace Studio – and will be there from 6^th– 15^th March.

When I mentioned to people that I was going to see this show, and the run time was around 2 hours long – they all replied ‘Wow, that is almost as long as her actual premiership’, and it was hard to disagree with them! Only 49 days long, Liz Truss’ time in Downing Street is one of the shortest in British history – a record previously held by George Canning who resigned after 119 days in 1827. This is why it is such a fun starting point for a political comedy – especially when the only character does not understand what she did wrong.

The play is a comedy about Liz Truss and her political career – and it starts with her taking the audience with her into her primary school playground, where she first learnt the word ‘shan’t’ and to never back down from an argument. Then, it progresses to her beginning in politics – bashing convention and men trying to dampen her spirit on her way through. All the while her colleagues, ex PMs, and journalists haunt the narrative through recorded quips that are played aloud – Kwasi Kwarteng and Margaret Thatcher, to name a couple. These are voiced by the very talented Steve Nallon (of Spitting Image fame) and add another level of humour to the proceedings.

The second half of the play encompasses what happened during her actual premiership: the ruinous plans for the economy, the Queen’s death, and we cannot forget the famous lettuce (which does make a cameo appearance! – cue a huge laugh from the audience). And, to bring the production up to date, there are references to the rise of Reform, and Truss’ obsession with Trump’s America too.

Directed by Anthony Shrubsall, with movement directed by Mandy Gordon, Emma Wilkinson Wright’s performance brings Liz Truss (and her Claire’s jewellery) to life. Her stooped posture, manic smile, infamous awkwardness, and sheer desperation when she delivers speeches from the lectern, are extremely well done. Whilst delivering humour, sarcasm, and tongue in cheek dialogue, Wilkinson Wright gives the character a nuance and a depth too, something that Liz Truss is not normally associated with. Wright moves around the stage fluidly, and expertly made use of the entire space.

The remarkable design by Malena Arcucci helps to make the play immersive. The set is mainly made up of a desk, a bookcase, a huge Union Jack flag, a portrait of Margaret Thatcher, and a lectern. Also, there is a screen on the back wall which mainly shows the Number 10 rose garden, but does change throughout the play to show logos of radio stations, newspapers, Donald Trump, and a list of pros and ‘deltas’ because Truss ‘doesn’t like cons’ – this adds tremendous comedic value.

With the run time being almost two hours, sometimes the show does drag slightly – so it could be improved by being slightly shorter and giving the material more room to breathe.

I absolutely love political satire and political comedy, so this show is right up my street – especially one that has such rich source material! I would recommend it to anyone who is remotely interested in British politics, or even those who just want to have a laugh about the absurdity of it all.

Written by Helena Featherstone
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

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