Notes From Row H

Theatre Reviews

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  • Ballad Lines

    Off West End Theatre Review – Southwark Playhouse Elephant

    Ballad Lines - Southwark Playhouse Elephant

    Playing at Southwark Playhouse Elephant from 23rd January until 21st 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

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

    Mrs. President Tickets | Charing Cross Theatre | Drama Tickets

    Playing at the Charing Cross Theatre from 23rd January until 8th 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

    West End Theatre Review – The Cambridge Theatre

    Home - Showstopper! The Improvised Musical

    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 27th February until 1st 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

    West End Theatre Review – The Adelphi Theatre

    Back to The Future: The Musical Tickets | West End Musical | Adelphi Theatre | LW Theatres

    This Olivier Award winning musical, directed by John Rando (Mr Saturday Night), is playing at the Adelphi Theatre until 12th 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!

    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