Three Grown Ups Sitting Round a Table is an improv show featuring three seasoned and very talented improvisers, which made its debut at Hoopla on Tuesday 28th April as part of Hoopla’s 20th Anniversary Improv Festival.
Made up of Ruth Bratt (from Showstopper! The Improvised Musical), Lee Simpson (from The Comedy Store Players) and Lauren Shearing (also from Showstopper! The Improvised Musical), this show was entirely improvised and supported by props that were picked out by a random audience member.
The plot of this particular show centred around a couple and their struggling relationship. Add to that their surrogate, numerous cups of tea, and a real miniature bottle of rum, and you get an hilarious evening.
All three performers are accomplished improvisers, so the dialogue was everything you would expect it to be – quick, clever, and of course, extremely entertaining. Also, to avoid the show becoming too static, they introduced an interesting concept of characters sometimes leaving the room so the actors could not hear what was being said on stage, and this obviously only made the show even funnier.
This was my first visit to Hoopla, and I thoroughly enjoyed it. I will definitely be going back to watch more of their improv and comedy shows!
One Flew Over The Cuckoo’s Nest is playing at The Old Vic from 1st April 2026 until 23rd May 2026.
This adaptation of Ken Kesey’s novel tries to be a bold reimagining of the original, and whilst there are points of strength in this production (namely the talent of the cast and it’s design), there remains several features of the play that do not quite make the production a complete success.
Based on the book by Ken Kesey, One Flew Over The Cuckoo’s Nest was adapted for the stage by Dale Wasserman in 1963 – and over 60 years later it is being staged by Clint Dyer at the Old Vic. This production was always going to be interesting due to its subject matter, and because in this modern time, its themes we could be a cultural hot potato.
When Randle P. McMurphy arrives in a psychiatric hospital in Oregon in 1963, he is confronted by Nurse Ratched and her iron grip on the wards’ residents. Seeing this challenge, he immediately starts causing mayhem and disrupts the tortuous lives of the other patients with his witty charm and mischievous character – much to Ratched’s vexation.
An obvious metaphor for institutional oppression, Dyer has taken it one step further and has tried to make the play an allegory for white control over black people – Ratched being white and the patients being black. I feel that this does not really land, because apart from preshow projections that tell the audience about slavery and Congo Square, it is not in the text – so it just feels disconnected from the story itself. That is not to say the ambition is not strong, but it feels like it is slightly lost.
There is also a subtle throughline of misogyny throughout the play. Despite Dyer trying to shine a light on the racism in 1960s America and give the play a new lease of life, the misogyny in the text remains unchanged. The patient backstories include an unsatisfied wife and a dominative mother, Nurse Ratched is seen as coercive and controlling, and other female characters are called prostitutes. So, there are elements of the play that feel progressive in one sense but the same and compounding in the other – and it could have gone a lot further in modernisation.
Its treatment of disability and mental illness was outdated and an uncomfortable viewing. Sometimes it felt like both were being used as a spectacle rather than a narrative tool.
All that being said though, the cast are superb. Aaron Pierre as McMurphy is suitably cheeky and rebellious, but also balances that out with flashes of anger and violence that bring the character to life. Olivia Williams (who took over the role from Michelle Gomez in rehearsals) as Nurse Ratched is commanding and oozes cold control. Giles Terera as Dale Harding is wittedly suave and provides much needed of the comedic relief. Arthur Boan as Chief Bromden narrates and grounds the play and helps to give the narrative a touch of humanity.
Being in the round, and especially with the Old Vic’s decorative features and architecture, it really makes the entire atmosphere very immersive. Add to that Ben Stones’ set and costume design with checkered green and white tiles, white walls and green jumpsuits, and the ward comes to life. The most impressive and visually striking aspect though is Chris Davey’s lighting design, which flickers between the ward and its dark undertones and helps to layer the narrative and build tension.
Despite the talented cast and the incredible production, I feel that it is the attempted modernisation of the text that brings this play down. I can see the ambition and the attempt to make it a bold reimagination – but its depiction of mental illness and disability, its vein of misogyny and its attempt to make the text about racism and control, makes this adaptation a slight miss for me.
Avenue Q is playing at the Shaftesbury Theatre from 20th March 2026 to 29th August 2026.
Often described as the adult version of Sesame Street, Avenue Q (directed by Jason Moore) is back on the West End after 16 years away, and it explodes onto the stage – bringing with it a chaos and a boldness that is hysterical. I went into the Shaftesbury Theatre completely blind and unaware of the show’s legacy, and I am very glad I did!
With the cast a mix of humans and puppets, this is a truly unique show (suitably adapted for a 2026 audience) – and its special quality does not stop there. Theatre norms are considered merely an inconvenience and edgy humour takes centre stage: with outrageous songs, adult topics, and an unashamed vibrant energy.
Avenue Q follows Princeton (a recent graduate with a useless English Lit degree) as he moves to the infamously shabby ‘Avenue Q’ in New York and gets to know his eccentric neighbours: Kate Monster, Rod, Trekkie Monster, Nicky, Gary, Brian, and Christmas Eve – with an appearance from the iconic Lucy the Slut. With his new found friends, he tries to navigate a maze of adult problems like love, poverty, and racism, whilst also trying to find his ‘Purpose’ in life.
The set design by Anna Louizos brings the street Avenue Q to life and forms a 2D set that is reminiscent of those typical children’s TV shows. The different sets are also cleverly designed to allow the human puppeteers to easily manoeuvre puppets in a way that does not detract from the scenes– and it really helps with the immersion. You really feel as if you are watching an old school TV show, and this feeling is helped by the occasional use of video on screens that unfolded from the sides of the stage – which was greeted with plenty of laughs!
The highlight of the entire show of course, were the puppets (which were conceived and masterfully designed) by Rick Lyon. All of them were incredible and were so lifelike and they seemed to come alive in such a magical way that it was impossible to believe that they were being operated. The performers themselves are extraordinary – some even playing and operating two characters each! They performed the iconic soundtrack and book with such ease and joy – and I have had it all on repeat since I watched the show.
I absolutely loved this show and its laugh out loud moments, heartfelt moments, and just pure outrageous energy. I cannot recommend it highly enough and cannot wait to see it again!
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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!
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 17th March until 11th 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.
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.
