Notes From Row H

Theatre Reviews

recent posts

  • Wendy & Peter Pan

    Theatre Review – The Barbican Theatre

    Wendy and Peter Pan Tickets - RSC London Season

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

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

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

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

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

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

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

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

    Written by Helena Featherstone

  • How To Give Up On Your Dreams

    Theatre Review – Greenwich Theatre (PR/Gifted)

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

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

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

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

    Written by Helena Featherstone

  • Fanny

    Theatre Review – The Kings Head Theatre

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

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

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

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

    Written by Helena Featherstone

  • The Bacchae

    Theatre Review – The National Theatre

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

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

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

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

    Written by Helena Featherstone

  • Till the Stars Come Down

    West End Theatre Review – Theatre Royal Haymarket

    Till the Stars Come Down at Theatre Royal Haymarket

    A transfer from the National Theatre, Till the Stars Come Down is playing at the Royal Theatre Haymarket until the 27th September 2025. 

    Set on the day of Sylvia (Sinéad Matthews) and Marek (Julian Kostov)’s wedding, this play covers many themes – all of which make it very topical. At its centre, this show is a family drama – there are, of course, typical wedding shenanigans, relationships, and hilarity, which are obviously very fun and sometimes very emotionally intense. What was a surprise for me, was the very topical underlying theme of immigration: particularly how people perceive immigrants – both consciously and unconsciously. This makes the viewing of this show very refreshing, because amongst the obvious ‘wedding’ themes, there are undercurrents of something more menacing, which are skilfully dripped into the plot, and are just enough to make both the characters and the audience feel uncomfortable and reflective. 

    This is very clever writing by Beth Steel (The House of Shades, Ditch, and Wonderland), because she manages to beautifully balance the funny moments – particularly with Aunty Carol (played by Dorothy Atkinson) – with high and intense emotions which come from all sides of the table. All the actors shine through with their individual performances, and it is these which give the show its life and soul. 

    The set design by Samal Balak (Quiet Songs and Sons of the Prophet) and the lighting design by Paule Constable (Ballet Shoes and Nye), immerse the audience into the setting and accentuate the emotions of the characters. One of the most unique aspects of this show, is that there are seats for the audience around the sides of the stage which helps to give the play an added feeling of intimacy.

    This show is a mixture of hilarity and moving moments and offers a fantastic opportunity for an audience to experience an explosive family drama on the West End. 

    Written by Helena Featherstone

  • Anne Boleyn: The Musical

    Theatre Review – Hever Castle

    Performed in a purpose-built outdoor auditorium in the grounds of Hever Castle, Kent, this new musical is centred around Anne Boleyn’s life and her rise in the Tudor court. It is told by Anne herself, which gives the show an extra layer of personality.

    No matter if you know your Tudor history like the back of your hand, or if you are at the ‘Divorced, Beheaded, Died’ stage, this show has something for everyone. From stunning vocals to the immersive incorporation of the actual Castle and its grounds into the narrative, this has all the makings of a show that could be (and hopefully will be) on the West End or on tour in the future. In particular, Emily Lane shines as Anne Boleyn and her talent is mirrored in Mark Goldthorp, who plays Henry VIII. The vocals of Joshua Oakes-Rogers and Kim Ismay (as George Boleyn and Joan, respectively) are also phenomenal.

    The talent on display on the stage is only half the reason why this musical is so special: the other half is the setting itself – it is almost like another character. Throughout the show, you could see horses galloping through the grounds behind the stage, maypoles, people running, and projections onto the castle. This is what makes this show so unique.

    It was my first time seeing an open-air theatre show, so even though it became clear that headphones were essential (due to the size of the auditorium and the fact that it was outside), it was a bit bothersome at first. It would have been beneficial to have been told beforehand about the use of headphones, so it would not have been much of a shock. That being said, it was very needed and they did not take away from the performance: if anything, they aided it because the full vocal talent of this cast was able to be appreciated.

    The musical is written by Rebecca Night (Fanny Hill, and as a producer, Legacy and The Two Week Wait) and Sam Kenyon (Swallows & Amazons, A Midsummer Night’s Dream). They are supported by the set and costumes, which are designed by Robert Innes-Hopkins. The show is produced by Belgian-based Historalia Productions, and Anne Boleyn: The Musical marks their first-ever UK production.

    Written by Helena Featherstone

  • The Curious Case of Benjamin Button

    West End Theatre Review – The Ambassadors Theatre

    Created and written by Jethro Compton and Darren Clark, The Curious Case of Benjamin Button initially played at the Southwark Playhouse and following a very successful run there, transferred to the Ambassador’s Theatre in October 2024. 

    At its core, this musical revolves around Benjamin Button as he navigates the mysterious predicament of aging backwards. Set when World War One is ending and covering major events in the 20th Century like the Apollo Moon Landing and World War Two, this musical moves away from the short story written by F Scott Fitzgerald in 1922, and is set in a Cornish fishing village. At its centre, it is a love story between Benjamin Button and a Cornish bar maid, Elowen, (played by John Dalgliesh and Clare Foster respectively), which is narrated by The Strangers, who guide the audience through Benjamin’s life. This gives the show an enchanting and traditional folky feel – which makes the viewing experience magical and enthralling.

    There is often talk about the so-called ‘Triple Threat’, and if ever there was a time to use the term, it would be to describe the insanely talented group of actor-muso performers that make up the company of The Curious Case of Benjamin Button. I have never seen such incredible work than I did on that stage: the ensemble were here there and everywhere, often playing instruments whilst singing beautiful songs and dancing – all the while telling a beautiful, funny, heartwarming, and at times heart wrenching story of time, love, and loss. 

    Compton and Clark’s music, score and storytelling are woven together in a beautiful way, and they are lovely such ear worms that you won’t mind singing them day in day out! The set, which is also designed by Compton, immerses the audience in the Cornish fishing village and is very cleverly used when the scene changes to the local pub The Pickled Crab, boats, or Benjamin’s house. Sometimes it is very refreshing to have a musical that does not have scene changes and requires the audience to use their imagination – it really immerses you in the story.   

    This show has put actor-muso shows back on the West End where it belongs, and I hope that, in the future, more shows like this are able to showcase such talent that this ensemble has. It is quite frankly one of the best pieces of theatre I have ever seen.

    Written by Helena Featherstone

  • The Comedy About Spies

    West End Theatre Review – The Noel Coward Theatre

    A hand giving a five star rating feedback. Hand is pointing at the last yellow star shape in front of black background. Giving the best score point to review the service.

    Running in the Noel Coward Theatre until 5th September 2025, Mischief’s Comedy about Spies departs from their beloved ‘Goes Wrong’ genre and delves into something that is more akin to The Comedy about a Bank Robbery – their West End smash hit from 2016.  

    Directed by Matt DiCarlo (Play that Goes Wrong, Moulin Rouge) and penned by Henry Lewis and Henry Shields, and featuring many of Mischief’s OGs, The Comedy about Spies is a show that cements Mischief as one of the best comedic troupes in London. 

    Set during the Cold War, the play is centred around The Piccadilly Hotel and spies from the CIA (Dave Hearn and Nancy Zamit) and KGB (Chris Leask and Charlie Russell) who are trying to find the illusive ‘Project Midnight’ which will (apparently) stop the war in its tracks. What follows is a hilarious series of events, which will leave even the most austere M15 agent beaming with joy.

    It would not be a Mischief show without added chaos, so mix in some unwitting civilians: a baker called Bernard (Shields) and his partner Rosemary (Adele James), a wannabe actor (Lewis), and hotel manager (Greg Tannahill), and you have a recipe for mistaken identities, linguistic misunderstandings, groanworthy puns, and incredible physicality.

    Along with the tremendous set designs created by David Farley, costumes designed by Deborah Andrews, and lighting designer Johanna Town, the play rockets along taking the audience through a wild ride of hilarity, intruige and fast paced gags. Whether it be in MI5 itself, on the tube, in the Piccadilly Hotel, or a submarine, this play succeeds in making an audience lose itself in a world of espionage and humour – and maybe even cry with laughter!

    In a typical Mischief way, Lewis and Shields have managed to balance chaos and carnage with the ability to tell a fantastic story.

    With something for everyone, this show promises to be one of Mischief’s best yet, and I for one, cannot wait to see what they come up with next. 

    Written by Helena Featherstone