Notes From Row H

Theatre Reviews

  • Review: Thespians (Greece the Musical but not that one)

    Yvonne Arnaud Theatre, Guildford

    Thespians - THESPIANS - Mischief Comedy

    What It is About

    Let us Delphi-nto what Mischief’s first ever musical is about – and whilst it is a bold departure from what we can normally expect from Mischief, will the risk pay off or will it leave you feeling the need for an Apollo-gy?

    Set in 534 BC in a drought-stricken Greece, inhabitants from the small island of Ikaria band together and enter a deadly Eurovision-like prayer competition. Unknowingly, in a bid to beat their fellow competitors, they create a new and strange art form: acting. 

    Full of hilarity and heart, this is a musical about the original myth of theatre, and it is told with everything that you would expect from a Mischief show – wit, warmth, and a pun-per-line economy that would make the gods themselves reconsider their judgement.

    For once, I actually find myself in the position of being somewhat qualified to assess the accuracy of a Mischief production. Having completed a Classical Studies degree and wondering whether it might ever prove useful, the answer turns out to be: yes, and during a comedy musical about the accidental invention of acting in archaic Greece. It may not be what my lecturers had envisaged, but here we are.

    The Performances

    What makes Thespians so sensational is the exceptional cast.  

    We are led through the action by Matt Cavendish and Allie Dart, who make up the fantastic double act Bard and Rhapsodes (Greek-chorus-of-two) and play many roles within the show. They are eccentric and thoroughly entertaining – and their overZeuse of puns keeps the audience on its toes and in fits of laughter. 

    James Spence as the determined Thespis is James Spence is immensely likeable as Thespis, and he captures both the character’s ambition and youthful optimism wonderfully. Even as his pursuit of glory leads him down the Rhode of hubris, Spence ensures there is enough charm to keep the audience firmly on his side.

    Marc Pickering is a comic standout as Adonis, a soldier whose confidence far exceeds his abilities. His impeccable comic timing makes every awkward attempt at heroism into a laugh, though as the show goes on, his determination to maintain the image of a mighty warrior becomes increasingly difficult to keep dis-Crete. Beneath the bravado, however, Pickering finds a surprising amount of heart.

    Mia Jerome delights as the eccentric Melampus, delivering deadpan punchlines with precision and enough mythical wisdom to give Athene a run for her drachmas. Luke Latchman brings genuine warmth to Atlas, giving emotional weight to the character’s struggles with confidence and belonging, while Claire-Marie Hall’s Poly is both intelligent and heartfelt, paired with vocals worthy of the Muses themselves.

    Meanwhile, Rhys Taylor is gloriously over-the-top as The Tyrant and combines a lovely vocal performance with a deliciously camp sense of menace. Taylor possesses a commanding stage presence too and creates a villain who is both hilariously entertaining and extremely memorable.

    In true Mischief fashion, Thespians feels fresh and inventive while retaining the warmth and humour audiences have come to love. The result is an evening packed with laughter, heart, and enough Ancient Greek puns to make even Euripides laugh.

    Even Theatre Itself Isn’t Safe

    With Thespians talking us through the invention of acting, it is only fair the theatre that we all know and love today, is included too – and it was not safe from Mischief’s influence. From self-deprecating jokes and anachronistic warm up exercises to references to Cats and Spartacus, the sheer amount of theatre-related humour was enough to keep the audience in hysterics. 

    The World of Thespians: Music, Set & Lights

    Written by a Mischief regular Jonathan Sayer and Ed Zanders, the music lands well throughout. There are a few songs that are so incredibly catchy that they will stick in your head even after you have long left the theatre.  

    The set is a real standout. Jasmine Swan gives us this version of Ancient Greece that feels really fresh, with greys and pastels that somehow make it feel both ancient and oddly warm. The costumes tie in nicely with that bright, playful energy so it all feels really cohesive on stage. David Howe’s lighting is vivid and bold, and it adds colour to the already beautiful set.

    Final Thoughts

    When I first heard that Mischief were creating a musical set in Ancient Greece, it could not have been more perfect – all the stars seemed to have aligned, and Thespians did not disappoint. 

    Everything about it just worked — the writing, the performances, the music, and the world they have created on stage. I really hope it has the bright, successful future it deserves, because it feels like something audiences are going to want to keep coming back to.

    Get your tickets here for: Cheltenham (TUE 16 – SAT 20 JUNE), Cardiff (TUE 23 – SAT 27 JUNE), Guildford (TUE 30 JUNE – SAT 4 JULY) & Manchester (TUE 7 – SAT 18 JULY)

    Photos: Mark Senior

    Written by Helena Featherstone

  • Review: The Fastest Clock In The Universe at The New Wimbledon Theatre Studio

    Off West End

    May be an image of text that says "THE FASTEST CLOCK IN THE UNIVERSE by Philip Ridley directed by Brittany Rex"
    Funny cute happy 3 star characters bundle set. Vector hand drawn doodle style cartoon character illustration icon design. Isolated on blue background. Cute three star mascot character collection 11732712 Vector Art at Vecteezy

    A Darkly Comic Study of Youth and Illusion

    Philip Ridley’s The Fastest Clock in the Universe blends dark humour with psychological unease. Centred on Cougar Glass, a man who obsessed with staying young, this play begins as eccentric and slightly unnerving, and then gradually exposes themes of vanity, loneliness and self-deception. 

    To keep the illusion of his youth, Cougar celebrates his ‘nineteenth’ birthday every year with his older partner, Captain Tock, surrounded by stuffed birds and above an abandoned London fur factory. Meticulous plans, a specially chosen guest of honour, a birthday cake, and a sharp knife all combine to create a modern Dorian Gray. 

    This production by Cellar Door Theatre, directed by Brittany Rex, marks the play’s first London revival since 2013 and benefits from direct involvement from Ridley himself, who collaborated in rehearsal for four weeks. 

    A Slow Build with Strong Foundations

    The first half plays almost like a two-hander, focusing on Cougar and Captain Tock and their straining relationship. Their slightly warped dynamic anchors the play and allows tension to gradually build throughout the first half, laying the foundations for the latter half of the play. The intimacy of the Studio space heightens the tense, menacing atmosphere, and makes every silence and shift in energy feel immediate and uneasy.

    Dark Humour and Shifting Impact

    Ridley’s script mixes surreal and strange humour with moments that edge into taboo material, which constantly pulls the audience between laughter and discomfort. However, it does feel that much of what may have felt shocking in 1992, lands as stylised edginess in places so maybe the impact is lost on a more modern audience. 

    Characters Bought To Life

    Cougar Glass dominates the first half, and Frederick Russell gives him a layered menace that balances charm with instability. He controls the stage with ease and draws everything and everyone effortlessly towards him.

    In the second half, that dominance fractures and he is increasingly overshadowed yet remains a constant presence. His continuous silence becomes one of the production’s most unsettling elements, shifting him to a watchful and almost predatory observer.

    The ensemble is strong throughout, and Naomi Preston-Low as Sherbert Gravel emerges as a standout. She brings sharp wit, energy and welcome comedic relief, lifting the tone whenever she appears.

    Brian Aris offers a steady Captain Tock, while Kim Whatmore’s Foxtrot Darling provides an innocence that contrasts effectively with the surrounding darkness.

    When Tension Meets Spectacle

    A late fight sequence is well choreographed and sharply executed, but it slightly disrupts the carefully built psychological tension. While visually striking, it feels more like spectacle than narrative necessity, briefly shifting focus away from the slow-burn unease that has driven the production.

    Final Thoughts

    The Fastest Clock in the Universe remains a strange, unsettling piece that explores youth and identity with dark humour and emotional bite.

    What lingers most is Cougar’s transformation: beginning as a magnetic, almost all-powerful presence before gradually being pushed to the margins. Even in silence, he remains deeply unsettling, watching rather than acting, and it is in that shift that the production finds its most effective tension.

    Beneath the surreal humour and occasional moments of stylised edginess, there is a quiet sadness running through the piece. In a culture still fixated on youth and reinvention, Cougar’s refusal to age feels both absurd and uncomfortably familiar.

    Written by Helena Featherstone 

    Thank you to Cellar Door Theatre for providing a recording of this performance for this review. 

  • Redcliffe at Southwark Playhouse Borough: Review

    Off West End (PR/Gifted)

    Redcliffe - Southwark Playhouse Borough

    A Story That Feels Painfully Relevant

    Redcliffe is one of those shows that stays with you long after you leave the theatre, because it is heartbreakingly inspiring and is exceptional storytelling. 

    Based on the true story of William Pritchard and Richard Arnold in Redcliffe, Bristol between 1752 and 1753, the musical explores forbidden love in a time when homosexuality was illegal and punishable by death. It is devastating in its historical truth, but also painfully relevant today, with persecution of LGBTQ+ people still present across the world.

    Exceptional Storytelling from Start to Finish

    This is Jordan Luke Gage’s debut as a writer, which makes what he has achieved here all the more remarkable. Directed by Paul Foster, from the very first moments, Redcliffe demonstrates absolute confidence in its storytelling. The writing is flawless — emotionally intelligent, carefully paced and deeply touching. The story unfolds naturally and nothing feels forced or sensationalised, then suddenly the emotional impact sneaks up on you.

    Review: Redcliffe (Southwark Playhouse Borough)

    A Community Full of Warmth, Humour and Heart

    One of the most striking aspects of Redcliffe is the way it builds its world before the tragedy begins to unfold. The community of Redcliffe is portrayed as a God-fearing yet friendly, close-knit town full of humour and warmth. It feels real, giving the audience time to understand and care about the people within it. 

    At the heart of it all is William, his mother, and his sister Abigail who are a strong, loving unit, full of resilience and humour. The first act is genuinely funny in places, and the more you love them, the harder the second act hits.

    The production itself is staged beautifully in the round, with Andrew Exeter’s minimalist set including a pool of water and old fruit crates. William and Richard’s names and 1752 and 1753 are engraved into a frame suspended above the stage — a constant, understated reminder that this is a true story. Matt Hockley’s lighting design builds tension and the atmosphere with real skill, and changes to reds and purples when the stakes get higher.

    Redcliffe - Southwark Playhouse Borough

    A Love Story Told with Incredible Tenderness

    When William meets Richard, their relationship begins as friendship and gradually, naturally, becomes something more tender. Their bond is written and performed with such tenderness and subtlety that it is completely believable. By the time their story unfolds fully, the emotional investment is already absolute.

    Performances That Left the Audience in Tears

    The whole cast is exceptional. Jess Douglas Welsh as Abigail is full of energy and warmth – especially in her solo song ‘The Girl from Redcliffe’. Steven Serlin’s Felix Farley is one of the most unsettling and effective moments in the show — the scene where he arrives to perform his Christmas poem, reducing William’s suffering to entertainment for the crowd, is deeply uncomfortable in exactly the right way.

    Rebecca Lock as William’s mother is simply outstanding. Her comic timing in the first act is a real joy, and then when the story turns, she turns with it completely. Her performance of “Hurricane” is almost unbearable — raw and desperate in a way that takes your breath away. And the moment she learns of William’s fate is utterly heartbreaking. What makes her performance so remarkable is that she holds the grief, the strength and the humour all at once. 

    Daniel Krikler as Richard brings enormous charm and strength to the role, and his chemistry with Gage is warm and completely natural. His vocals are also stunning. 

    Jordan Luke Gage as William is phenomenal. His journey from quiet, god-fearing, restrained young man to someone discovering who he is — and then facing the consequences of it — is beautifully handled. In the second act he brings a resilience that is both inspiring and devastating. Throughout the production he performs spectacularly, but especially in “Void of Love” he delivers a vocal performance that is exceptional.

    By the end, there was not a dry eye in the house. 

    A Beautiful Score 

    Redcliffe review at Southwark Playhouse Borough: impressive debut musical

    Gage’s score is gorgeous and completely woven into the story. It is rooted in folk influences, and full of strings and rich harmonies. His lyrics vary between heartfelt and humorous, but he has managed to create songs that are instantly recognisable. From the hilarious ‘The Most Amazing Wedding’ to ‘Loophole’, the standard is high. However, the ballads are the show’s biggest strength, especially ‘Pressure Pot’.

    Why Redcliffe Is So Timely

    What makes this production even more powerful is its relevance.

    While set in the 1750s, the story reflects ongoing realities for LGBTQ+ people around the world today. Homosexuality is still criminalised in many countries and remains punishable by death in some. The production never forces this connection, but it does not need to — the parallels are unmistakable.

    Final Thoughts

    Gut-wrenchingly beautiful, brilliantly performed, and written with a confidence that is astonishing for a debut — Redcliffe is theatre at its most powerful. 

    A musical that devastates you in the moment and stays with you long after, it is a heartbreaking love story which has an incredible score and is storytelling of the highest calibre. 

    Redcliffe has a bright future ahead of it – buy your tickets here before it is too late! 

    Production images by Pamela Raith

    Written by Helena Featherstone

  • Beetlejuice The Musical West End Review

    Prince Edward Theatre

    Everything you need to know about 'Beetlejuice: The Musical' | London Theatre

    After years of hoping and waiting for Beetlejuice The Musical to transfer from Broadway to the West End, it felt surreal finally seeing it live on stage in London.

    For me, Beetlejuice had already become one of those rare shows that lives in your brain long before you ever step inside the theatre. I had listened to the original Broadway cast album on repeat for nearly six years, so hearing those opening notes live for the first time was electric.

    My introduction to Beetlejuice The Musical came during COVID when I watched a very blurry YouTube bootleg (sorry), and was completely hooked immediately. I went down a complete rabbit hole trying to consume every interview, behind-the-scenes clip, and performance I could find because I instantly fell in love with the show’s humour, characters, and songs.

    So naturally, my expectations for the West End production were extremely high.

    Thankfully, Beetlejuice The Musical absolutely delivers.

    What Is Beetlejuice The Musical About?

    Written by Scott Brown and Anthony King, and directed by Alex Timbers, Beetlejuice The Musical follows Lydia Deetz, a gothic teenager struggling with grief after losing her mother. When she moves into a haunted house with her father and stepmother-to-be, she encounters recently deceased couple Adam and Barbara Maitland — and, unfortunately for everyone involved, the wildly chaotic demon Beetlejuice.

    What follows is complete supernatural chaos filled with ghosts, exorcisms, giant sandworms, fourth-wall breaks, and some of the funniest audience interactions currently happening in the West End.

    The Cast Shine On Stage

    Of course, the real centrepiece is Beetlejuice himself, and David Fynn is a powerhouse. His relentless energy and razor-sharp comic timing make the show what it is. His vocals are incredibly strong — handling the rapid-fire, rhythm-heavy numbers with ease while still keeping all the comedy and character work intact. He is on stage almost constantly, breaking the fourth wall, improvising with the audience, and throwing out jokes that somehow shouldn’t work in a musical, yet they consistently do.

    Hannah Nordberg as Lydia brings real emotional honesty to the role, and her vocals are outstanding. She manages to make Lydia’s grief subtle yet powerful, and gives the story a depth that sneaks up on you. It is this performance that keeps the show grounded in some sort of normalcy, even when everything around her is completely unhinged and supernatural.

    Adam and Barbara Maitland are also a real highlight – played by David Hunter and Chelsea Halfpenny. Both actors bring warmth, an awkward charm, and beautifully controlled vocals – their chemistry is genuinely touching as well as funny. It would be easy for Adam and Barbara to get lost in the shadow of Beetlejuice’s chaos, but they never do. Their attempts to “haunt” the Deetz family are hilarious, but there is also something really touching about watching them navigate the afterlife together, slowly forming a bond with Lydia in the process.

    Beetlejuice’s Humour Is Unmatched

    One of the biggest strengths of Beetlejuice The Musical is how alive it feels. The show constantly plays with the audience, and the improvisational humour keeps every performance feeling unique.

    At the performance I attended, absolutely nobody was safe from Beetlejuice’s jokes. James Corden, Andrew Lloyd Webber, and even Paddington all became targets during various ad-libs, and every single reference completely broke the audience. The laughter throughout the theatre was almost nonstop.

    That chaotic unpredictability is exactly what makes this musical so entertaining. Beetlejuice himself feels less like a traditional musical theatre lead and more like an unleashed supernatural stand-up comedian.

    The West End Production Is Visually Incredible

    Visually, Beetlejuice is everything I hoped it would be.

    David Korins’ set design constantly transforms around the cast, shifting between gothic haunted-house aesthetics, dark and mysterious netherworld chaos, and full-scale supernatural spectacle. It is bold, fast-moving, and highly imaginative, and creates a surreal, cartoon-like world that perfectly matches the show’s dark comedy and supernatural energy.

    Kenneth Posner’s lighting design is a visual feast, and immerses the audience into Beetlejuice’s world. Dramatic contrasts, vivid neon colours, and eerie shadows embrace the gothic atmosphere. Flashes of green and purple, sharp spotlights, and sudden lighting changes help to create both the spooky and comedic moments, adding to the show’s lively, supernatural feel.

    William Ivey Long’s costume design is wildly imaginative, perfectly capturing Tim Burton’s gothic, offbeat aesthetic. From Beetlejuice’s iconic striped suit to Lydia’s dark, layered wardrobe and the surreal Netherworld ensemble looks, the costumes are bold, eccentric, and packed with personality.

    There is always something happening — hidden visual jokes, special effects, puppetry, moving scenery — and the production never loses momentum, which makes it a joyous rollercoaster from beginning to end.

    Hearing the Songs Live Was Worth the Wait

    As someone who has had the cast album permanently lodged in my brain for years, finally hearing songs like “Dead Mom”, “The Whole ‘Being Dead’ Thing”, and “Say My Name” performed live was beautiful.

    Certain moments felt almost concert-like because the audience reaction was so huge. You could tell so many people in the theatre had also spent years obsessing over this musical online before finally getting the chance to see it in person.

    Eddie Perfect’s score contains absolutle gems, and is funny, emotional, and completely addictive — exactly like the show. Each song is a hit, and will be in your head long after you leave the theatre.

    Final Thoughts on Beetlejuice The Musical in the West End

    Beetlejuice The Musical is loud, chaotic, messy, self-aware, occasionally completely unhinged, and absolutely refuses to take itself seriously – and that is exactly why it works.

    Underneath all the supernatural chaos, adult jokes, and absurd comedy is a genuinely heartfelt story about grief, loneliness, and finding connection in unexpected places.

    After spending nearly six years listening to the soundtrack and desperately hoping for a West End transfer, I can safely say the wait was worth it.

    Hilarious, heartfelt, and visually bonkers — Beetlejuice The Musical is exactly the kind of theatrical chaos the West End needs.

    Beetlejuice the Musical (the Musical, The Musical) is haunting the West End until 17th April 2027 

    Buy you tickets here: https://beetlejuicemusical.co.uk/tickets/?flow=vqeFsmXv&tx_inline_iframe=%2Fdate-selection&tx_sessionDataId=49ecd4d7-2e47-409c-96c5-250806ef4183

    Production images by Johan Persson

    Written by Helena Featherstone

  • Dark of the Moon at Charing Cross Theatre Review

    Off West End review (PR/Gifted)

    Dark of the Moon Tickets | Charing Cross Theatre | London Theatre

    Given the rise in popularity of romance and fantasy genres, it clear why the Dark of the Moon would appeal to audiences – especially as it is a musical. However, the incredibly high standard set by the cast, songs and score are not matched by the quality of the dialogue and some of the narrative choices.

    Directed by Georgie Rankcom and loosely inspired by Scottish/English folklore and the centuries-old song “The Ballad of Barbara Allen”, Dark of the Moon tells the story of a human girl – Barbara Allen, and a Witch Boy – John, and their seemingly incompatible love story in rural America. She is part of a community that loves normalcy and tradition which makes her feel trapped and like she is destined for more, and he is part of a hedonistic and overtly sexual coven and wants to feel something more. So naturally the two become close and John begs the matriarchal Conjur Woman to make him human, which she does, but warns him that if either of them are unfaithful, he will become immortal again and have to return to his coven – and leave Barbara Allen behind.  

    This is a strong premise, and one that has been told many times by other supernatural romantasy stories: think if a supernatural Romeo & Juliet was set in Oklahoma! So from the start it promises to be an interesting story filled with brilliant music.

    As the story develops, the contrasting worlds that the two live in are brought into focus and are made more intense by the couples’ tender romance and the obvious supernatural factor. This core relationship is a real strength of this production – but it is the dialogue and narrative choices which lets it down slightly. Jonathan Prince’s book sometimes lacks subtlety and makes every line that should have been left to the imagination of the audience, a little on the nose. Also, several attempts at comedic relief either do not land or feel slightly tonally misplaced, which jars the pace of the story. Several characters are introduced and they are not fleshed out, so they feel slightly 2D in places. Pacing is also an issue, and maybe if a couple of scenes are trimmed down or cut, the show would be more fluid. The potential is there, it just needs more time to develop.

    The songs and score (written by Lindy Robbins, Dave Bassett, and Steve Robson) are also a huge strength of this show. There is an eclectic mixture of ballads, rock, and folk which is highly enjoyable, and the songs themselves are extremely catchy and are strongly delivered by the cast and ensemble. The different musical genres are used to reflect the two ‘worlds’ which is an effective way to give layers to the narrative – and the live band and Dillon Kondor’s orchestrations are marvellous. However sometimes the sound levels are a problem, and lyrics are lost when the music is too loud, and the volume is sometimes slightly uncomfortable too. 

    The cast perform excellently. The witches prowl around on the rafters of Libby Todd’s set with an almost feline presence and provide a stark contrast to the townsfolk with their rags and grey complexions. Glenn Adamson embodies John and his journey perfectly, and his vocals are incredible – particularly in ‘Certified Rockstar’ which lit up the stage. Lauren Jones is spectacular as Barbara Allen – she is likeable, passionate, and resolute. Vocally, she shows such an incredible range – from the melodic ‘Wildflower’ to the rock style of ‘Unthinkable’, she is consistent and exceptional. Together, their chemistry is believable and their voices suit each other very well. 

    The striking lighting design by Jonathan Chan really helps to lift the production and immerse the audience. He bathes the coven in purple and blue light, whilst the townspeople are bright and cheerful – and this adds atmosphere and plenty of dramatic moments. 

    There are points of strength in this production, and the cast does well with the material. The mixture of different genres of music blends well with the narrative and are complemented by some brilliant performances. There are a few issues that could benefit from further development, but Dark of the Moon is a very entertaining evening and is the start of a great production. 

    Dark of the Moon runs until 8th August at Charing Cross Theatre.

    Buy your tickets here: https://charingcrosstheatre.tixtrack.com/shop/tickets/series/DOTM

    Written by Helena Featherstone

  • Sherlock Holmes at Regent’s Park Open Air Theatre Review

    Off West End theatre

    Sherlock Holmes Tickets | Regent's Park Theatre 2026

    A new game is afoot at Regent’s Park Open Air Theatre!

    In London 1890, a mysterious woman and a jewel turn up at 221B Baker Street and thrust Sherlock Holmes and John Watson into a case that is far more complicated than it first appeared. A dark and murderous journey, they race to try and stop an unknown enemy from executing their devious plan which threatens to plunge London (and the wider country) into complete mayhem.  

    As an avid lover and consumer of anything Sherlock Holmes related, when I saw that a new Holmes story would be coming to London – and especially at Regent’s Park Open Air Theatre, I knew that I would immediately be booking tickets to go and see it. We all have an idea about what a Holmes mystery consists of, and this show has everything: intrigue, murder, and brilliant deductions with a dose of danger thrown in – it is familiar yet feels brand new. 

    The story itself is a completely new Sherlock Holmes adventure written by Joel Horwood and directed by (the aptly named) Sean Holmes, with subtle influences from A Sign of Four. There are a few amusing modern quirks too – which help to keep the story light, and to update the lore surrounding the characters. From quick scene changes to modern-style dance breaks, Sherlock Holmes developed a rapid pace from the very beginning. Whilst being effective in immersing the audience in 1890’s London, sometimes it made the plot a tad difficult to follow. Also, sometimes the numerous sub plots and themes made the story too overwhelmed with information and nuances.

    Joshua James as Sherlock Holmes was both comedically and intellectually sharp, brash, and stylish yet nuanced, and it was clear to see that he was fully embracing the different facets of Sherlock’s personality. Jyuddah James as Watson was steady and grounding yet captivating – so both complemented the other, and their chemistry brought the characters to life and made them distinct from the hundreds of past variations of this iconic pairing. Nadi Kemp-Sayfi as Mary Morstan was incredible and gave a very strong and polished performance. 

    The staging of this show was equally as impressive as the talent on stage. The revolving stage kept the action and the story moving, Charlotte Broom’s choreography added an extra layer of theatrical flourish, Elena Peña’s sound design was thrillingly immersive, and Grace Smart’s set design was simple yet extremely effective – all framed in a broken proscenium arch (which doubled as a climbing rig). The most impressive aspect was the imaginative use of the wider theatre space – and without giving too much away, every angle of the theatre was used, and it was thrilling.

    Overall, this is such a marvellous reimagining of the classic tales from Sir Arthur Conan Doyle, and the characters of Holmes and Watson are vividly brought to life. Despite the issues surrounding its pacing and somewhat overstuffed plot, this show is for you if you enjoy mysteries and thrillers, or just want to explore a new and different Sherlock Holmes story.

    I had never been to this theatre before and I cannot believe it has taken me this long! It is such a beautiful space, and I will definitely be going back. It helped that my first visit was at the beginning of an impending heatwave, rather than in a downpour too. I saw a matinee performance, so some of Ryan Day’s lighting design was lost – it would be very interesting to go and see this show in the evening and be able to have an even better visual experience!

    Sherlock Holmes is playing at Regent’s Park Open Air Theatre until 6th June 2026.

    Buy your tickets here: https://openairtheatre.com/production/sherlock-holmes

    Written by Helena Featherstone