Notes From Row H

Theatre Reviews

  • The Unlikely Pilgrimage of Harold Fry

    West End Theatre Review – Theatre Royal Haymarket

    The Unlikely Pilgrimage of Harold Fry | Official Theatre Website
    5 Star Review SVG, Five Stars Png, 5 Stars Svg, Rating Svg - Etsy UK

    Playing at the Theatre Royal Haymarket from 29th January until 18th 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 18th April! 

    Written by Helena Featherstone

  • 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