We saw Dystopia 26: The Rock Opera ahead of its Edinburgh Fringe run, and it proved to be a bold blend of live rock music, political satire and immersive theatre. Visually striking and powered by exceptional musicianship, the production delivers memorable original songs and energetic performances, although its political messaging felt rather too heavy-handed for my taste.

Hit Machine is an intelligent and entertaining new play that blends family drama with the realities of the music industry. Josh Radnor and Noah Galvin impress, but it's Khalil Madovi who completely owns the stage, delivering a magnetic performance that captures every aspect of his superstar status. A compelling world premiere with heart, humour and plenty to say.

A fascinating celebration of Jonathan Larson's lesser-known work, The Jonathan Larson Project showcases a superb cast delivering every song with commitment and flair. While it feels more like a theatrical revue than a fully-fledged musical, Imelda Warren-Green steals the show with a brilliantly hilarious turn as a deranged housewife, providing the evening's biggest laughs.

Feathers, sequins, pop bangers and enough costume changes to bankrupt a glitter factory – The Lady Boys of Bangkok: Full Moon is pure camp escapism. I never quite worked out whether there was a story beyond a bloke repeatedly being stuffed into a sack, but honestly, nobody seemed to mind. Not everything works, and a few moments stray into pantomime territory, but if you're after a fabulously daft night out with friends, this sparkling spectacle delivers.

Step into the atmospheric surroundings of Wilton’s Music Hall for The Signalman, a blend of Victorian-inspired magic and Charles Dickens’ chilling ghost story. David Alnwick’s engaging mentalism delivers genuine moments of astonishment, perfectly suited to this historic venue. While the final dramatic reading is less compelling than the magic that precedes it, the show’s first two-thirds offer an entertaining and memorable evening.

RON is certainly unlike anything else currently on the London stage. Its greatest strength lies in its visual design, with a breathtaking reveal of a real car in a woodland clearing creating the evening's most memorable image. Ted Walliker delivers a committed physical performance, but despite the production's ambition and striking visuals, the abstract script feels overly obscure, emotionally distant and ultimately unable to fully realise its intriguing ideas.

An ambitious and thought‑provoking play, Reformed explores radicalisation, identity and political division with strong performances throughout—particularly Elliot Drummond’s emotionally rich turn as Mark. While compelling, its writing can feel unbalanced, with some characters serving more as vehicles for ideas than fully realised individuals, slightly undermining its otherwise engaging impact.

Dame Maureen Lipman is simply magnificent in Peter Quilter's uplifting new comedy Allegra. I attended the press night at Richmond Theatre and was charmed by its warmth, imagination and heart. With delightful musical fantasy sequences, inventive props and a wonderfully strong supporting cast, this is a life-affirming evening of theatre. In a world full of bad news, we could all do with an Allegra in our lives.

Dark of the Moon blends Appalachian folklore, forbidden romance and Americana-inspired music into an ambitious new musical. While atmospheric staging, strong performances and a standout turn from Josie Benson impress, an over-amplified sound design and uneven storytelling prevent the production from fully casting its spell. A fascinating but flawed show that never quite reaches its potential. ★★★

Matthew Lyon’s Player at Riverside Studios is a sharp, inventive satire of the acting industry that balances biting humour with emotional honesty. Fast, witty and brilliantly performed, it captures the insecurity, ambition and persistence required to survive creatively. Funny, raw and hugely entertaining, it’s a masterfully written contemporary production and a genuine 5-star triumph.

There is something deliciously subversive about Churchill’s Urinal, where British politics is turned gloriously inside out. Rosie Holt is superb as a beleaguered Chancellor, balancing razor-sharp wit with moments of real vulnerability, while Michael Lambourne’s vodka-drinking Churchill-voiced urinal is absurdly inspired. Sharp, funny, and unsettlingly timely, this is satire with real bite.

It’s 1890s Paris and Le Chat Noir is reborn. This five‑star immersive dinner‑theatre delivers sensational cabaret, live musicians, exquisite detail and joyful French anarchy. Come dressed to impress, eat well, drink absinthe and leave exhilarated.

Last Sunday night at the Dominion felt more like a glitter‑splashed anniversary party than a standard theatre trip. I loved briefly meeting original cast members and the enthusiastic, funny fan‑club Q&A, with a shy appearance from Peter Hinwood, the original Rocky, who later left acting for an art‑gallery life. The shadow cast was fun and inclusive at first, Little Nell was a joy, but the constant film heckling wore thin. ⭐️⭐️⭐️½

Joyfully chaotic and packed with nostalgia, Biff To The Future is a fast, funny one-man romp led by a superbly energetic Joseph Maudsley. With pitch-perfect sound cue interplay and inspired audience moments (that air guitarist!), it’s playful, irreverent and all the better if you know the films.

Conceived during Covid-19, TR(IA)L is a tense, claustrophobic sci-fi drama following ‘Subject X’ as she undergoes a mysterious drug trial. Isolated and stripped of memory, she begins to question her reality—and her supervisor. Smart and unsettling, it offers a chilling reflection on control, identity, and modern science

A clever and chaotic musical that flips Cinderella on its head and keeps the laughs coming. With jokes pitched perfectly for both children and adults, standout performances from the Fairy Godfather and Wicked Stepmother, and a pace that never lets up, Apparently Ugly is sharp, silly and hugely enjoyable. ★★★★★

A warm, witty and deeply relatable look at love after sixty, Invisible Me shines thanks to Bren Gosling’s insightful script and a beautifully layered performance from Tessa Peake-Jones. Honest, funny and quietly moving, it’s a refreshing reminder that life’s most exciting chapters can still lie ahead.

This gripping 90-minute Saint Joan distils Shaw’s epic into a fierce, modern clash of faith and power. Ruthie Black is electrifying in the title role, while James Saxby’s shapeshifting performance is equally compelling. Together, they create a taut, thought-provoking piece that feels urgent, intimate, and strikingly relevant.

A raw and unsettling exploration of trauma, this powerful one-hour play follows fractured lives colliding with devastating consequences. With haunting performances, a sparse candlelit set and striking live music, it’s an intense theatrical experience that lingers long after the final moment.

A gripping two-hander, THIS IS NOT ABOUT ME. charts Grace and Eli’s relationship from childhood to adulthood with striking emotional clarity. Amaia Naima Aguinaga and Francis Nunnery share compelling chemistry, while inventive staging blends puppetry, projection and craft. This meta, self-aware piece probes memory, authorship and control with layered, thought-provoking precision.