A brilliantly written and superbly acted two-hander, What the Animals Say turns a chance ferry crossing into a sharp, funny and increasingly unsettling confrontation. David Ireland's debut play combines razor-sharp dialogue, surprising twists and outstanding performances, while imaginative direction and inventive staging make this an exhilarating example of fringe theatre at its best.

Thick as Thieves Theatre Company’s Sense & Sensibility is a fizzing, fast-paced and wonderfully inventive production. Five versatile actors bring Austen’s world vividly to life, switching between characters and costumes with impressive speed and comic timing. The adaptation retains the romance, gossip and misunderstandings of the original while giving the story a fresh, playful energy. Audience participation adds an irresistible sense of spontaneity.

A delightfully chaotic clowning adventure for children aged three to six, On Your Bike, Baffo follows one man's hilarious attempts to build and ride a bicycle. Packed with audience participation, slapstick mishaps and live music, this energetic family show keeps young audiences laughing from start to finish.

Woody Guthrie’s songs inspired generations of musicians, and this heartfelt production celebrates both his music and extraordinary life. Performed without amplification by four multi-talented musician-actors, the show combines around 25 songs with Guthrie’s own words, charting his journey from the Dust Bowl to folk legend. Rich harmonies, outstanding musicianship and powerful storytelling make this an uplifting tribute to a voice that challenged injustice and spoke for ordina

Night City is a bold and visually inventive look at London’s gig economy, driven by outstanding performances from Jack Ambrose and Bex Smith and exceptional movement direction. While Max Wilkinson’s play powerfully captures the human cost of insecure work, an unconvincing late plot development weakens its emotional impact. Ambitious and thought-provoking, it remains an engaging evening despite not fully delivering on all its ideas.

Right Before I Go, written and performed by Stan Zimmerman, tackles suicide with honesty, sensitivity and compassion. Using real suicide notes, personal experience, facts and reflections, it challenges the stigma and silence surrounding suicide. As someone personally affected by suicide, I found parts deeply moving and challenging. The post-show debrief with mental health professionals adds a vital, safe space for reflection and discussion.

Oil & Whiskey is a heartfelt country-rock musical that far exceeds its fringe roots. Dax Wiley's witty script and Kit Nolan's superb score blend seamlessly, while Juliet Perel delivers a phenomenal lead performance alongside an excellent cast and live band. Yuval Benit's intimate staging transforms the Old Red Lion into a convincing Nashville bar. An absolute joy with genuine West End potential.

James Kenworth’s Three Ghosts of Silvertown combines drama, music, movement and local history to explore Silvertown’s industrial past. The fascinating history, particularly the 1889 strike and Eleanor Marx, often proves more compelling than the drama. The community cast brings energy and commitment, while the Tate Institute provides an atmospheric setting. Ambitious and admirable, but narratively uneven.

A gentle, laugh-out-loud journey into the world of P.G. Wodehouse, with Sam Harrison delivering a masterclass in comic physicality as he plays Jeeves, Bertie and a wonderfully eccentric cast of characters.

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.

A lively, colourful night at The Mill at Sonning, Shear Madness thrives on audience mischief. With Alex Marker’s vibrant salon set, Natalie Titchener’s spot‑on costumes and Daniel Cane’s quick‑witted detective working the room, the fun ramps up as you help solve the crime. Expect surprises — and go ready to vote on whodunnit.

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.