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Review of ‘Hot Mess’: “Earthy musical is hardly out of this world”
It’s somewhat ironic to find myself writing a review about a musical denouncing global warming while suffering the suffocating effects of the current heat wave. You would think that would have resulted in an instant click between the show and me. A genuine connection. And a desire to let the crowds know. But it hasn’t.…
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Review of ‘Camdenwalla’: “Good-hearted script makes the wrong calls”
All I can say is that they tried. And that their intentions were obviously good. But life can’t be built only on intentions. And neither can art. Or the attempts at it. There is something quite laudable about CAMDENWALLA, a play that honours the work and legacy of London’s first call centre help group for…
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Review of SeatPlan’s Last-Minute Deals
There is just so much to see on the London stage that keeping up with its offer can be a challenge. And it’s not like live shows are the most affordable form of entertainment. For that matter, the last-minute deal has become one of the most popular and effective ways to enjoy world-class performances on…
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Review of ‘Hot Pot’: “Simmering tension quickly goes cold”
It’s a hard swallow. Not because it’s too raw to digest. And definitely not because it comes across as too sugarcoated. The thing is, there are barely any flavours to analyse in Hongwei Bao’s overall bland play, which celebrated its world premiere at London’s Playhouse East last week and lacks the spice, heat, and elaborateness…
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Review of ‘Much Ado About Nothing’ (The Globe, 2026): “Present-day revision shows darker shades, but it’s still as merry as the day is long”
There is an obsession with modern reinterpretations of classics that speak to no one but the director’s ego — and perhaps the TikTokers who use them as subjects for mockery. This season’s production of arguably Shakespeare’s most engaging romantic comedy is no exception, but only partially. It might bring a contemporary style to the work-…
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Review of ‘Ron’ (2026, Riverside Studios): “Criminal comedy gets away with murder”
It’s bloody absurd. And bloody violent. But fortunately, not bloody awful. In fact, it’s everything but that. Although there is blood. A lot of blood. And the funny thing, which is something quite prominent in this show, is that you will feel drenched in it without even seeing the tiniest drop of it. It is…
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Review of ‘Under The Shadow’: “Nightmarish play almost became a dream of a show”
I’ll admit it — I screamed at the end of Act One. Not at the top of my lungs, but it was fairly close. In my defence, everyone else did. And people’s jumps could probably be heard from a mile away. It was a brilliant first half. Superb structure, flawless pacing, and a masterful way…
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Review of ‘A Life in Four Seasons’: “Spring of ideas ends up falling flat”
They didn’t bring anything new. Or special. Yet, I can’t say it wasn’t enjoyable. Or that it wasn’t engaging. That is the extent of it, however. As much as the ghost of a transporting show inspired by the Red Priest’s magnum opus lingered throughout, the bloom never came to fruition. And although a few occasional…
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Review of ‘The Magician’s Table’ (2026, The Vaults): “Illusionist act manages to impress, but its execution isn’t the sleightest of hand”
It wasn’t perfect, but it did the trick. And overall, there was hardly any disillusionment. Yet, a good array of acts is not enough to exempt a production from criticism. Especially if the structure is faulty. Before you jump to conclusions, I’ll make clear that I actually enjoyed it. And chances are you will too.…
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Review of ‘Driftwood’: “Family-estrangement narrative is relatively unfulfilling”
It just took me one and a half hours to finally get hooked. And even then, there wasn’t that much grip. It’s a shame. Not an utter disappointment, but a shame anyway. A play about the reunion of an estranged mother and son should have brought me to tears. Or at least, caused some kind…
