2026

“Sharp Edges” at the Camden People’s Theatre

Taking inspiration from Greek tragedy is often a smart move. It gives a production a firm foundation and a certain instant cachet. Sophie Max and director Blair McAlpine take Sophocles’ Electra as their starting point, and the result is impressive.

Don’t worry too much about the antecedents (although some knowledge of the original piece helps). The focus here is Ellie, and the perspective is entirely hers. We aren’t even told the names of her family, although filling in the details for ourselves is part of the fun. It is an intense focus – and Max takes on a demanding role that she pulls off well.

For much of the action, Ellie is very young. This regression into early childhood, with its moments of wonder and incomprehension, is difficult to get right, but Max is largely convincing and commendably restrained. Best of all, Ellie’s ignorance and innocence add to the drama. She has little understanding of what has happened to the rest of her family, leaving us to piece together the story for ourselves.

For much of the action, Ellie is very young. This regression into early childhood, with its moments of wonder and incomprehension, is difficult to get right, but Max is largely convincing and commendably restrained. Best of all, Ellie’s ignorance and innocence add to the drama. She has little understanding of what has happened to the rest of her family, leaving us to piece together the story for ourselves.

The other characters are not quite as vivid as they might be. Ellie’s father is complex, but her mother and the new man in her life remain rather vague. The suggestion of family tensions and sibling rivalry could be explored further, as could her brother’s escape.

There is an interesting reticence when speaking directly about trauma and abuse. This reserve builds in power. There is some repetition in the script, particularly in the counting of ways to kill, which is perhaps overused, although it does help to build tension. Events have clearly made Ellie murderous. But what about mad?

Ellie’s teenage years, when she retreats almost entirely to her bedroom, are perhaps the play’s biggest weakness. They are covered too quickly, and this build-up to the dramatic finale, which is effective in itself, feels like a missed opportunity. But the talent is here to address shortcomings – to edit and expand. Leaving an audience wanting more is not necessarily a bad thing.

Until 14 November 2026

www.cptheatre.co.uk

2026

“Dogstar” at the Hampstead Theatre

Daisy Hall’s new play has intrigue, good dialogue and strong performances. While it is a shame that it is also overpacked – and a little too odd – the piece’s ambition makes it enjoyable.

The scenario is dramatic enough, with the survivors of a disastrous whaling expedition facing certain death. But alongside existential questions, there are nods to environmentalism, class and capitalism. Frustratingly, none of these themes is explored in any depth.

In addition, there is a strong dose of the supernatural to deal with. Director Lucy Morrison stages the crew’s encounters with another world effectively. But too many questions are raised. Hall doesn’t have to answer them all, but Dogstar runs aground when the puzzle of what’s going on begins to impede the drama.

Far better is Hall’s skill at injecting humour into the darkest moments. Even when the whalers are in despair, they can still get a laugh. This is clearly what the cast responds to most. There’s some great deadpan delivery as tempers are frayed and truths revealed. The comedy allows Morrison to secure performances that save the piece.

The three remaining sailors (of differing ages and dispositions) are strong character studies, while their deceased friends and the mad captain who got them into trouble are vivid, despite never being seen. Justin Edwards, Abdul Jalloh and Adam Rojko Vega are all in fine form as sympathies continually shift. Hall deserves credit for skilfully creating this dynamism – and the cast brings her craft home.

Until 5 December 2026

www.hampsteadtheatre.co.uk

Photo by Pamela Raith

2026

“The Hunger Games: On Stage” at the Troubadour Canary Wharf Theatre

Now entering its second year, this adaptation of Suzanne Collins’ phenomenal hit has the feel of a tourist attraction. The show has its own purpose-built venue, with plenty of merchandise and costumes on display. It might lack charm, but it is impressive; even some of the seats move (although I’m not sure what that adds). If you like your shows spectacular, then an in-the-round arena is a good place to start.

The setting and grandeur make sense for the story. This teen drama sees youngsters fighting to the death, their sacrifice serving as a form of political control as well as entertainment. The story, and its adaptation by none other than Conor McPherson, has a cynical edge with broad appeal. The villain, President Snow, is a good baddie. I’m just not sure videos of John Malkovich are worth sacrificing a live performance for.

The audience, who seem to have travelled from all over the world, clearly know what is coming, being stalwart fans of the franchise. Our brave heroine, Katniss, has romance to contend with, as well as fellow competitors trying to kill her. And that dastardly President Snow has it in for her, too. There is a nice line in presenting The Hunger Games as a twisted reality TV show, which provides some food for thought.

People do want to see on stage what they have already read and seen in the cinema. There is little point in asking McPherson for a more radical adaptation: his edits are good and the exposition is swift, all capably handled by director Matthew Dunster, with plenty of special effects. The music and choreography are highlights. This would have been exciting to explore more, but, ho hum. The important thing is to keep Collins’ dystopia dark, and that is achieved.

Character and emotion are sacrificed to the breakneck pace and the desire to include all the fan-favourite moments. The cast is capable. Vinnie Copeland and Nathan Stokes make strong leading men, competing for Katniss. There is also a trio of supporting performers who help things along, with varying degrees of success: Isabel Della-Porta and Theo Ogundipe manage to find some depth, while Neil McDermott is too indebted to the screen performance of his character.

Elizabeth Anderson, as Katniss, has little opportunity to establish much connection with the audience, although she can probably lay claim to being the hardest working actor around. She runs laps around the stage, climbs the scaffolding and is repeatedly lifted into the air. Much of it seems to be about being in the right spotlight at precisely the right time. But there are moments when she really moves, and it is a shame there aren’t more of them. Since the audience is already invested, this lack of emotional connection goes largely unnoticed. It’s all very impressive, an essential experience for fans, but unlikely to satisfy anyone who isn’t already interested.

Currently booking until 14 February 2027.

www.thehungergamesonstage.com 

Photo by Johan Persson

2026

“Rent” at the Tom Stoppard Theatre

Nobody doubts that Jonathan Larson’s hit musical is great. With lofty aims and plenty to say, this update of Puccini’s La bohème, set in 1980s New York, is serious, adventurous and ambitious Art with a capital A. Its return to the London stage is overdue and exciting. This strong production, directed by Luke Sheppard, does the piece justice, but the revival is not so much superb as simply welcome.

There is plenty to praise. The minimal staging is smart and appropriate, its lo-fi veneer belying the sophistication of Larson’s songs and lyrics. Putting seating on the stage is a nice idea. Tom Jackson Greaves’ choreography, working within the reduced space, is impressive, while Howard Hudson’s lighting design is fantastic. Mark, the show’s narrator, is a filmmaker, and his work is shown on televisions and projected onto the stage. Screens are becoming far too common in theatre, but Sheppard keeps their impact impressively minimal.

Not relying on technology is important. Larson clearly had a healthy suspicion of it, and the references to virtual reality in the show are prescient. Sheppard does well to lean into these ideas, seldom scared of the production looking or sounding raw. Other battles Larson wanted to fight, first and foremost against gentrification, have surely been lost. That takes some of the sting out of Rent – a piece that wants to protest – but it is hardly the fault of anyone involved.

The cast is strong, and much of the singing is superb. Danielle Fiamanya and Lazy Violet impress as two lovers, their duet fantastic, just pipped by Jeevan Braich and Billy Nevers as another couple. Nevers’ reprise of ‘I’ll Cover You’ guarantees goosebumps. It is also pleasing to note that Gaten Matarazzo’s top billing is deserved: he brings a suitably steely edge to Mark, backed by a strong voice. The real highlights, however, come when the whole cast sings together. This was Larson’s greatest strength as a writer, and hearing these songs performed collectively is powerful.

There is another couple to account for: Roger and Mimi, played by Travis Ross and Alexa Lopez. Their relationship is complicated by Joaquin Pedro Valdes, who is rather underused and gets lost in the mix – that’s a real shame. Ross and Lopez give impassioned performances, which will surely win fans. I’m less convinced. Of course, there is plenty of opportunity to emote: the characters are addicts – and they are ill. But, as with too many members of the ensemble, any chance to grab the spotlight is seized for all it is worth. The commitment is admirable, but there is a sense that the performances, and the show itself, are in awe of the songs. Understandable, perhaps, but ultimately detrimental.

Until 29 May 2027

www.rentthemusical.com

Photo by Pamela Raith

2026

Martin Guerre at the Old Vic Theatre

Billed as an exclusive first look at a new version of the musical by Alain Boublil and Claude-Michel Schönberg, it is easy to see what director Matthew Warchus is aiming for here – and that is usually a good start. His audience is challenged by originality, bold staging, (very French) realism and a serious piece of musical theatre.

The story is simple and familiar: a wastrel steals the identity of a dead friend in the hope of securing a better life. The setting – 16th-century rural France – proves troublesome, with religion, superstition and an obsession with land and wives competing for attention. Possibly, Warchus’s emphasis on just how strange it all is, alongside his focus on patriarchy, is a mistake. At times, there’s an air of The Wicker Man.

For good or ill, a lot sounds familiar. Fans of Les Misérables – and who isn’t one? – will prick up their ears at a few numbers. But Boublil and Schönberg are trying to be adventurous, and the result is interesting. The folk-inspired score, with new lyrics by Annabel Mutale Reed and Paul Hodge, has a martial edge and wants to provoke. The cast have evidently been instructed to deliver power and emotion. They can certainly do that. Liv Andrusier and Shane O’Riordan are good as the leads, while the ensemble is suitably mobbish (pitchforks help).

The show is at its best when it comes to staging. A musical in the round is tricky, but when it works, it can be hugely impressive. Warchus’s use of the space is exemplary. The lighting (credited to Hugh Vanstone, Luca Panetta and Toby Ison) is superb, Lizzi Gee’s choreography is strong, and the restraint of Rob Howell’s design is appropriate. I vaguely remember a revolving stage in the original production (and Ian Glenn falling off it). Achieving similar dynamism, drama and energy with seeming simplicity shows great skill.

Martin Guerre still doesn’t work, though. The emoting becomes grating, the menace fails to convince and the lack of humour makes it hard work. Perhaps the biggest problem is the characters. It’s hard to be interested in the OG Martin, while those in charge of the village are flat. Then there’s the thoroughly unconvincing baddie Guillaume. Barney Wilkinson’s performance yields diminishing returns the more violent the character becomes. Finally, there’s Benoit, the village idiot, surely one of the worst roles in musical theatre. No offence to Colin Ryan, who plays him, but the refrain – and accompanying scary puppet – is irritating and pointless.

This isn’t the first time major changes have been made to Martin Guerre. Warchus deserves admiration for his ambition, and there are some genuinely exciting moments. But I’d be surprised if this version changes many minds about the show, or becomes the big hit everyone once expected. It’s a shame, isn’t it?

Until 31 October 2026

www.oldvictheatre.com

Photo by Helen Maybanks

2026

“The Halo Effect” at the Bread & Roses Theatre

Tackling a big topic with a short play can be impressive. David Edward Keenan’s take on contemporary masculinity has a narrow focus that makes it effective. A smart script, tight direction and two strong performances ensure success.

Keenan’s focus is ‘looksmaxxing’, a part of the ‘manosphere’ popular with ‘incels’ looking to improve their ‘UMax’. And yes, it is helpful that there’s a glossary for the audience beforehand. With its many neologisms, the dialogue is often clunky. To be fair, that might be the way the characters speak. One character, anyway.

The really smart move here is to present two very different sides of the story. Zak Rosen plays Carter, an online influencer who is convincingly manic (do they all have an evangelical streak?). The performance is appropriately scary and steers clear of inviting sympathy for this troubled man.

Far better, we get to see the life of an Irish housewife – no, I didn’t see that coming either. This woman, Dee, has left an abusive marriage, while her son’s teenage rebellion draws him to Carter’s brand of misogyny. But Keenan isn’t heavy-handed, never forcing links and acknowledging differences. Although Julie Coleman, who takes the role, is too young (and I wonder if her wardrobe should be reconsidered), she gives a commanding performance.

Both characters are well written, rather than simply being there to investigate issues. But it is the subject that interests most. The Halo Effect feels well researched, and the insight offered is intelligent (I’d like to know more about Carter’s role as a kind of older brother to his teenage fan). In his conclusion, Keenan can’t quite resist upping the drama. Sticking with a little restraint would have been better. Nevertheless, the piece is strong and ripe for further development.

Until 22 October 2026

www.breadandrosestheatre.co.uk

2026

“Pretty Ugly” at Camden People’s Theatre

Theo Chen’s heartfelt solo cabaret talks us through his young life and search for romance alongside a love of musical theatre. Exploring questions surrounding the nature of beauty, with a raw honesty about feelings of inadequacy, Chen brings plenty of thought to his enjoyable performances of well-known songs. Pretty Ugly is sincere, funny, sentimental and very entertaining.

This is a quick tour through Chen’s school days in Singapore, and his time in Canada and Cambridge, all the while highlighting how songs have helped him through difficult times. It’s a bit of a rush, and director Lim Shien Hian might slow things down. With so many facts, the central question of what attraction means and might be worth gets a little lost. But if the show has a flaw, it’s that I could listen to more. While Chen is under no obligation to educate the audience, a bit more background on Singapore might help, perhaps alongside some exploration of how notions of beauty differ across cultures.

Chen and his musical director and accompanist, George Jackson, do a good job of weaving famous numbers into his story. The singing reveals a performer with a clear knowledge of his ability and a love for the songs that is winning. I think I disagree with Chen about Sondheim’s ‘The Ladies Who Lunch’, although the rendition is strong. But the use of ‘Another Hundred People’, which acts as a refrain to stories about dating and cruising, is quite brilliant.

A word of warning is needed for those who, like me, are opposed to audience participation. To be clear, Chen is very good at this: engaging and never threatening. A bit of a singalong is bearable (anyone can mumble). But getting the whole audience onto the stage is quite a task. If Chen wants an accolade, joining a slow dance on stage is a first for me. And I’ve been in more theatres than he’s seen YouTube clips of Company (and that’s a lot).

I can forgive the (dreaded) A.P. because Chen is gentle with it. And the key to his successful show, possibly, is that he recognises how that gentleness is a strength. Chen’s personality is so strong that criticism comes close to becoming just praise for the performer. He is humble, but smart, studied, yet casual. His communication with the audience makes you feel as if you’re spending time with a friend. And, yes, that’s a beautiful thing.

Until 16 October 2026

www.cptheatre.co.uk

Photo by *SCAPE

2026

“The Hungry Ghost” at the Bush Theatre

Mei Leng Yew’s new play covers a lot of ground with great success. As well as the promised scares, rooted in Chinese folklore, it is a romance, with a young couple moving in together at the very moment one of them becomes possessed. Best of all, alongside its intriguing premise, it is funny.

One twist is that actor Mei Mac takes on the roles of the ‘Girl’ and her lover, creating sweet, gentle moments. Mei also plays her mother, brother and, well, just about everyone in the show. Switching roles during conversations, never losing focus or sacrificing clarity, she gives an awe-inspiring performance, with so many accents I lost count.

Mac is joined by Isabella Wei as the Ghost. This is a different kind of supernatural creature – a spook it’s possible to like! The spectre has sensible ideas about British bread and working for a living. Driven only by desire – sex and food – Wei embodies these passions marvellously. The role develops from scary to sympathetic, creating a powerful dynamic and some surprises.

There’s plenty of drama as the Ghost becomes dangerous. Cheng Keng and Carla Ng’s lighting and sound design are particularly effective. Director Ailin Conant keeps the pace swift, but allows moments of reflection when romance comes to the fore, giving the audience time to increase their affection for the characters.

The Hungry Ghost comes into conflict with modern life, allowing Yew to make observations about the diaspora, parenting, mental health, youth and gay life. The satire around the girl’s partner being a therapist could be expanded. And if some issues are resolved too quickly, that only makes the show sweeter. Yew’s themes are handled lightly. Comedy is the key, producing a piece with a gentle touch that leaves the audience feeling full. Even the ghost ends up satisfied (kind of) and I, for one, am happy for her.

Until 31 October 2026

www.bushtheatre.com

Photos by Corrine Cumming

2026

“Affluenza” at the Riverside Studios

Andy Sandberg’s drama is a think piece, directed by the author himself and well-acted. Covering plenty of topical concerns, it follows Dillon, a privileged teenager who causes an awful accident while driving drunk. There’s a lot to discuss but, ultimately, the piece says very little.

Sandberg is good at starting a debate, providing numerous perspectives that lead to fine performances. Affluenza is enjoyable enough. Dillon’s awful parents, the mother of one victim, and the father of another, are all worth watching. And there’s the lawyer, played by a convincing Rupert Young, who comes up with the defence that gives the play its title: Dillon is so privileged, his moral compass so warped, that he cannot be held responsible for his actions.

'Affluenza' at Riverside Studios 2 Photo credit Danny Kaan
Noah Schnapp

If the legal case – or the psychology behind the titular condition – doesn’t convince, you’re allowed to be sceptical. We can all join the outrage and scoff. The problem is that not much is done with the idea dramatically. Too many of the characters are flat, present just to put a point of view forward. Dillon, played by Stranger Things star Noah Schnapp, isn’t given much to work with. Donald Sage Mackay has a strong scene at a press conference, where we hear what he is thinking alongside what he says. But it is only Juliet Cowan who manages to eke out both satire and emotion, taking on two roles with the greatest skill.

After the interval, the play improves. The action is, surely, deliberately disorientating, so a plot spoiler seems unfair: let’s just say we fast-forward to see Dillon possess a new kind of privilege with a new set of problems. Young and Wallis Currie-Wood have more to do here and take on the task valiantly. Cowan is great again. But how the situations connect isn’t clear. Is Dillon’s later life supposed to be a punishment? The fate of Dillon’s son, while providing another character for Schnapp to explore, is again underdeveloped.

Showing that money can influence justice isn’t much of an exposé. While the predictable outcome of the trial could easily be the point, it isn’t a great surprise. By making both the accident and what happens to Dillon when he grows up so extreme, Sandberg distances us from the events as well as characters. It becomes too easy to dismiss what is happening rather than engage with it.

Until 21 November 2026

www.riversidestudios.co.uk

Photo by Danny Kaan

2026

“Conflict of Interest” at the Hen and Chickens Theatre

There’s a good idea behind Thomas Carruthers’ play: a legal drama that focuses on the lawyers’ office rather than the courtroom. Professional rivalry, sordid secrets and three glamorous women give it a strangely old-fashioned feel. Overall, it’s an entertaining piece of work.

Carruthers packs in an excess of detail, but his effort reaps rewards. The slow build adds charisma to his part in the piece as successful criminal defence lawyer Art Carmichael. We hear plenty about his colleague and his neuroses, and William Leggetter makes this role interesting. As for the women, three strong performances from Maeve-Anne Allen, Amy Cash and Rhian Holmes help to disguise weaker characterisation. Allen’s chemistry is great, Holmes’ Southern belle is effective and Cash brings a pleasing subtlety to her role.

Art’s wife is a former client who may have killed her father; his new client admits she murdered her husband; and we are left to wonder whether men’s ambitious intern really be as sweet as she seems. The women aren’t far from femme fatales. Carruthers attempts to solve this by bringing in modern considerations about abuse, which raises the stakes considerably. The performances become passionate, but the dialogue isn’t always convincing.

The mix of hard-boiled drama and sleaze is a touch too much. It’s as if the 1950s got very rude – interesting, if odd. Although the play is set in the 1980s, Carruthers clearly doesn’t care much for the decade (I don’t blame him), and some of his ideas about the period’s social mores are surely off. That said, there’s plenty of atmosphere, some humour, and a cast that clearly enjoys its roles.

A bigger problem is the lack of intrigue. The show is too much of a slow burn. The script needs cuts, and director Jazz Sewsanker needs to speed things up. The added music also needs dropping, especially when characters are speaking. As the men in the show grow increasingly paranoid, Conflict of Interest becomes a competition for victimhood. Who you are meant to feel for might be a little obvious – and sympathy for Art is a bit too hard to find. But as a study in delusion and victimisation, the play offers interesting twists, capably handled.

Until 3 October 2026

For tickets click here