Jim Hacker, who was hoping for a quiet life in academia until a committee revolt and outrage threaten to remove him from his employment and his home. Sir Humphrey Appleby must help Hacker before it's too late. Returning to the world of Yes, Minister and Yes, Prime Minister is a little like reopening a particularly witty political briefing you didn’t realise you missed. The satire may be rooted in decades-old television, but the humour, language, and observations about governm

‘I had one when I found out. Just as I saw my mum pick up the phone.’ When war breaks out in Ukraine, a young person starts to get nosebleeds. A lot. It’s all they think about. These nosebleeds aren’t just nosebleeds, they are signs of grief, danger and uncertainty. In this story of self discovery, this unnamed narrator goes to lengths to come to terms with why they are getting so many nosebleeds and what they truly mean? Nosebleeds is a hysterically heartbreaking story of a

Sophie has just lost a parent. So has Jonah. Sophie has just inherited quite a lot of money. So has Jonah. After a series of uncanny coincidences, the pair find themselves living on top of one another, in two small flats in Leytonstone. Then on a whim, Sophie mails Jonah a baby monitor connected to her flat. And he starts to watch her. Reading. Playing video games. Eating. Watching TV. Without ever coming face to face, something almost like love starts to bloom between them.

When Lenore’s father passes away, she is overcome with memories and rage forcing her to confront her identity and belonging. In order to rebuild herself, Lenore embarks on a solitary journey through time accompanied by poetry and a mysterious doppelganger-pianist. A hauntingly new experimental musical theatre piece, The Sound of Absence explores the intricate bond between father and daughter — and the unspoken reasons behind the choices our parents make. This intimate, exper

It’s a story about friendship, power and surviving Harvey Weinstein’s heliocentric hell. The play is a deeply personal story inspired by the #metoo movement and draws from Rose's own experience of working as an assistant at Miramax and actress in the 90’s. Nearly thirty years later, in the wake of recent allegations about - Justin Baldoni, Russell Brand, Sean Combs, Gino D'Acampo, Noel Clarke, Mohamed Al-Fayed, Giovanni Pernice, Kevin Spacey, Donald Trump and Jeffrey Epstein.

Alec Leamas is a worn-down British intelligence officer during the height of the Cold War who is preparing to leave a long career of espionage behind him, until spymaster George Smiley presents him with one final, very dangerous assignment. Leamas is then pulled back into a web of betrayal and manipulation. Sent undercover into East Germany, he must take on the new identity of a disgraced agent in order to ensnare an enemy operative. This mission becomes far more complex when

⭐⭐⭐⭐⭐ From the moment you step into the Apollo Theatre, Christmas Carol Goes Wrong wraps you up like a festive jumper you didn’t know you needed — slightly chaotic, extremely comforting, and guaranteed to make you smile. Even before the curtain rises, the pre-show music playlist sets the tone beautifully. A selection of instrumental, jazz-inspired Christmas classics drifts through the auditorium, instantly creating a warm, cosy atmosphere. It feels like being gently eased int

⭐️⭐️⭐️⭐️⭐️ When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens. But London isn't all afternoon teas and friendly faces - and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as

⭐️⭐⭐️ There is something undeniably exciting about seeing a brand-new family musical take over Shakespeare’s Globe — a venue steeped in storytelling, playfulness, and theatrical tradition. Pinocchio arrives with big ambition, visual charm, and a strong ensemble, but while it often works, it rarely soars. The result is a perfectly watchable, occasionally delightful production that struggles to leave a lasting impression. From the outset, pacing proves to be the show’s biggest

⭐️⭐️⭐️⭐️1/2 It’s Christmas Eve, and Isla is lost. Wandering through the vaults and tunnels of Waterloo, she is searching for something – a gift for her mother, after a tumultuous year past. But nothing seems to be quite right. Until, that is, she finds the shop. Or, to be more precise, the library. Or, to be more precise still, the Lost Library of Leake Street. But this isn’t like any library you’ve seen before. Sure, it’s full of stories – as most libraries are. But here, th

Walking away isn't always bad, sometimes it's the most powerful thing you can do. Join the laughter, storytelling, and unexpected dance moves in Meg Chizek's hilarious and vulnerable quest to find her purpose in life. As she twirls through rejection, chassés into conformity, and even joins a dance cult - every pirouette leaves her with existential dread, forcing her to answer the ultimate question: what happens when your dreams don't come true? 📷 Uncredited The direction is

Dial 1 for UK is a solo show following the journey of an Indian call centre worker who becomes an undocumented migrant worker in the UK. It blends humour, movement, and real-life experiences to explore identity, hope, and resilience in a foreign country. Under the expert guidance of director Phil Willmott, the production strikes a rich balance between humour and emotional truth. Mathur is given space to shine, and the direction never competes with the performance—it enhances

Lucy Bailey’s direction was mostly clear and concise, though there were a few moments that left me scratching my head. The biggest “wait, what?” moment came right at the start of Act 2, when Salome finds the body. She looks under the bed on the side with no curtain (helpfully left open for the audience’s benefit), sees nothing, and then dramatically pulls back the curtain at the foot of the bed. But later, when Poirot enters, he just walks around to the open side and grabs th

📷 Teddy Cavendish If Leonardo da Vinci had turned his genius to writing a comedy instead of painting the Mona Lisa, it might have looked something like this — smart, stylish, and just eccentric enough to keep you on your toes. Merle Wheldon’s direction was a masterclass in clarity. Every scene flowed naturally into the next, with not a single confusing beat or misplaced pause. The storytelling was tight, the pace crisp, and even in its more chaotic moments, it always felt li

Direction by Seth Sklar-Heyn was wonderfully clear and consistent — not a wasted beat or misplaced flourish in sight. It felt like someone finally found the instruction manual for “How to Direct Epic Musicals Without Losing the Plot.” Choreography / musical staging by Chrissie Cartwright matched that energy: clean, polished, and confident. Nothing show-offy, but it supported the storytelling instead of distracting from it. The set & image design by Matt Kinley (based on Maria

Direction by Kathleen Marshall was clear, confident, and consistent. Even in the more chaotic scenes, nothing felt forced — she kept a steady hand on the reins, which is exactly what a sparkling show like this needs. Choreography by Kathleen Marshall matched that same clarity and energy — slick, lively, and always in support of the narrative. The set by Peter McKintosh was a visual delight. The rotating art-deco platform at the back of the stage was especially smart: it allow

Grease, comes to London in a reimagined immersive movie musical experience. Audiences become part of the action in Rydell High in 1950s America. Direction by Matt Costain is clear and consistent—everything feels intentional, and some moments are genuinely clever. Jennifer Weber’s choreography sparkles with energy most of the time, though occasionally it slows down just enough that you might find yourself wishing for a fast-forward button. Tom Rogers’ design is a standout, cle

Plug into the electric atmosphere of an up-and-coming rock band recording their second album in 1976. The one that could propel them to superstardom. As the tape rolls, egos flare, relationships break down, tensions run high and something extraordinary takes shape. This is how great art is made. One take at a time. Daniel Aukin’s direction is both clever and purposeful, maintaining a delicate balance between realism and theatricality. He doesn’t overstage the drama, but inste

Really Good Exposure is a show with ambition, flashes of creativity, and a strong central performance, but one that doesn’t always seem fully certain of its own identity. At its heart, the production feels like it’s reaching for something bigger—a piece that blends storytelling, design, and humour into a cohesive whole. There are moments where it edges towards that vision, offering glimpses of what it could become, and those moments are genuinely engaging. However, just as of

Director Bijan Sheibani deserves serious credit here—his vision is razor-sharp, playful, and full of clever little tricks that keep you hooked. Even when things get emotional (and oh, they do), the production never loses its heart. It’s the theatrical version of someone who can juggle while crying… and somehow make it look effortless. Samal Blak’s set and costumes? Chef’s kiss. The set is gorgeous, still managing that intimate feel I was worried might get lost in a bigger spa