This year’s big and gloriously gay panto from the “He’s Behind You!” gang has burst into the Charing Cross Theatre, and it has arrived like it owns the place. Beauty and the Beast: A Horny Love Story brings back several familiar faces, including the incomparable Matthew Baldwin, who now plays the mother of two gay children living at a petrol station in the Scottish Highlands. Baldwin is every bit as majestic as you imagine a woman in a fluorescent tabard can be. Laura Anna-Mead playing Bonnie, the frequently ignored lesbian daughter, bounces through the show with a delightful energy, while Matt Kennedy completely charms as Bertie, the titular beauty. As his beastly counterpart Keanu Adolphus Johnson is ferociously fabulous. Chris Lane earns his boos and hisses as Cornelius, the villainous brother whose moral compass has a limp arrow, while Dani Mirels deserves her cheers as the blue-haired enchantress who finds love. However, again this year, it is Baldwin who storms the stage. With a...

In 1925, when Noël Coward’s Fallen Angels was first staged, it was a succès de scandale. The Lord Chancellor, London’s theatre censor, barely approved it; a woman protested against it in the theatre; and the Burgomaster of The Hague shut the production down entirely. A century later, the shock value has largely faded. Women having premarital sex, perhaps sharing a lover, and then getting drunk together and comparing experiences are no longer considered to be quite as scandalous. Yet if the shock of Fallen Angels has largely vanished, its humour endures, along with Coward’s satirical targets: the double standard of expectations for men’s and women’s behaviour, the challenge of sustaining passion in long-term relationships, and the persistent hypocrisy surrounding sexual conduct. The work was one of Coward’s early successes, and the play bears the marks of the playwright’s developing craft. The drunkenness scene is pushed to its limits, while the use of comic devices, such as the overl...

It is easy to misremember Lerner and Loewe’s My Fair Lady as simply another musical romcom, but this superb production reminds us that it is rooted in George Bernard Shaw’s Pygmalion . Along with the beguiling love story, there is a sharp and insightful commentary on class, gender, and the social forces that shape us. This is a transformation tale with something to say, and this first-rate staging gets the balance exactly right between fairy tale romance and pointed social critique. The beloved story of the Cockney flower girl who blossoms into a lady and the brilliant but blinkered academic, who finds he has a heart after all, is presented with uncommon clarity and warmth. It is not only the tale of Eliza’s metamorphosis, a working class woman discovering her independence, her identity, and her voice. It is also about the detached and self assured middle class academic Henry Higgins learning, sometimes painfully, what it means to truly listen. Simbi Akande is a radiant Eliza Doolittl...

John le Carré’s landmark espionage tale remains a defining work of the genre. At the height of the Cold War, spymaster Alec Leamas has just seen one of his most trusted agents killed. Ready at last to abandon the service, he is instead drawn into a final, intricate scheme meant to topple his old adversary, Mundt, head of East Germany’s foreign intelligence apparatus. Leamas is only required to present himself as a whiskey-soaked cynic who is willing to betray his country - a role that comes all too naturally to a man who has grown tired of every trick in the trade. Yet two forces could unravel this cunning plan: the romantic resurrection of Leamas' long-extinguished idealism, or the dawning suspicion that he is a pawn, rather than a player, in someone else’s unforgiving game. David Eldridge’s adaptation and Jeremy Herrin’s meticulous staging capture the novel’s bleak, noir-tinged world with striking fidelity. Even the heavy burden of exposition, required to guide the audience throu...

It seems like an impossible task. Can you really squeeze all of the incidents and characters of one of Dickens' sprawling novels into a two-hour theatrical production and have all of the people played by only three actors? Amazingly, the Guildford Shakespeare Company manages to do just that. This theatrical version of Dickens' semi-autobiographical masterpiece is remarkably faithful to the original story, and somehow the small cast brings to life each of the author's wonderfully eccentric creations. From the ever optimistic Mr Micawber to the unctuous Uriah Heep every figure David Copperfield encounters on his life-journey becomes a believable and engaging personage. As in the novel, we begin at the moment of David's birth and end with his marriage to a paragon of Victorian virtue. Along the way we are introduced to a plethora of weird characters and must navigate a convoluted plot that is riddled with coincidence. Refreshingly in this telling, the familiar Dickensian...

Murder, She Didn’t Write began as a long-form improv experiment by the Bristol company Degrees of Error. Created in the early 2010s as a playful spin on classic whodunnits, it has grown into a fully improvised murder mystery powered by audience input. Every performance becomes a unique story that exists for one night only. This mix of sharp comedy and a cleverly unfolding case has made it a Fringe favourite and has carried the troupe all the way to the West End. Guided by the detective Agatha Crusty, the audience chooses the location, a key prop, the victim and the killer. The performers then build the narrative in real time, turning wild suggestions into a coherent plot. When we saw the show, the cast crafted a tale around an orange artificial leg and a group of suspects in Bradford, while weaving in extra suggestions, such as a support group for Titanic survivors. Scenes stayed tight and punchy, and the troupe bounced off one another with extraordinary skill. They manage to mine eve...

Bryan Cranston’s star shines brightly in Ivo Van Hove’s splendid revival of Arthur Miller’s 1946 masterpiece. Cranston is a completely compelling presence as Joe Keller, the kindly older businessman who plays imaginary games with neighbourhood children. His portrayal is simply remarkable as this pleasant veneer is peeled away and the war profiteer and self-serving sophist beneath it are revealed. The games he shares with the children echo the ones he plays with his family and friends, whom he draws into colluding with his pretence of innocence and with the web of rationalisations he has spun for his past actions. Miller’s work carries an epic weight that Van Hove captures with his sparse staging, and Cranston’s performance evokes the moral authority and emotional force of Greek tragedy. As Joe’s wife, Kate, whose belief in her husband is tied to her certainty that her son survived the war, Marianne Jean-Baptiste also gives an unforgettable performance. The strong cast is completed by P...

End is the third play in David Eldridge's trilogy about couples at different stages of their relationships. In this final instalment, Alfie (Clive Owens) and Julie (Saskia Reeves) confront Alfie’s imminent death from cancer. Their exchanges are at once humorous and deeply affecting as they revisit memories, moments of happiness, regrets, and past conflicts. Plans for the funeral become conversations about dying and tentative imaginings of what might lie ahead. Each of the three plays is set in the morning, a liminal period between night and day that suggests transition and vulnerability. However, in this instance, the strictly limited timeframe feels somewhat contrived. Too much is compressed into a span that in reality would unfold over several days. Dividing the play into a series of distinct scenes with overlapping discussions might have made for greater verisimilitude and prevented some of the abrupt changes in tone and subject matter. Within ninety minutes all five of Kübler...

“Life isn’t a game. It’s a ride.” This zany Canadian musical takes that mantra and blasts it into orbit. The setup is simple: six teens from the Saint Cassian Chamber Choir of Uranium City, Saskatchewan die in a roller-coaster accident. After that, the weirdness ramps up fast. The afterlife is presided over by a robot named The Amazing Karnak, a mechanical oracle who foresaw their deaths and calmly predicts his own. He informs the teens that one of them can return to life, but only if the vote is unanimous. What follows is a series of musical pleas as each teen lays out not just the life they lived, but the one they fantasised about. Their stories spill out in songs that swing between comedy and heartbreak. We meet the town overachiever, the macho Ukrainian immigrant, the closeted Taco Bell employee, the eager-to-please nice girl and even a teen whose identity is a complete mystery. This show is a gem. It sparkles with self-deprecating wit, meta jokes and killer performances. Baylie Ca...

Ani is a successful academic who lectures on Milton and has recently won an award for her latest book. She is in a relationship with a sensitive, gentle man, and on the surface, she seems to have it all. Yet beneath her success, Ani harbours a preoccupation with violent pornography which threatens to undermine both her personal and professional life. Sophia Chetin-Leuner’s drama explores two intertwined themes: the transgressive nature of sexual fantasies which gain their erotic power from being taboo and the fact that obsessive behaviour often stems from unresolved trauma. Ani’s addiction to porn and her excessive masturbation initially serve to numb her grief over her mother’s death. However over time, they begin to erode both her relationships and career. These themes are then developed through literary concepts, primarily drawn from Milton. The play opens with a reference to the Narcissus myth, which is later illuminated in Ani’s lecture on Paradise Lost , where she examines Milton...