The novel and film American Psycho was a satire on the superficiality and materialism of young financial professionals in New York City in the 1980s. The musical adaptation premiered at the Almeida Theatre in 2013 under its then new artistic director, Rupert Goold, and it now returns as his final production before leaving the post. With a second Trump term underway, this story of over-polished surfaces concealing a psychotic killer utterly devoid of values takes on a renewed and deeply ironic resonance. It is easy to read the central character, Patrick Bateman, as representative of America itself. References to Trump and other cultural icons within the 1980s setting enrich the parody and prompt the audience's knowing laughter which is sharpened by hindsight. The values of the Reagan era can be seen as inevitably leading to the current state of American politics. The production is beautifully choreographed by Lynne Page and superbly acted throughout. Arty Froushan is suitably slimy...

Sarah and her partner Alix have just moved into a new home and are on the verge of beginning their life together when Sarah is confronted with a box left to her by her guardian, Aunt Betty. Estranged from her aunt, she initially has no desire to open this window on her past. However, encouraged by Alix, she eventually opens it. The taped reminiscences she discovers transform both her understanding of the past and her plans for the future. Aunt Betty’s reflections on the music of America’s Appalachian Valley intertwine with the histories of the women in their family. Ballads from 17th-century Scotland travel to 18th-century Northern Ireland and evolve as they arrive in the New World. Yet the truths they carry endure, along with the complex emotions and responsibilities surrounding motherhood across three generations of women. Ballad Lines brilliantly captures the emotional depth and evolving dilemmas these women face. Frances McNamee delivers a luminous performance as Sarah, and Rebecc...

The art of mime has deep theatrical roots in France, evolving from commedia dell’arte and 19th-century pantomime into a modern form centred on gesture, silence, and physical storytelling. In the 20th century, Marcel Marceau elevated mime to international prominence through his character Bip and his poetic, wordless exploration of human emotion. At the same time, filmmaker Jacques Tati brought mimetic comedy to cinema, using precise physicality and keen observation to satirise modern life through his iconic Monsieur Hulot. This tradition is closely linked to silent film comedy, where meaning is carried through movement rather than speech. Like Marceau and Tati, silent-era figures such as Charlie Chaplin and Buster Keaton relied on gesture, timing, and physical invention to convey character and emotion, revealing a shared visual language of humour and poetry beyond words. The Compagnie Le Fils du Grand Réseau continues this lineage by translating French mime and visual comedy into a con...

In 1936, Oswald Mosley and his British Union of Fascists planned to march through a working-class, multicultural area of East London that was home to many Jewish and immigrant families. When they entered the area they were met with unexpected resistance. The musical Cable Street recounts this historic event from the perspectives of three families: the Scheinbergs, the Kennys and the Williams. Aspiring Jewish boxer Sammy Scheinberg and Irish communist Mairead Kenny lead the opposition to the BUF march, while the unemployed and disaffected Ron Williams becomes involved on the other side of the conflict. The story is framed by a present-day tourist tour of Cable Street, led by Sammy’s nephew and followed by Mairead’s daughter. The characters in Cable Street are fairly one-dimensional, reflecting the polemical nature of the piece, and the cast assumes multiple roles with minimal costume changes and some gender-blind casting, which can occasionally cause confusion. Despite these limitati...

Louisa May Alcott’s Little Women is the heartwarming story of four sisters growing up during the American Civil War. The siblings are the responsible Meg, gentle Beth, ambitious Amy and the irrepressible Jo. While taking liberties with the original narrative, this musical adaptation remains focused on Jo’s journey as she reluctantly leaves the safety of childhood and her fairy-tale imagination to embrace adulthood and write about real life. The use of Jo’s melodramatic tale of Rodrigo and his romantic exploits works effectively as a framing device and establishes the central theme, but other elements of the adaptation are less successful. Although the retelling contains several moving songs and memorable moments, it would benefit from firmer editing and clearer structure. The production feels overlong and the storyline lacks focus. The addition of characters such as Fred Vaughn and the reduction of the part of March girls’ father are puzzling choices. In the latter case, it is a shame...

The story of Scott and Zelda Fitzgerald is a love affair and a tragedy seemingly made for the stage. He was a brilliant writer who descended into alcoholism and was largely forgotten by the time of his death. She was his muse, and possibly his collaborator, who died in a fire at the asylum where she had finally found some measure of peace. Together, they came to symbolise the Jazz Age, that feverish period of reckless hedonism between the world wars, driven by aimlessness and quiet despair. In Beautiful Little Fool , their story is narrated by their only daughter, Scottie, as she wanders through an archive filled with the remnants of her parents’ lives. One of the challenges of dramatising real people is shaping a narrative that serves a clear purpose while leaving out biographical details that, though intriguing, do not fit thematically. The musical never fully overcomes this challenge. Unnecessary anecdotes, such as the story of Gertrude Stein coining the term “Lost Generation,” appe...

Broken into twelve sections, this comprehensive exhibition traces the parallel careers of two of England’s most important landscape artists with insight and illumination. Emerging from very different backgrounds and approaching their subjects in markedly different ways, J. M. W. Turner and John Constable each occupy a singular place in the British imagination. The exhibition follows the development of their careers, presents outstanding examples of their work, and considers their lasting influence on contemporary artists. While Constable was born into relative privilege and remained deeply rooted in the Stour Valley, Turner was the son of a barber and wig-maker whose restless curiosity led him to travel widely. Both artists were recognised early by the Royal Academy and enjoyed considerable success during their lifetimes. Constable’s devotion to working outdoors is emphasised and set against Turner’s famously chaotic studio practice. Visitors can sense Constable’s pleasure in local fie...

When great music from the past meets mind boggling technology from the future, the result is ABBA Voyage . This is a concert like no other. In a purpose built arena designed specifically for the show, massive high resolution LED screens, advanced lighting, and surround sound are used to create a fully immersive ABBA concert experience. Although the group’s last appearance in London was at Wembley Arena in 1979, they return technologically in this extraordinary production. These are not holograms or AI generated performances. This is a meticulously animated concert based on real performances by the band themselves. To achieve this effect, the group came together and re-performed their music using motion capture technology. They partnered with top visual effects experts to digitally recreate their younger selves. While the show includes a live band and backup singers, the Agnetha, Björn, Benny, and Anni-Frid seen on stage appear every bit as real as their original counterparts. One quick...

In his 1934 book, the philosopher John Dewey argued that art is experience refined in the fire of imagination. This autobiographical musical traces the journey of young Matthew, who later becomes Levi, and tells the life story of its writer, composer, and leading actor, Levi Kreis. Raised in a rigid, fundamentalist Christian home that refuses to accept his homosexuality, and subjected to years of conversion therapy, Kreis is deeply traumatised by an upbringing marked by an absent father and an overbearing stage mother. The gifted musical prodigy will eventually win a Tony Award, but his unresolved emotional wounds lead him down a destructive path into drugs and adult film making. In this retelling of his story, Kreis confronts his younger self, sensitively portrayed by Killian Thomas Lefevre, and attempts to reconcile with his wounded inner child. He is assisted in this intense psychodrama by his sponsor Ben, portrayed with grounded warmth and quiet authority by Iffy Mizrahi. Like many...

This small yet thoughtful exhibition explores the long-standing connections between two island nations. The relationship between Britain and Hawaiʻi dates back to Captain James Cook’s third voyage in 1778. He became the first European to document contact with the Pacific archipelago and that connection still resonates today, most visibly in the Hawaiian state flag (Ka Hae Hawaiʻi), which continues to display the Union Jack in its top-left corner. This display at the British Museum draws primarily on the museum’s own extensive collections, complemented by judicious loans from other institutions, including the Bishop Museum in Hawaiʻi. It is organised into three main sections: Laying a foundation, Allying kingdoms , and Reshaping relationships . The first section introduces visitors to Hawaiʻi's distinctive art, history, and cultural traditions. The second focuses on the 1824 visit of King Kamehameha II (also known as Liholiho) and Queen Kamāmalu to London, and on their tragic deaths...