by Zahid Fayyaz Viral hit Jazz Emu (real name – Archie Henderson) has launched his new show and forthcoming tour after garnering millions of views of his music videos on social media platforms. Down in the theatre’s lively cabaret space, the conceit of the show is that the character Jazz Emu is warming up just before he gets on stage at the Royal Albert Hall for the Royal Variety Performance. However, Jazz has a secondary objective: he wants to be the one knighted by the King that evening, as apparently that’s how all Royal Variety performances end. The only person in his way is his arch neme ..read more

by Zahid Fayyaz Immersive theatre specialists Punchdrunk have opened their second show in what is their own, custom-built space in Woolwich Arsenal, following on from The Burnt City. Based on a 1901 gothic short story, The Moon Slave, written by Daisy Johnson and with narration by Helen Bonham Carter, this is a relatively starry shift from the company. They have also moved away from their previous productions by putting together a linear narrative, rather than allowing the audience free reign over the space and story. Put into groups of six, the audience are instructed to remove shoes and soc ..read more

by Luisa De la Concha Montes Cutting the Tightrope hosts a series of short sketches that are united by the same topic: censorship. It was created as a direct response to the Arts Council England’s now retracted guidance that political statements made by individuals linked to an organisation can cause reputational risks. From the war in Gaza to the rise of authoritarian regimes, each sketch explores the political, social and emotional effects that the lack of freedom of expression may have. The styles are varied; some sketches use comedy, while others utilise fiction. For instance, “Watermelon ..read more

by Zahid Fayyaz First performed in 2015 at the National Theatre, Duncan Macmillan’s addiction drama subsequently had a run in the West End and then off-Broadway in New York. It is now back again in the West End after almost 10 years. Denise Gough once again takes the lead role of ‘Emma’, an actress struggling with addiction and trying to get clean. With a stage design by Bunny Christie, this is a striking visual production. The action takes place in what seems to be a white, Perspex box. Jeremy Herring returns to direct the show in a propulsive manner, with an energy pushing things the scenes ..read more

by Archie Whyld What do German theatre directors eat in the morning? Why, Brechtfast, of course. Early on in Polly (The Heartbreak Opera), a similar, and admittedly better, Brechtfast joke was subtly slipped in, in a moment of metatheatrical gorgeousness, and so, being a lover of all things Brecht, I thought – this is for me. A collaboration between Marie Hamilton and Sharp Teeth Theatre, Polly (The Heartbreak Opera), directed by Stephanie Kempson, updates John Gay’s 18th Century Polly, the sequel to his The Beggars Opera, relocating Polly Peachum to the Caribbean where Macheath is now a pira ..read more

by Diana Miranda As we enter the space, playwright and performer Nick Cohen greets us as if we’re special guests at a private screening. He’s wearing a black suit, and has a polite if fidgety demeanour. When the studio’s doors close, he expresses a mild disappointment that Ryan Gosling hasn’t shown up. Part bittersweet memoir, part unabashed satire, Life with Oscar follows Cohen’s journey as he travels from London to Los Angeles. He’s an aspiring filmmaker from London who wants to mingle with Hollywood big shots who might bring him closer to his ultimate career goal: winning an Academy Award ..read more

by Stewart Robson For five performances only (sadly this not a full run), Dragonboy Productions have produced this adventurous adaption of five Chekov short stories: The Lady with the Little Dog, The Chemist’s Wife, At a Summer Villa, An Avenger and The Bear. Eliot Giuralarocca has skilfully adapted and directed these five stories. A brilliant cast of five, including Giuralarocca himself, give the stories a dynamic, farcical structure which plays brilliantly in the large space at Southwark Playhouse. The stage is sparse. The premise is that this is a group of Russian travelling performers. No ..read more

by Laura Kressly Best friends Noa and Nina are 17 and have the world at their feet. They are bright, articulate, young women with busy, privileged lives. Despite this, they agonise over the possibility of the world passing them by and whether or not they might actually be quite boring. To manage their worries, they project them – and their queerness – onto a high-conflict romance of their own creation. Set on a contemporary American ranch, scenes from their heightened fiction intersect with the real in entertaining and touching ways. Playwright Billie Esplen uses contrasting styles to good ef ..read more

by Maria Majewska Paweł Pawlikowski’s 2018 film Cold War is a profound account of Polish identity, cultural homogenisation, politicisation of folklore and the trauma of migration from the Soviet bloc. As a Polish migrant with a deep connection to this story, I was keen to see how this masterful, nuanced film would translate to the stage. Tragically, the Almeida’s production is an insulting missed opportunity.  A reverential, faithful representation was clearly not the production’s objective, and much has already been said about its exclusion of first-generation Polish migrant actors and ..read more

by Laura Kressly In the Stanley Arts bar, Kassi, Ali, and Daphne hype up the audience for the arrival of a group of refugees. They’ve organised a welcoming party but plans change when only one person, Zain, arrives. He’s initially unenthusiastic about being the centre of attention. With some coaxing after hiding the main performance space, he shares his journey from Sudan using puppetry, dance, and narration. The promenade family show is inclusively crafted with striking design, but doesn’t romanticise his journey or patronise family audiences. The ensemble cast of four – Adi Detemo, Kassicha ..read more