OVO - Review

Royal Albert Hall, London

*****

Written, choreographed and directed by Deborah Colker

Cirque Du Soleil's crickets leaping in the Royal Albert Hall

Just opened for their annual residency at the Royal Albert Hall, Cirque Du Soleil’s OVO dives down into the long grass, transporting its audience into a stunning world of bugs and creepy-crawlies, all depicted through a cast of ridiculously talented circus performers.

As a mysterious egg appears on stage, three clowns (Mateo Amieva (Spain), Robin Beer (UK) and Neiva Nascimento (Brazil) respectively performing as a scarab beetle, a bluebottle and a ladybug) break the ice with slick comedy and audience interaction. As is the hallmark of all good circus productions, recognisable dialogue is out – the performers relying on their miming skills to tell their brief moments of narrative. The emphasis here is on laughter rather than bravado and within minutes these gifted insects have the audience in the palm of their claws.

With the crowd suitably warmed up, five ants (a troupe from China) snake their way onto the stage, before they flip themselves onto their backs and start juggling, with their feet, first kiwi fruit and then corn cobs and finally each other! The artistes’ skill and co-ordination is frankly mind-boggling.

Before our eyes Caitlin Quinn and Ernesto Lea Place, from North and South America respectively, emerge as moths with breathtaking aerialist skills before the Japanese Eisuke Saito, here depicting a weevil, juggles 5 luminescent diabolos that brilliantly suggest fireflies darting around the arena. The first half of the evening wraps up with beetles suggested by a multinational troupe of trapeze artists, taking our collective breath away as they loop and leap between lofty platforms suspended from the venue’s ceiling.

Six performers wriggle onto the stage as leaf-bearing fleas before launching an assault on the Chinese Poles, which all paves the way for the show’s arachnids to be on display, the Chinese Qiu Jiangming deftly treating the slackwire as though it were spun silk. Also as a spider, Mongolian Nyamgerel Gankhuyag contorts herself into apparently impossible permutations of the human form as she lithely prowls in search of prey.

The evening’s final act is left to the crickets who bounce themselves off and back onto a trampo-wall of impossible height. Such is their pinpoint co-ordinated timing that the act becomes a blur of green people literally taking flight before our eyes!

Yet again, Cirque Du Soleil deploys meticulous planning, rehearsal, strength and above all skill, to present to their audiences a show that fuses the laws of physics into the absolute limits that a human body can endure. With a cast of more than 50 plus a stunning band to deliver the evening’s live score, the tickets are worth every penny. OVO is breathtakingly beautiful.

Runs until 1st March

Photo credit: Anne-Marie Forker

High Noon - Review

Harold Pinter Theatre, London

**

Written by Eric Roth

Based on Carl Foreman's motion picture

Directed by Thea Sharrock

Billy Crudup and Denise Gough

The translation of High Noon from Western to West End is a gamble as risky as awaiting the arrival of a convicted vengeful murderer on the midday train. But where Fred Zinnemann’s 1952 Oscar-winning masterpiece told a wondrous story, Eric Roth’s debut stage-play guns down the legendary yarn, leaving the exquisite original bleeding in the dust. 

Zinnemann relied on immaculate performance, cinematography and music for his screen masterpiece. Roth condenses that narrative into a claustrophobic work of trashy pulp fiction that’s very heavy on exposition and includes a liberal use of foul language that jars when set against the beauty of Carl Foreman's movie screenplay.

Billy Crudup delivers a decent turn as marshal Will Kane, a man forced to confront his nemesis Frank Miller, and on his wedding day too. Opposite Crudup and perhaps the evening’s biggest disappointment is Denise Gough’s two-dimensional and cliched turn as Kane’s bride Amy Fowler. The only performance that comes close to matching Crudup’s work is from Rosa Salazar as the town’s bar-owner and hooker, Helen Ramirez. Hers is a role of curious complexity that Salazar delivers with compassion and sensitivity. Elsewhere, too many of the cast are doubled or even tripled up in the roles they are allocated - that at times is more of a confusing distraction than an advancement of the plot.

Roth's tinkering with the political nuances of the movie is clumsy. Where Foreman's writing offered up a poignant allegory upon the evils of McCarthyism under which he had been persecuted, Roth (no-doubt inadvertently) sometimes sets his Kane on a pedestal alongside Donald Trump and Rudolph Giuliani, in his references to how effectively the marshal had cleaned up the town's historic crime problem. 

The usually brilliant Tim Hatley has designed a set of wooden slats that creates an effective suggestion of the brilliant sunshine of America’s frontierland, but is otherwise too nondescript an affair to effectively portray the tumbleweed nature of the town. Hatley does however conjure up an enchanting arrival of the eponymously climactic steam train - a staging that leaves one wishing he could have been as equally inspirational in his far more bland railway designs that are currently the backdrop to Starlight Express. And quite why Roth has chosen to pepper his script with snatches of Bruce Springsteen and Ry Cooder has to remain a mystery.

A clock sits atop the stage counting down the show’s 100 minutes. With the play lasting a quarter of an hour longer than the movie, those minutes drag. If High Noon is to mark a trend of Westerns being transformed into stage productions then may I respectfully suggest that Mel Brooks is approached for the rights to Blazing Saddles.

Runs until March 6th

Photo credit: Johan Persson

Woman in Mind - Review

Duke of York's Theatre, London

*****

Written by Alan Ayckbourn

Directed by Michael Longhurst

Sheridan Smith

Sheridan Smith as Susan in Alan Ayckbourn’s Woman in Mind gives one of the finest performances to be found on a London stage. Barely a comedy, the play shows the playwright's deepest, darkest brilliance, his narrative exploring Susan’s descent into psychosis. Smith gives the most harrowing portrayal of a woman whose mind is decaying before our eyes, unable to separate the reality of her own naturally flawed family from the false creations of her illness-oppressed brain.

In what is perhaps Michael Longhurst’s greatest work as a director, Smith captures Susan’s complex fragility with a conviction that seems almost effortless and which belies her acting genius. Onstage throughout, Smith delivers a masterclass in her craft.

The supporting cast are almost as magnificent as their leading lady. Tim McMullan is Gerald, Susan’s husband. A vicar and historian, his loving support for his wife is made all the more poignant when set against her apparent hatred for his professional commitments. Fine work too from Louise Brealey who plays Muriel, Susan’s live-in sister-in-law, whose calamitous catering gives rise to the evening’s few truly comedic moments.

In a heavily promoted stunt-casting, comedian Romesh Ranganathan plays Susan’s doctor, Bill. Albeit an accomplished performer Ranganathan proves the show’s weakest link, lacking the heavyweight chops to tackle a major West End role. As Susan’s imaginary family however, Sule Rimi, Chris Jenks and Safia Oakley-Green are all magnificent. Similarly, and in a comparatively tiny role, Taylor Uttley as Susan and Gerald’s son Rick adds an exquisitely painful layer of emotional agony to his mother’s tragedy.

Technically outstanding, Soutra Gilmour’s set enhanced by Andrzej Goulding’s subtly haunting video projections, delivers a beautiful creation of an English garden. Paul Arditti’s sound design proves to be another of the production’s ingenious treats.

In a performance that demands to be recognised at the Olivier Awards, Sheridan Smith makes Woman In Mind unmissable.

Runs until 28th February in London

Then touring:

4 – 7 MARCH 2026

Sunderland Empire, High Street West, Sunderland SR1 3EX

10 – 14 MARCH 2026

Theatre Royal, Glasgow, 282 Hope Street, Glasgow G2 3Q

Photo credit: Marc Brenner

Oh, Mary! - Review

Trafalgar Theatre, London

*****

Written by Cole Escola

Directed by Sam Pinkleton

Mason Alexander Park and Giles Terera

Exploring the life of another lesser-known figure from the pages of American history, Oh, Mary! sets out to do for First Lady Mary Todd Lincoln, what Hamilton achieved for Treasury Secretary Alexander Hamilton. Well, almost….

 

Cole Escola’s play (with some music) is all about Mary in the weeks leading up to Abraham Lincoln’s assassination. In an irreverent and hilarious pastiche on the Lincoln White House and as the American Civil War is in its closing days, Mason Alexander Park plays Mary, an alcoholic with a past as a cabaret singer and an unrequited desire to achieve more from her life in so many ways.

 

Escola’s script is insanely brilliant. Riddled with shockingly ingenious and occasionally breathtaking (and, depending upon your perspective, offensive) twists, it is nigh-on impossible to describe the plot without spoiling any number of gags. And those gags are just so perfectly delivered, with tantalising build-ups leading to eye-watering punchlines.

 

Be assured that not only is the script first-rate, but the brilliant Park is supported by the equally gifted Giles Terera as Mary's Husband, Dino Fetscher as Mary’s Teacher, Kate O’Donnell as Mary’s Chaperone and last but certainly not least, Oliver Stockley as Mary’s Husband’s Assistant.

 

Sam Pinkleton who directed the Tony-winning show on Broadway has flown over to recreate a fusion of dialog and physical comedy that is sheer theatrical hilarity - all rehearsed immaculately and delivered with pinpoint accuracy and timing.

 

Oh, Mary! is the funniest new writing in town.

Runs until 25th April 2026

Photo credit: Manuel Harlan

Indian Ink - Review

Hampstead Theatre, London

***

Written by Tom Stoppard

Directed by Jonathan Kent

Felicity Kendal and Ruby Ashbourne Serkis

Tom Stoppard’s Indian Ink is a time-hopping study on India towards the end of the Raj, that’s written and researched with meticulous detail and acted, in this revival, with equal finesse.

A coquettish young flapper named Flora travels to India in the 1930s to restore her health. A poet with a love for art, as she beds her way across the subcontinent we witness her discovery of the complexities of Indian society and politics. Ruby Ashbourne Serkis plays Flora, as Felicity Kendal plays Mrs Swan, Flora's (now elderly) younger sister who, towards the end of the 20th century, looks back and reflects on her sibling's short, colourful life.

Jonathan Kent directs his cast with pinpoint precision, against Leslie Travers’s ingenious (if sometimes wobbly) set and Peter Mumford’s impressive lighting design, but it’s all just far too long. Stoppard’s attention to the historical minutiae was impressive, but the evening for all its excellence, feels like a tedious, culturally name-checking, three hours. That this 1995 play started out as a 1991 radio drama, In The Native State (that back then, in an enchanting theatrical alignment, starred Felicity Kendal) is revealing, for it is possible that Stoppard's arguments may have been forged more concisely under the discipline of radio.

Indian Ink may perhaps crave yet a further adaptation, this time into a TV mini series such is its richness. On stage today however it feels like a bloated self-indulgence, albeit brilliantly performed.

Runs until 31st January 2026

Photo credit: Johan Persson

Paranormal Activity - Review

Ambassadors Theatre, London

****

Written by Levi Holloway

Directed by Felix Barrett

Melissa James and Patrick Heusinger

Drawn from the seven-movie Paranormal Activity franchise, this new tale sees James (played by Patrick Heusinger) and Lou (Melissa James) move from Chicago to London in the hope of escaping a presence that has been haunting their lives. 

Within moments of the curtain rising the tone is set and tension is firmly on the menu (with a healthy increased heart rate as a side), followed by a rollercoaster of fear that is best left to be experienced first-hand.  Chris Fisher’s illusions are sensational, delivering scares good enough to garner loud, theatre-wide reactions. As the interval lights came up the audience’s relieved chatter, grateful for the brief respite from the terror, was audible. 

The second act takes advantage of one’s lowered guard, immediately ramping up the tension, rarely letting up till the close of the show, the tight and creative delivery of the effects packing a punch around every turn.

All of this is only possible due to the impressive cast who deliver convincing performances throughout. It took very little time to become convinced and invested in the relationship of the young couple and quickly sympathetic to their struggles

Experiencing Paranormal Activity in a packed theatre amidst the audience’s reactions to the evening’s scares only enhances the experience. Terrifying fun!

Runs until 28th February 2026

Photo credit: Johan Persson

Reviewed by Kishan Lukha

The Nutcracker - Review

London Coliseum, London

****

Music by Pyotr Ilyich Tchaikovsky

Choreographed by Aaron S. Watkin and Arielle Smith

The English National Ballet

In a gorgeous display of Christmas tradition, the English National Ballet bring Tchaikovsky’s The Nutcracker to the London Coliseum for the holiday season. Aaron S. Watkin and Arielle Smith co-choreograph the piece to deliver an evening of stunning dance, music and spectacle.

The fairytale dream of the story is beautifully realised by the ballet’s company and creatives. A roster of children dance as the young Clara. On the night of this review, Delilah Wiggins was on stage, and as she fell into a deep sleep following a beautifully danced party, Ivana Bueno took over the role of the adolescent Clara, with Paulo Rodrigues playing the Nutcracker Prince who whisks her off to the enchanted Land of Sweets and Delights. Their departure, flying off in a magical sleigh drawn by a seahorse, was but one of the ballet’s stunning design touches from Dick Bird.

Act two plays out entirely in the land of sweets, where Bird has created a staging that is as visually satisfying as a box of chocolates! All sorts of confection from around the world are danced to Tchaikovsky’s timeless tunes with a corps of Wiggins’s juniors, all from the Adagio School of Dance performing a great routine as the contents of a box of Ballet’s Liquorice Allsorts. The Nutcracker's melodies of course remain a reminder of just how much the Russian composer’s music has imprinted itself onto our consciousness.

Bird’s visuals along with Leo Flint’s video designs are breathtaking, and as Sangeun Lee brings the evening’s ballet-work to a crescendo with her Dance of The Sugar Plum Fairy, the moment is exquisite.

Technically wonderful, and with the English National Ballet Philharmonic under the baton of Maria Seletskaja sounding delectable, The Nutcracker is a fabulous festive treat.

Runs until 11th January 2026

Photo credit: Johan Persson