Cinderella - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Leicester Square Theatre, London
Was Peen keen?
**

Not quite the anti-panto it claims to be, this production tells the darker tale of the girl whom the show is named after. Written and spoken in poetry, lacking gusto in most parts and us being cramped in a room made comparable to lower-class living conditions in the Middle Ages, you’d be forgiven for doubting this from the get-go.

Crazy For You - review

Written by: Josh Brown (@JoshPBrown)

Upstairs at the Gatehouse, London
****

Warm fires, great grub, and friendly faces; the Gatehouse is a hospitable and homely Highgate pub, serving as the ideal retreat from a brisk and, as always in Britain, soggy trek through London. The pub’s jovial atmosphere drifts upstairs to the theatre, fashioning the perfect ambience for the 1992 jukebox musical, Crazy For You. 

The Canterbury Tales - review

Written by: Andrew Crane (@AndrewRCrane)

Southwark Playhouse, London
****

If you’re looking to immerse yourself in a 14^th century pub complete with live folk music and the fantastically told folk tales to match, then Tacit Theatre’s production of The Canterbury Tales might just be the play for you. Now in the last leg of its tour at Southwark Playhouse, this production of Chaucer’s short stories is performed with such abundant character and charm, even those with an aversion to older theatre will be well and truly entertained.

A Thornton Wilder Christmas - review

Written by: Ed Theakston (@EdTheakston)

King's Head Theatre, London
****

This Christmas, Savio(u)r theatre company in association with the King’s Head present A Thornton Wilder Christmas, a double bill of one-act plays The Happy Journey to Trenton and Camden and The Long Christmas Dinner. Both one-act plays, written in 1931, last thirty minutes and this is the first time Thornton Wilder’s work has been performed in London for nearly a decade.

Twelfth Night - review

Written by: Wendy Haines (@Wendyfer1)

Hoxton Hall, London

***

Hoxton Hall is one of those adapted theatre spaces that bears the kind of unique charm achieved by old buildings that lend themselves to community arts projects. Retaining its character, players in the theatre utilise the surrounding balconies, unusual three-tier staging and church-like arrangement for their benefit. The salon:collective have chosen to perform the Christmas frolicking classic Twelfth Night in the space with a touch of panto, farce and cabaret.

COMPETITION: Win two tickets to a play at the Lion & Unicorn Theatre!

With Christmas just around the corner, we wanted to treat you to a pair of tickets to help you save a few pennies on a present. We've teamed up with Grassroots Shakespeare London to give What's Peen Seen? readers the chance to win two tickets to one of their two productions currently running in rep at the Lion & Unicorn Theatre. You get a signed programme thrown in for good measure, too.

Red Like Our Room Used To Feel - review

Written by: Lily Grouse (@LilyKG)

Battersea Arts Centre, London
****

In a room crammed with personality and the debris of his life, Ryan Van Winkle invites you to listen to his poetry whilst having a cup of tea, biscuits and a brief lie down; it’s half an hour wonderfully spent. The one to one with the poet is a therapeutic and beautiful escape from the hustle and bustle of everyday life.

The Tempest - review

Written by: Elodie Vidal (@ElodieVidal)

Lion and Unicorn Theatre, London
****

Where has dreadful pub theatre gone? Seeing Grassroots Shakespeare London’s current production of The Tempest makes you wonder if it ever really existed. The company gets to the heart of Shakespeare with ease beyond its young age. Its combination of traditional practices, modern references, and stellar performances is of the kind that rekindles your taste for the Bard. And it’s not like you haven’t been warned: the evening’s opening – a sung introduction to the company that also begs spectators to switch off their mobile phone - promises a show at once dynamic and faithful to the spirit of Shakespeare’s work.

The Ghost Train - review

Written by: Jessica Gardner (@JessyGardner)

Jack Studio Theatre, Brockley
***

As you step over the threshold into the theatre, you are taken back to the 1940’s on a cloud of smoke in the darkness. Wartime music floods the room, just like the smoke, whilst you settle into your seat. It is not entirely apparent as to why we are suddenly in the 40’s, when in fact the play itself is set in the 20’s; such little modernisation seems to have no effect upon the story whatsoever or have any meaningful bearings upon it dramatically. However, due to the impressive set, with brilliant attention to detail, from the GWR symbols printed on the glass of the windows of the train station waiting room, to the ticket hatch and photograph of King Edward on the wall, you are able to let this slide. 

A Midsummer Night's Dream - review

Written by: Adam Jay (@AdamJBJay)

Lion and Unicorn Theatre, London
****

One of the most often performed and well known of Shakespeare's plays is given a surprisingly fresh and fantastic new twist by Grassroots Shakespeare London, a company that pride themselves on keeping The Bard alive. An incredible evening spent watching one of the most humorous performances of a modernised version of A Midsummer Night's Dream.

Honk! - review

Written by: Stephen St Clement

Tabard Theatre, London

***

“What’s Mama laid?” “It’s a sort of orange preserve, often found on toast.” Just one of the many punbelievable gags in Stiles and Drew’s take on Hans Christian Andersen’s Ugly Duckling parable. But, much like the eponymous protagonist, it takes rather a while for Pulling Focus’s production to find its feet and give the audience anything worth honking about. It’s a grower, not a shower, if you will.

Snow White and the Seven Poofs: The Climax! - review

Written by: Tom Woods (@Thomas_E_Woods)

Where did Woods watch it?
Green Carnation Cabaret Venue, London
Was Woods won over?
****

Santa certainly won’t be bringing any presents to the cast and crew of Snow White and the Seven Poofs: The Climax! this year, which is a small sacrifice for a hilarious pantomime that is so naughty it would make a porn star blush. 

Midnight's Pumpkin - review

Written by: Anna Jones (@Now4567Anna)

Battersea Arts Centre, London
*****

If you’re looking for where the party’s at this Christmas, look no further. It’s actually at the Battersea Arts Centre. Kneehigh, the Cornish based theatre company du jour who brought us productions such as The Umbrellas of Cherbourg, The Red Shoes and A Matter of Life and Death have turned out a proper cracker full of joy and humour this Christmas. With excellent songs accompanied live throughout (music by Stu Barker, Ian Ross & Stuart McLoughlin) and the chance to get on down in the two intervals, surely no other show in London will see you exuberantly doing the “YMCA” as you conga out of the Grand Hall.

Viva Forever! - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Piccadilly Theatre, London
Was Peen keen?
***

One of the most eagerly anticipated musicals of the year arrives with quite an anti-climactic bang. Attempting to remind us of the girl band extravaganza known as the Spice Girls, this is a musical based on their back catalogue that wasn’t quite known for the skillful song-writing or world-class performances, but rather what they stand for and represent. Viva Forever! is somewhat similar in that respect and is a great way to spice up your evening, but not quite your life.

The Three Musketeers - review (2)

Written by: Jessica Gardner (@JessyGardner)

Rosemary Branch Theatre, London
****

The Three Musketeers pantomime at the Rosemary Branch is certainly one for all, if you’re partial to any enjoyment in life then this small-scale show will fill you with enough festive cheer to cause a Christmas dinner stomach ache.

Jack and the Beanstalk - review

Written by: Andrew Crane (@AndrewRCrane)

Ashcroft Theatre (Fairfield Halls), Croydon
****

Something giant is lurking in the Ashcroft Theatre this season, a pantomime of preposterous proportions. It’s Jack and The Beanstalk, a spectacular, pun-laden treat for the whole family. Wonderfully silly and with more energy than a nuclear power station, you’d be a fool to miss it; I hear there’s a giant on the loose to eat anyone who dares. 

The Three Musketeers - review

Written by: Sophie Talbot (@sophietalbot_91)

Rosemary Branch Theatre, London
***

As d’Artagnan and Athos sword fight awkwardly in front of a white cloth adorned with pegs and pants, you may worry you’re watching an am-dram village hall-type performance. Thankfully, the cloth is whipped down unveiling a distinctive, light-hearted, talent-filled production by Charles Court Opera, aptly coined a ‘boutique panto’.   

Aladdin - review

Written by: Daisy Thurston-Gent

Richmond Theatre, London

***

It’s that time of year again where local theatres are in hot competition to hold the best Pantomime…and it’s not a task that should be taken lightly. Whether, you are in need of a pre-Christmas pick-me-up or simply a way to kick-start your Panto season in festive style, Richmond Theatre’s Aladdin certainly steps up to the mark, providing a warming Christmas show that will have you giggling in minutes.

Privates on Parade - review

Written by: Alisdair Hinton (@AliHinton88)

Noel Coward Theatre, London
*****

If Director Michael Grandage maintains this standard for his season of five plays at the Noel Coward theatre he will achieve something astonishing, for the moment though, this is an excellent start. With Grandage at the helm Privates on Parade, Peter Nichols’ 1977 music comedy transcends its time of writing and becomes startlingly current. The production asks us to consider what happens when the British leave a war zone, what too much luxury leads to, and just what is the “ordinary” England that is worth fighting for? It is relevant, exciting and feels as though it could have been written yesterday.

Sweet Smell of Success - review

Written by: Jessica Gardner (@JessyGardner)

Arcola Theatre, London
*****

Success can not only be smelt in this show, but seen, heard, and felt too. As soon as you enter the brick walled auditorium of the Arcola, you realise that you are not in a theatre at all but in an intimate jazz bar in the 1950s. The set, although extremely minimalist offers the perfect hints to era and location which is also supported by the Arcola’s set up. With the use four stage entrances that surround the audience and the intimate staging, you are immediately drawn into the performance with great ease. With a few tables with 50’s lamps elegantly set in the centre it was really as if you were in the same bar as the whole cast.

Father Christmas - review

Written by: Alex Hiscocks (@alexislawl)

Lyric Hammersmith, London
***

While visually hinting back to its roots in Brigg’s original illustrations, Pins and Needles have adapted the iconic tale in a way that gives children a taste of what modern theatre is all about. With puppetry, live music and wonderful visual effects; this studio production of Raymond Brigg’s iconic Father Christmas is wonderful, charming and captivating. Most importantly, the kids loved it. Short enough to keep even the very young interested, Father Christmas at the Lyric Hammersmith is an ideal theatrical treat for children this Christmas.

James McAvoy to appear in a West End role in 2013

In February of next year, Trafalgar Studios are set to become the theatre destination of 2013. As part of Trafalgar Transformed, a series of productions will be directed by Olivier award winner Jamie Lloyd, with Macbeth starring James McAvoy opening on 9 February. 

Mydidae - review

Written by: Andrew Crane (@AndrewRCrane)

Soho Theatre, London
****

Expectations are high for Bafta award-winning writer Jack Thorne’s new play at the Soho Theatre, and with previous works including television’s This is England and Skins; it’s easy to understand why. This time round he’s penned the story of a couple, set entirely in their bathroom. A bizarre setting, yes, but it’s one that works.  Riotously funny, savagely powerful, and with emotional U-bends that leave the audience gasping for air, Mydidae does not disappoint.

Feathers in the Snow - review

Written by: Christianna Mason (@Christianna_L_M)

Southwark Playhouse, London
****

Feathers in the Snow is a fantastic title, but it’s a shame they only spend all of five minutes there, or indeed anywhere else. It’s as if the writer, Philip Ridley, has had one too many good ideas and then tried to fit them all into one play.

Unbroken Line - review

Written by: Kirstie Ralph (@kjralph)

Ovalhouse, London

***

Unbroken Line is a solo project, which fuses spoken word theatre, live painting and Balinese dance. The comic physical theatre piece is supported by the Arts Council England, exploring Jamie Zubairi’s dreamlike world in which he plays multiple characters. The venture is amiable and ambitious, effectively depicting Malayan foreigner Dolah exploring London via a mythical warrior Wirrah, who takes him on a wider journey in search of who he is, what he is and, ultimately, how he might make sense of his life. However, the success of the artistic vision of the piece ultimately suffers from its ambitiousness somewhat.

A Christmas Carol - review

Written by: Lily Grouse (@LilyKG)

Arts Theatre, London
****

Escaping into The Arts Theatre foyer from the chilly London streets, I was greeted by delicious smells of mulled wine and mince pies, fairy lights and festive decorations; for the first time this year, I was filled with a feeling that I can only describe as ‘Christmassy’. The intimate bar provided a perfect prelude to a wonderful evening of festive storytelling. I have seen many productions of A Christmas Carol over the past few years but none have left me as spellbound as this.

Echoa - review

Written by: Daisy Thurston-Gent 

LOST Theatre, London

****

Following a highly acclaimed international run, Compagnie Arcosm return to London’s LOST Theatre for another crack at their multi-disciplined triumph ‘Echoa’. A previous success at Sadler’s Wells, this fascinating show is beginning to prove that dancing is something we now need our ears for.

The Snowman - review

Written by: Sophie Foulds (@SophieFoulds)

Peacock Theatre, London

****

Christmas is here! The Snowman is back, along with all his snow friends including ballerinas, toy soldiers, and even dancing vegetables. Really. Now enjoying its 15th consecutive year, it still has the ability to fill the auditorium of the Peacock Theatre, both with seasoned theatregoers, and excited children waving their glowing snowmen toys along to Howard Blakeʼs unforgettable score. Scenario co-creators Howard Blake, Robert North, and Bill Alexander take Raymond Briggs classic children’s story and give it life, colour, and above all, a little bit of magic.

Machines For Living - review

Written by: Sophie Talbot (@sophietalbot_91)

Battersea Arts Centre, London
**

Crank Theatre’s devised piece is ambitious, aiming to explore the relationship between architecture and community during Britain’s 1950s high-rise flats era. The company show promise but ultimately fall short of a sky-high production.

American Idiot - review

Written by: Peeny (@AdamPeeny)

Where's Peen been? 
Hammersmith Apollo, London
Was Peen keen?
****

The sensational cast and creative behind this flawless production tease London with a short season of the smash-hit musical at the huge Hammersmith Apollo to see out their tour of the UK and Ireland. It’s a huge moment in the history of London theatre and to miss it, especially if you’re a Green Day fan, should frankly be a crime.

Once Upon A Mattress - review

Written by: Caroline Mathias (@caroveraclare)

Union Theatre, London
****

Saturday night was freezing, and the wood-burning stove in the Union Theatre bar was very popular among the patrons of Once Upon a Mattress – The untold story of ‘The Princess and the Pea’. Formerly a Broadway hit, it’s a musical retelling of Hans Christian Andersen’s well-loved fairytale. I’m feeling festive already. 

This Is A Reconstruction - review

Written by: Dombo (@DomOJFryer)

Where's Dom gone?
Camden People's Theatre, London
Was Dom fond?
***


What would you expect the human race to be remembered by? I bet it isn't television. This Is A Reconstruction is a piece explaining how the end of the world comes about December 21st 2012, retrospectively using the future's interpretation of our final phenomenon: television. It's really not as complicated as it sounds.

Dick! - review

Written by: Ed Theakston (@EdTheakston)

Leicester Square Theatre, London
****

Pantomime is a form of theatre with a long and somewhat varied history. Men indulging in their guilty pleasure of dressing in girls clothes and girls in boys clothes, awful humour, cringing parents and children getting their first theatrical experience. We all hold panto near and dear to our hearts, even if a little hesitantly. Stuart Saint’s Dick! at Leicester Square is a deliciously naughty, raucous guilty pleasure.

A Midsummer Night's Dream - review

Written by: Lauren Buckley (@LaurenBuckers)

Blue Elephant Theatre, London

****

A Midsummer Night’s Dream with no Puck is like a light with no bulb; it just can’t work…or can it? That was my first question upon realising that only four Sprites and no famous imp appeared in the cast list of Lazuras Theatre’s production of The Dream at the Blue Elephant Theatre in Camberwell. This was not the only change to the script of this stylishly modern interpretation of one of the Bard’s most well-known plays but my first clue that this was going to be a very different adaptation of the play.

Cinderella - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Lyric Hammersmith, London
Was Peen keen?
*****

Providing a pitch-perfect, joyous stomp up to Christmas, this is quite simply 2012’s must-see festive show. This more than vibrant production is crammed full of gags and awe-inspiring performances, and demands you partake to a point where everybody becomes more than willing. A slight confession: my life has been inundated with appalling (read ‘eye-gouging’) amateur panto, so to say we weren’t on good terms is the understatement of the decade. This being my first professional panto experience (cue gasp), I’m officially a convert already gagging for my next one.

The Prince and the Pauper - review

Written by: Naomi Lawson (@NaomiMLawson)

Unicorn Theatre, London

****

As the days get colder and the wind more biting, the Unicorn Theatre invites us into the warm to share the festivities in this storytelling bonanza for ages 6 plus. Jemma Kennedy presents her adaptation of Mark Twain’s The Prince and the Pauper, the ultimate tale of mistaken identity which sees one young boy travel from rags to riches and another the opposite way entirely. Under Selina Cartmell’s direction, the ensemble (led by twins Danielle and Nichole Bird as the young Prince Edward and Tom Canty) brings the glitz and grime of the Tudor world to life.

DEFRAG_ - review

Written by: Andrew Crane (@AndrewRCrane)

Camden People’s Theatre, London

****

Apocalyptic scenarios incorporating computers and artificial intelligence are hardly new ground to be explored in fiction. It's a sci-fi sub-genre saturated by a plethora of dystopian visions, so surely nothing fresh could surface in this theme? Wrong. DEFRAG_ not so much re-imagines the genre, it’s rather a complete system reboot with a software overhaul of dry wit and compelling showmanship. This is quintessential fringe theatre, inventive and original to the core, or in this case, the CPU.

Straight - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Bush Theatre, London
Was Peen keen?
****

A re-sparked friendship turns into a somewhat improbable bromance more special than most. But DC Moore’s production directed by Richard Wilson, based on the US film Humpday written and directed by Lynn Shelton, shows us the situation in a convincing manner and more prominently, makes us belly laugh the whole way through.