Christiana Rose - Page 2

Murder She Didn't Write returns to the Duchess Theatre with another round of improvised mischief. This long running show continues to charm audiences on its tour across the UK, with its origins being an Edinburgh Fringe favourite.

Little Angel Theatre once again excel as a leader in early years storytelling with its gentle and beautifully crafted production of Me..., adapted from the much loved book by Emma Dodd and directed by Samantha Lane. Aimed at children aged two to five, the 35 minute show offers an inviting first experience of theatre, which is both visually enchanting and emotionally reassuring.

Hal Cruttenden is at truly at the top of his game, in his skilled and polished new show Hal Cruttenden: Can Dish It Out But Can’t Take It. The comedy is focused on schadenfreude, in terms of rawness and pain, by being brutally honest about the effects of heartbreak. 

Tove Jansson’s beloved final Moomin tale finds new life in Moominvalley in November, a tender and contemplative musical which opens Upstairs at the Gatehouse. Co-produced by Nummulite and Chromolume, this adaptation by Swedish-born composer Hans Jacob Hoeglund delicately explores themes of grief, belonging and quiet resilience, staying true to the author’s reflective tone and emotional depth.

Jessica Fostekew’s Iconic Breath is a rich, raucous and deeply human exploration of emotion, irritation and endurance, told with warmth and wit. Across a fast-paced hour, she dissects the chaos of contemporary existence with an honesty which is as refreshing as it is uproarious. Fostekew greets the Soho Theatre audience like old friends, delighted by their midweek energy which she declares feels “more Thursday than Wednesday.” It is an opening which sets the tone for an evening built on connection, authenticity and the joyful absurdity of self-reflection.

Matt Parker has built a career out of making mathematics marvellously merry. Getting Triggy With It proves that when it comes to comedy, numbers can surprise and inspire.   Appearing before a packed and enthusiastic audience at artsdepot, the stand-up mathematician, author and YouTube sensation delivered an evening brimming with intellectual mischief, infectious enthusiasm and genuine laughter.

Writer Jessica Swale shares insights on adapting Paddington the Musical, exploring kindness and collaboration in this exciting new production.

James Phelan’s latest production, The Man Who Was Magic, arrives at the Adelphi Theatre for one night only after a triumphant Edinburgh run and confirms his reputation as a magician with both flair and heart. The show opens to the smooth sounds of the Rat Pack and swing, the stage bathed in the warm glow of gold and red lanterns, which evoke a nostalgic atmosphere and invite the audience into a world of wonder.

Little Angel Theatre’s adaptation of Tim Hopgood’s much loved picture book offers a tender and imaginative introduction to theatre for the very young. Directed and adapted by Joy Haynes, this one woman show uses puppetry, music and inventive staging to guide children aged two to five through a bright world of colour which is seen through the eyes of a curious baby owl.

Esther Manito’s Slagbomb, currently on a UK tour, contains unfiltered honesty and sharp observational wit about ungraceful aging and 2.4 manic family life. Opening with a bare stage, save for a brown box daubed with the word “slagbomb” and the unapologetic strains of Meredith Brooks’ “I’m a Bitch,” Manito sets the tone for an hour of candid hilarity that mines the awkward “sandwich” years of adulthood with relish.

Paul Coulter’s 5 Mistakes That Changed History is an ingenious historical exploration, which is as sharp in its storytelling as it is rich in historical detail. Coulter has created an exciting, energetic and highly amusing show, which blends the world of knowledge with entertainment. This is a skilful masterclass in remaining engaging.

Conor McPherson’s modern classic The Weir has opened at the Harold Pinter Theatre, running until 6 December 2025, in a new production directed for the first time by the playwright himself. Following a Dublin run at the 3Olympia Theatre, this staging unites a formidable ensemble led by Brendan Gleeson in his West End debut, alongside Owen McDonnell, Kate Phillips, Tom Vaughan-Lawlor and Seán McGinley.

Little Angel Theatre delivers a vibrant, triumphant and delightful production of We’re Going on a Bear Hunt. This much-loved story by Michael Rosen, illustrated by Helen Oxenbury, is transformed into a vibrant 45 minute adventure which captivates children and adults alike with its exquisite puppetry, charming music, and infectious energy.

Master of illusion, Ben Hart has created a theatrical experience which blurs the line between trickery and the inexplicable. The Remarkable Ben Hart is a show which feels as much a meditation on imagination and perception as it is a showcase of pure magic.

Roald Dahl’s beastly reptile slithers into Regent’s Park Open Air Theatre in a dazzling musical version which proves as entertaining for adults as it is for the children it is written for. With a witty book and lyrics by Suhayla El-Bushra, infectious songs by Ahmed Abdullahi Gallab, and a playful design which bursts with colour, this is a joyful piece of family theatre which fizzes with invention and charm.

Josh Elton makes an assured and highly memorable Fringe debut with Away With The Fairies, a show which captures both the unfiltered chaos of the life of a comic and the mythic absurdity which shapes it. With an energetic blend of sharp gags, playful storytelling and sincerity, Elton proves himself to be one to watch. 

Welsh comedian Steffan Alun brings warmth, wit and a proudly offbeat perspective to his debut Fringe hour, Steffan Alun: Stand Up. Having honed sets for years on the free fringe, Alun finally embraces a full-length slot with confidence and charm, blending education, sexuality and pop culture through the lens of his Welsh identity and neurodivergence.