Christiana Rose - Page 4

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.

Tartan Tabletop is a Dungeons and Dragons panel show which thrives on live comedic improvisation, uncertainty and risks, which results in riotous game play. By merging the world of fantasy role-play with quick-fire wit, Dungeon Master Josh Aitken steers the action by narrating the story, setting challenges and plays all the non-player characters. The unpredictable nature of a giant twenty-sided dice is thrown by an audience member called Colin, who seems at ease, with a great knowledge of D&D. 

Written and Performed by Lizzie T Ollemache and David Ladderman from Rollicking Entertainment, a riot of magic, slapstick and sparkle is brought to the stage with Messy Magic, a family show which manages to be silly, but skilful. With a recommended age of three and above, the performance has clearly been designed to keep young audiences giggling, while still offering enough for parents to remain engaged in its physical comedy and acrobatic flair.

There is nothing quite like the delicious mix of chaos and charm that Josh Burton brings to his gleeful children’s show Signor Baffo. In this riotous kitchen, the audience finds themselves whisked into the clattering, splattering world of a hapless head of washing up who has somehow been left in charge while the formidable Signor Figaro is off sick. From the very first moment, it is clear that nothing will run smoothly, which is precisely what makes the show so irresistible.

Goldspun Media’s Level Up! begins with a promising burst of nostalgic energy. The familiar chimes of Sonic the Hedgehog’s theme and screen visuals give the impression that the audience is in for a sharp, inventive musical about modern life refracted through the lens of gaming. Unfortunately, what follows feels more like a clunky side quest than a main mission.