Josh Maughan

Land of the Free might be considered a success. Yes, its structure stumbles and feels a bit misguided at times, but it got a room full of people discussing some truly important issues. In a world facing such uncertainty, that’s exactly the kind of conversation theatre should be encouraging.

This co-production between the New Diorama Theatre and Kali Theatre is a visceral investigation of how migrant communities transform under the layers of anger, fear, and resilience they adopt – products of survival in a vexatious state.

In 70 minutes, Louise Orwin's performance piece aims to successfully interrogate the fastest growing and one of the most popular social media platforms in the world; Tik Tok. Is it perfect? No. But her form is smart, her commentary is sharp, and she’s a joyous performer.

In two unsettling and sensationally conceptualised acts, the play starkly reminds us of what we stand to lose when progress overshadows our most vital connections.

Kim’s Convenience is a tight hug of a show. There’s enough here for plenty of laughter and a little bit of heartstring-pulling. It’s not trying to be the next breakthrough or radical piece, and therefore, in its form, it’s great. If you’re looking for some warmth as the weather grows colder, add a trip to Kim’s Convenience to your ‘to-do’ list. 

I’m still not sure I’ve completely digested Ugly Sisters – maybe I never will. What I do know, however, is this: It is a show our families need. It is a show our industry needs. It is a show our country needs. Thank you, Laurie Ward and Charli Cowgill, I feel a little more confident in our future.

A venue that champions queer stories in an extraordinary way is The King's Head Theatre, now home to James Hogan’s new queer comedy, Northbound Boy. With a fantastic cast at its helm, Northbound Boy has the makings of a fascinating insight into the queer experience, however, it falls short in its current makeup.

When I walked out of When It Happens to You, all I wanted to do was hug my sisters. Part of me had forgotten I had seen a show, the other part couldn’t stop thinking about the last twenty minutes of it. That’s the sign of good theatre. Theatre that lights a fire underneath you, theatre that gets inside your head – such a reaction can only come from something truly impactful.

Four acting icons. A mostly clever script. And enough gossip to last an entire theatre season. What more could you ask for from a summer’s evening at the theatre? Madwomen of the West transfers to Riverside Studios after seasons in New York and LA and, while a little clumsy at times, is a showcase of the immense talent of its cast.

Queer friendships and the end of the world. It’s an unusual, but exciting, premise that underscores Love Song Productions’ new show Seconds to Midnight. Both concepts hold challenging, complex, and interesting pathways for exploration. However, in only 50 minutes and despite the effort of its cast, Seconds to Midnight fails to explore either concept successfully.

Sometimes a story of the history of the industry, and those who inhabit it, is a needed reminder of the magic behind the experiences and stories which characterise the theatre community. John Lloyd Young’s headline show at the Crazy Coqs is just that – a journey through his impressive career that illuminates the magic of theatre and the many dreams that come true because of it.

From the minute Daniel York Loh finished his opening monologue in Kakilang’s The Dao of the Unrepresentative British Chinese Experience, I knew this would be a piece of theatre that wouldn’t allow me to remain comfortable, drift off or stop questioning my own beliefs for a second.

In 2020, my best friend Freddie Acaster and I decided to set up a production company – after one too many G&Ts. With a steady hangover the next day, we trudged through the admin and launched Springbok Production House – our now award-winning company set to open its fifth season this Saturday at the Etcetera Theatre in Camden.

One of the most unique and important narratives of masculinity and sexuality that I’ve seen- told in a 75-minute showcase of immense talent.

review“How do people cope in the worst imaginable situation?” This is what writer, and lead actress, Abigail Hood sets out to examine in Spiral, now at the Jermyn Street Theatre after a run at the Park Theatre. It sounds like a compelling premise for a play.

One-man shows tackling queer experiences aren’t hard to come by. They’re, rightfully, being given platforms across the fringe scene. Home to a plethora of unique stories, the queer community is ripe for creative exploration. From coming out and hook-up culture to homophobia and sexual violence, there are complex narratives that provide rich bases for creatives.

It is not often that Fringe venues act as platforms for important narratives from the older generation. Based on tonight’s performance of After All These Years, I can only ask ‘Why not?’.  After winning the 2023 Outstanding Theatre Award at Brighton Fringe, After All These Years transfers to the Jermyn Street Theatre where I am sure it will enjoy continued success.

As an audience member, there is something truly empowering about leaving the theatre knowing you are more educated than you were upon arrival. With this, Orisun Productions’ PlayFight truly delivers. Following a shorter run at The Pleasance Theatre, PlayFight has transferred to the Seven Dial’s Playhouse for an undeniably deserved longer summer run.

With society bursting with an array of social issues to tackle, creative platforms hold great potential in providing complex and transformative commentary on such issues. Bones, a co-production between production company Refine and leading rugby mental health organisation – LooseHeadz – is a promising attempt at such vital commentary.