Josh Maughan

This is a show that thrives because of the urgency of its subject matter and the excellence of the artists delivering it. For an industry that has yet to put the care of its actors at the heart of its practice, Novi’s piece doesn’t close the conversation - it sparks it.

When Our 1972 premiered last year, I thought I’d written the next big queer protest drama. But on night one, and in the run that followed, the increasing laughter and swooning from the audience seemed to declare otherwise. Suddenly, it was a rom-com. I was taken aback and, if I’m honest, annoyed. I challenged myself to work out why, and realised I’d been holding back from fully embracing the queer rom-com myself. In talking to others who felt the same, It became clear that queer joy on stage, and the queer rom-com in particular, still feels oddly taboo.

As classical performance continues to wrestle with relevance, accessibility and representation, the Proms are under pressure to lead this change. This opening night offered progress in places, but also showed how much further there is to go.

F**king Men often feels like it’s bitten off more than it can chew. Buried within it are several stronger plays, each of which could thrive on London’s vibrant off-West End scene if given the space to breathe.

Both a quiet act of defiance against the current theatre landscape and a show of solidarity with those striving to create within it. It also stands as a testament to the talent behind it—Rachel Lemon’s direction, in particular, is exceptional.

There’s nothing better than theatre that truly surprises you. While Cruel Intentions didn’t teach me anything new about the world around us, it certainly advocates for the place of Jukebox musicals within the theatre landscape. If nothing else, book a ticket to see some top-class performers belt out your favourite 90s hits.

Classics like Animal Farm are tough to stage, partly because they’re produced so often. To make a lasting impact, a production needs to bring something truly exciting and relevant to the table. Unfortunately, this production never fully justifies why this adaptation, and why now?

In the first act of our queer reimagining of Ibsen’s classic Hedda Gabler, we hear, “It’s funny, how it all keeps spinning.” Each time I hear it, I’m forced to confront the dire state of our creative spaces in London and the vulnerability of the communities that inhabit them.

For a family living in London, there is a diverse catalogue of Christmas shows ripe for attendance. With current ticket prices, picking the right show is crucial for both all-round enjoyment and the bank account. Slava’s Snow Show is back in London at the Harold Pinter Theatre, and if you’re looking for ridiculous fun, it’s a good choice. If you’re looking for something more substantial, however, stick with a panto.

I hope the team behind Smoke takes the opportunity to redevelop the piece—dive deeper, find more nuance, and hone in on the message they want to convey. With this, Smoke could evolve into a genuinely interesting, fresh take on the queer narrative.

In every mission it sets itself upon, this play succeeds. It’s a tight hug to the communities that need it, it’s vital education to those who want to learn, it’s a wake-up call to those who are ignorant, and it’s an angry, triumphant demand for action. Zakiyyah Deen is a magnetic performer, her talent pulsates through the space.

Guided by the vision of five female, international choreographers, Luna narrates the complexities of womanhood-its beauty, struggles, and power. While Luna has some notably powerful moments, and the music is beautiful, it ultimately falls short in its current form.

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.