Mica Blackwell

From the team behind Seven Drunken Nights -The Story of The Dubliners, A Fairytale for Christmas returns with their biggest tour yet. Following four back-to-back sell-out runs across the UK and US, the concert arrived at the Dominion Theatre for one night only.

Godfrey and Coote's sophomore offering far from lives up to its name. With a music and book of charm and wit carried by two West End heavyweights, Hot Mess proves you can portray serious issues with a touch of fun. Earth and Humanity's relationship may be messy and complicated, but I see this musical's future as clear and bright.

Don’t Rock the Boat tries to be a wild ride down the Thames as the title suggests, but it only lightly bumps into its chaos. The cast make a valiant effort with the material and its set beautifully fits the Mill at Sonning, but its outdated nature makes me question who this play is for in 2025.

The Watermill Theatre may be small, but this Jesus Christ Superstar is epic on biblical levels. Exuberant, dynamic yet intimate, if you’re on the lookout for an alternative stripped back Andrew Lloyd Webber revival this summer, this one is worth taking a holy pilgrimage

Like Tim Firth’s other works, This Is My Family makes the ordinary extraordinary while carrying a raw truthfulness. It may not one hundred percent work as a musical in my opinion, but it’s still a funny, relatable yet bittersweet show with a stellar cast.

Alfred Hitchcock Presents - The Musical has its moments that inject the Hitchcockian spirit it needs, but its lack of frights and baffling structure leave it as dull as its grey sets.

It's a shame that Figaro: An Original Musical’s debut is a disappointing one because there's much potential to find in its intriguing concept and gorgeous score. However, more work in the writing room needs to be done if it wants to become a fully staged production.

Much like the Inventor creating the titular character, Scissorhandz - A Musical Reinvented has a lot to love about it but could do with some tinkering to fix its narrative issues.

Trevor Nelson's fifth Soul Christmas is a funky festive offering that showcases the communal power of music. Featuring a group of iconic soul and R'n'B singers doing what they do best, it was a joyous evening that lifted the Scroogiest of spirits.

A gem of a show wrapped in a big red bow, White Christmas at the Mill at Sonning brings a dollop of Golden Age glitz and festive joy to the holiday season. With immaculate production value and a talented cast, I dare you to not leave the theatre counting your blessings instead of sheep.

Beyond its simple gimmick, White Rabbit Red Rabbit remains a refreshingly authentic piece of theatre in a time when even the most improvised works have an element of rehearsal.

The King's Speech achieves something other screen to stage adaptations struggle with: staying true to the spirit while feeling like its own entity. Anchored by a still compelling script and captivating lead duo, the Watermill's production is a beautiful tribute to David Seidler's magnum opus.

There’s potential for Come Dine With Me: The Musical to become a Michelin-starred delight, and its Edinburgh Fringe production has the foundations for it. The cast are all great, the writing has its laughs and the songs are catchy. It just needs more time to simmer and extra spice to give it that extra kick.

Possessing a booming yet silky tenor voice and a natural charm, it’s clear why Panaro’s career has been so successful. Even when accustomed to performing in thousand-seater theatres and working with heavyweights like Barbra Streisand and Elton John, his humbleness shines in this concert as he regales personal stories, some with tears in his eyes.

Oh, what a beautiful evening indeed! Oklahoma! In Concert is a triumphant celebration of the musical's 80-year legacy and lasting impact over musical theatre. With a star-studded cast who bring freshness to the iconic roles with an edge of familiarity, there’s no better way for Oklahoma! to return to its original London home.

A laugh-out loud riot perfect for anyone who’s put up with the London Underground, Cockfosters captures the love-hate relationship we’ve all had with it over the last 160 years. With a cast who nail the comedy and are having the time of their lives, I urge you to get the next train to Battersea Power Station Station (not a typo) to see it.

A gentler offering from Stephen Schwartz’s catalogue, this immersive show whisks you away to a time long past with a phenomenal ensemble who find the heart and soul in their characters. Perhaps the mistake made 50 years ago was attempting to bring The Baker’s Wife to a larger space. In the Menier’s intimate space, it makes for a real treat.

The Watermill’s dazzling production fully immerses the audience into the showman’s wondrous world in spite of its inherent script issues. With an all-round talented cast led by the ever charismatic Matt Rawle, you’d be justified if you wanted to run away and join the circus after watching this.

The talented cast and creatives can only do so much to elevate the musical’s inherent camp, but Jonathan Harvey and the Pet Shop Boys' script and songs feel underbaked with characters who aren’t able to be fleshed out. With this in mind, it feels closer to hell.