Friday, January 9

REVIEWS

The Secret Room – Lauriston Castle
Scotland

The Secret Room – Lauriston Castle

Perched on the edge of the Firth of Forth, Lauriston Castle is one of those Edinburgh buildings that seems to exist slightly out of time. Parts of the structure date back to the 16th century, though what we see today is largely the result of a late-19th-century transformation, when the castle was remodelled into a richly furnished Edwardian home. Passed to the city in the 1920s, it survives as a carefully preserved domestic time capsule, its rooms dense with objects, stories, and a quietly uncanny sense of lives once very fully lived. I’ve also seen performances here as part of the Edinburgh Horror Festival, and the building proves just as effective for horror as it does for magic, lending both genres an atmosphere that feels earned rather than applied. That quality is central to The Se...
Kevin Quantum ‘Christmas Special’ – Church Hill Theatre
Scotland

Kevin Quantum ‘Christmas Special’ – Church Hill Theatre

Renowned Edinburgh Magician Kevin Quantum is joined by Taylor Morgan and Rebecca Foyle for an evening of showmanship, finesse, and artistry in Kevin Quantum ‘Christmas Special’ as part of the Edinburgh International Magic Festival. Founded by Svetlana McMahon as well as Quantum, the Edinburgh International Magic Festival has been around since 2010.  Now being its fifteenth year running, the festival still continues to bring something fresh and exciting from the world of magic for its audiences. The lineup is certainly star-studded, with Morgan having recently represented Great Britain at this year's Magic World Championships and Foyle impressing with her versatility, using multiple disciplines to complete her act.  Of course Quantum himself is a highly regarded magician, ha...
Boys in the Buff – Golden Goose Theatre
London

Boys in the Buff – Golden Goose Theatre

The history of nudity on stage is a rich, epic and often hilarious subject. It is also a bit tawdry and sporadically ugly. From the semi-nude stationary women in 1950s Soho clubs, posing in ‘Classical’ tableaux to handfuls of dirty old men, to the “theatrical Viagra” of a naked Nicole Kidman in the Donmar’s production of The Blue Room, bare titillation for cold cash remains a consistent hot potato. Bond hopeful and Happy Valley star, James Norton got naked in the harrowing stage adaptation of Hanya Yanagihara ’s A Little Life. Despite the play’s relentless themes of suicide, self-harm and paedophilia, audience members sneaked snaps of a nudey Norton and posted them on social media. Live nudity has potential to be fire. This is its undeniable power, and also it’s filthy flaw. The na...
The Highgate Vampire – Omnibus Theatre
London

The Highgate Vampire – Omnibus Theatre

Based loosely on real events, The Highgate Vampire is a dark comedy play which follows the occurrences surrounding reported supernatural sightings near Highgate Cemetery in the late 1960s. Alexander Knott plays a Mark-from-Peep-Show-esque, self-serious, uptight Catholic priest/exorcist. James Demaine contrasts as a flamboyant psychic investigator with a flair for the dramatic. Together, they deliver a lecture on how they supposedly defeated the Highgate Vampire, although with the psychic investigator’s showy influence the lecture ends up more like a theatrical play, replete with props, costumes, and lighting effects. Even as the characters butt heads, there is good chemistry between the performers, both comedically and in the more tender and sincere moments. Knott makes for an excellent...
Christmas Day – The Almeida
London

Christmas Day – The Almeida

Sam Grabiner's 'Christmas Day' is a deft exploration of religion and family politics. Over a Chinese meal in a barely habitable warehouse guardianship, a Jewish family debate their sense of belonging within their faith, giving rise to deep rooted tensions within their respective relationships. From the off, the exposed brick wall of the Almeida and the cold warehouse setting chimed carefully with the budding theme of familial expectations. With a boxy heater hanging ominously overhead, tension literally began to swelter within the play's closed space, where characters gradually shed Evie Gurney's smart costumes. Steadily, the outside world permeated the somewhat isolated setting. Aided by the intrusive rumbling of the Northern Line and the pervasive glare of the Christmas tree, the audi...
Beauty and the Beast – The Atkinson, Southport
North West

Beauty and the Beast – The Atkinson, Southport

KD Productions have been bringing Southport’s professional pantomime for the past three years. This year the traditional tale of Beauty and the Beast. Obviously, there are things that cannot be done due to copyright. But all of the things are in there, a goody a baddie and a happily ever after. Even the it’s behind you moment. With live band of musicians led by musical director Alex Holley. I will say I find it a little bit of a shame that they are not able to use people from the north west to appear in a pantomime taking place in the north west. I understand that you find talent where you find it, but we have a lot of talented professionals from the area. Having said that, of course, the cast were very talented; Safia Bartley gave us a lovely Belle, a stunning vocal with lovel...
Jack and the Beanstalk – Festival Theatre
Scotland

Jack and the Beanstalk – Festival Theatre

What never fails to amaze about Edinburgh’s panto is that year after year, it seems to reinvent itself.  This year the city’s beloved panto team delivered the most intriguing combination – an unpredictable quirkiness on a stage dressed with the most spectacular set. This production was exquisitely lit and its set extravagantly and effectively designed so that it felt like something special, something pretty swanky well before the first flash of (many) pyrotechnics.  Indeed, it was so extravagant that the cost was comedically referred to by Allan Stewart (Dame May McTrot) on more than one occasion, pointing out that sacrifices had to be made in the budget elsewhere.  Funny?  Yes.  True?  Most probably. And so, there we all went, flying headlong into Panto...
Finding Balance – Traverse Theatre
Scotland

Finding Balance – Traverse Theatre

Five writers, five directors and twenty five actors come together for the inaugural event from Balancing Act Theatre. Scratch nights are a little like winter allotments: the soil is cold, the beds are uneven, and what you’re really being asked to admire is not the harvest but the intention. Finding Balance, Winter, hosted by David Gardner and Benedict Hoesl, wears that honesty openly. This is an evening about writers finding their feet rather than actors polishing their shoes, and the Traverse’s Traverse 2 becomes a kind of rehearsal room made public, scripts in hand and possibilities hovering. The temperature of the night is best described as promising but baggy. Five short works in progress make for a long evening, and the cumulative effect can feel diffuse, particularly w...
Indian Ink – Hampstead Theatre
London

Indian Ink – Hampstead Theatre

The desire to see this Hampstead Theatre revival of Tom Stoppard’s Indian Ink, was initially fuelled by the theatrical double whammy of Felicity Kendal, combined with one of the UK’s most celebrated living playwrights. This dramatic cocktail of talents is an established winner as the pair were once an item and their partnership garnered much critical acclaim. Kendal is often referred to as his muse and Stoppard wrote the character of Flora Crewe specifically for her. The original text is dedicated to her mother, Laura Kendal, who like her daughter, spent a childhood in India. Born in 1937, Sir Tom Stoppard died on 29 November 2025, during rehearsals for this production. In this show, Kendal was no longer playing a scandalous, spirited 1930s poet, but the matriarchal sister of Flora Crew...
Twelfth Night: RSC at the Barbican
London

Twelfth Night: RSC at the Barbican

Sometimes a director tries too hard to bring a novel or unusual interpretation to Shakespeare's work, producing a confused and ultimately unsatisfactory production. This unfortunately is the case with Prasanna Puwanarajah's version of Twelfth Night for the Royal Shakespeare Company, recently transferred to the Barbican from Stratford. There is much to like about this production. The acting was universally good and used Shakespeare's words for the most part, only annotated with the occasional modernism, and the delivery of the lines made the story very easy to understand. Music is intrinsic to this play and the musical score produced by Matt Maltese was excellent. The costumes were eclectic, reflecting a modern era with one or two extraordinary exceptions such as Feste's initial costume,...