REVIEW: Rebecca at the Charing Cross Theatre

From the first chilling note to the final fiery scene, Rebecca is an all-out melodrama, complete with sinister plots, a soaring score, and characters that wouldn’t look out of place in a panto – but that’s all part of its charm. It’s an over-the-top, entirely gorgeous piece of outlandish theatre, and I absolutely loved it. However, that’s not to say there aren’t a few issues.

One of the biggest problems with Rebecca is that something seems to have been a little lost in translation. The story still makes sense (although perhaps knowing the Daphne du Maurier novel or the 1940 Hitchcock adaptation with Laurence Olivier and Joan Fontaine does help with that), but some of the lyrics just seem too on the nose, or just not clever enough to be memorable. Perhaps the original German gives a different feeling, but in English, there are a few moments that get lost and aren’t as strong as they might be.

REVIEW: Ride at the Southwark Playhouse Elephant

In a world filled with familiar shows that pedal out the same old story time and again, Ride shines as a beacon of originality, artfully weaving the little-known history of Annie Londonderry into the most extraordinary and exciting musical experience. Freya Catrin Smith and Jack Williams have skillfully crafted a captivating narrative that transcends time and place, touching on subtle feminist themes, the power of storytelling, and the complex relationship between reality and self-perception. But don’t worry; it’s done in a fun, fascinating, and fabulously fantastic way that makes the story even more compelling that it already is.

That story is that of Annie Londonderry who, on the back of a wager that may or may not have actually happened (she is the most unreliable of narrators, as we come to find out), carries out the astonishing feat of cycling solo around the world. And this was in 1894. And she’s a woman. And now she’s home and wants to tell her story (and get a job as a journalist in the process). That’s impressive, but it goes deeper than that. Ride shows Annie Londonderry as more than just a record-breaker on a bike – she’s a real person and she’s just as complicated as the rest of us.

REVIEW: The Tempest Re-Imagined for Everyone Aged Six and Over at Regent's Park Open Air Theatre

Prepare to be transported to a world of magic and imagination with The Tempest Re-Imaged for Everyone Ages Six and Over at Regents Park Open Air Theatre. This captivating production, tailor-made for young children, weaves together the traditional words of Shakespeare along with modern songs and references that will help children really understand the story and appreciate the original play at the same time – it’s a clever idea that works well, creating a charming, fun and funny play.

Before the play even begins, the audience is greeted with the soothing sounds of waves crashing on the shore as they enter the performance area of Regent’s Park Open Air Theatre. This immersive beginning sets the tone for the enchanting journey about to unfold, immediately transporting us to the island where the story takes place. In fact, this immersive storytelling is a feature of The Tempest Re-Imagined, with both Ariel (Juliet Agnes) and Caliban (Ashley D Gale) starting the show by teaching the audience a tune to sing, as well as some dance moves. There’s more of this audience participation at various points throughout The Tempest, but it stays just the right side of panto and keeps everyone engaged.

REVIEW: Abigail’s Party at the Churchill Theatre, Bromley

As the action starts in the latest production of Mike Leigh's Abigail's Party, you can’t help but feel a prickling sense of anticipation. This marvel of 1970’s British social dysfunction has once again graced the stage, proving that the party never truly ends, it simply finds a new host.

Drenched in nostalgia and plenty of gin, Abigail's Party invites us into the garish living room (designed with impeccable 70’s bad taste by Bek Palmer) of Beverly and Laurence Moss, a suburban couple who could give a masterclass in passive-aggressive warfare. They are hosting a soiree, a get-together for the neighbours, and, as is often the case when people are thrown together in this way, no one really wants to be there – not even Laurence, and it’s his house. Only Beverly is truly at ease, wafting from one guest to the next, offering them ‘just a little top up’ and trying to persuade them to eat the ‘cheese and pineapple ones’ she’s thrusting into their faces.