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Photo poster by Noel Faucett  It was a cold Saturday evening when I headed out to watch Ambrosine Davies’ latest show, L.A. Baby,  live at The Glitch. I found myself situated in a cosy corner of the bar’s basement, part of a small crowd eager to watch her latest show touring in London after a successful run at the Edinburgh Fringe Festival. And I must admit, L.A. Baby was well worth the effort it took for me to step outside on a couch rot type of day.  The one-woman show ran

Photo by Wikimedia Commons Eva Noblezada and Reeve Carney are back in London for a short stint in the award-winning production of Cabaret  on the West End as Sally Bowles and the Emcee, respectively. They both opened on the 22nd of September and the show will run until the 24th of January 2026. I was lucky enough to see them live at the Kit Kat Club on their second night.  Every theatre kid knows Eva Noblezada and Reeve Carney; they’re West End royalty, and musical theatre’s

Photo by Johan Persson Just in time for the stormy change in London’s weather, a rain-soaked take on Henrik Ibsen’s The Lady from the Sea began its run at the Bridge Theatre on the 10 th  of September. Alicia Vikander stars as Ellida, with Andrew Lincoln as Doctor Edvard Wangel – a married couple caught in the undertow of their pasts in writer and director Simon Stone’s reimagining of the classic. A true family drama, this production sharpens the domestic tragedy through mode

'Da Vinci’s Laundry' is sensational in its precision. Nothing is overlooked, and the play never lets up. The compact cast sustains total focus, demanding and rewarding an equally engaged audience. No beats are missed, and the only unscripted pauses between jokes occur during particularly lengthy bouts of laughter, bordering on hysterical. The efforts of the entire team are in plain sight, as the minimalist and white set allows nothing to hide, and it all comes together magnif

House of Jazz is a resource for professional dancers, keeping dancers sharp, adaptable, and ready for the demands of the industry: essentially a hub of some of the best dance talent in London. Their Community Cabaret is one of many events they hold to allow their artists to grow and develop. Many of the artists used the cabaret to explore new disciplines: choreographing, songwriting, or experimenting with interdisciplinary forms.

Unfortunately, the pacing of the show makes it difficult to believe the genuine depth of Lucy and Henry’s romance at first, as the directors/writers have ambitiously attempted to keep the musical’s running time the same as the film’s. Moreover, the sacrifices and grief of Lucy’s family (only examined in “Stay Away”), who every day painstakingly recreate the same day for Lucy, could have been explored more deeply if the show were longer.

At the heart of this programme is Ruth Hardie, Head of Public Programming, whose curatorial vision shapes the Centre’s seasonal offerings. With a keen eye for innovation and inclusivity, Ruth helps orchestrate experiences that invite audiences to engage with art in meaningful ways.

The 'Milly Rock', it seems, belongs to no one and to everyone. The copyright questions remain unresolved, and the performance circles back to the essential rocking question: who owns what?

The breadth of the role of choreographer on today's stage

Ozawa’s creative style, which fuses traditional techniques with modern visuals and existential questions, is unique to the British landscape.