Author: annieyezhoua29f00172f

REVIEW: Flyby

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Rating: 4 out of 5.

Ambitious musical grounded in human fragility

Flyby is a new musical written by Theo Jamieson, and directed and created with Adam Lenson, now playing at Southwark Playhouse Borough. At first glance, it presents itself as a musical about space, but beneath its interstellar aesthetic lies something far more intimate and human: a story about childhood trauma, the fragility of emotion, and the quiet, often invisible ways these forces shape adult relationships.

What immediately stands out is the production design. The use of screens is exceptional as an active storytelling device throughout the show. In the moments set in space, they create a genuine sense of vastness and isolation, making Daniel’s journey feel eerily real. More impressively, these same screens are repurposed to externalise his inner world, replaying countless shameful and deeply uncomfortable memories from his past with a clinical clarity. 

The performances anchor the piece. With a cast of just five, Flyby feels both intimate and emotionally expansive. Each actor carries significant weight, and the chemistry and passion between Daniel and Emily is electric whilst also being believable. Their relationship unfolds less like a romance and more like a collision of unresolved pasts, shaped by formative experiences that neither of them fully understands. What unfolds is a deeply human story about damage; how it’s formed, how it manifests, and how it perpetuates itself across relationships. 

Musically, the songs do a lot of heavy lifting as they actively drive the narrative forward, unpacking character psychology and moving the story along with purpose. The most powerful moment comes towards the end, when Daniel asks a devastatingly simple question: what does it take for people to be nice to him? It’s a line that cuts through the show’s conceptual layers and lands with disarming directness. In that moment, the spectacle falls away, and what remains is something raw, vulnerable, and deeply human.

Flyby is a striking, deeply moving and profoundly human piece of theatre. It lingers not for its premise, but for the uncomfortable truths it surfaces, particularly its unflinching portrayal of how even the most well-intentioned people, in trying their best to love, can still fall short and hurt one another.

This show runs at Southwark Playhouse Borough until 16th May. Tickets here.

REVIEW: Dead Inside

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Rating: 5 out of 5.

Riki Lindhome’s Dead Inside is equal parts hilarious and heartbreaking, sometimes in the same breath

Riki Lindhome’s Dead Inside at Soho Theatre is a musical comedy following her fertility journey, beginning at 34 and spanning nearly a decade. It is an emotional rollercoaster as the audience goes through every low (and there are many), as well as every high right alongside her.

The show plays with the structure of the classic female hero’s journey; the one we’ve seen time and time again in fairy tales and rom-coms, but lindhome’s story shows the reality of it all. The first three-quarters lean hard into comedy, fuelled by what Lindhome calls her “delusional optimism.” It’s a great phrase for it as she continues to joyfully persevere despite repeated devastating setbacks, and the combination of hopefulness and chaos is both very funny and quietly disconcerting. 

The musical numbers are a highlight: genuinely laugh-out-loud, but also doing real work in terms of story and emotional reframing. She has real range too going from riffing on the plot of The Sound of Music by highlighting the Countess’ perspective when she is ceremoniously dumped by the Captain who chooses to be with Maria instead to singing about how her child should not google mummy due to her spectacular internet presence.

Then the tone shifts. As the setbacks mount and the optimism finally runs out, Lindhome’s vulnerability becomes the whole point. The accompanying musical number and a stretch of more personal storytelling that feels quite intimate; the kind of thing that makes you realise you’ve stopped watching a comedy and started watching something else.

Some of the questions she raises stay with you: why is pregnancy, and particularly early pregnancy loss, something people feel they have to hide? Why do we keep quiet about it to protect others from discomfort?

Whether or not parenthood is something you’ve ever wanted, Lindhome’s honesty makes it impossible not to feel every moment with her. By the end, when Lindhome finally gets what she’s been working towards for the past decade and you can’t help but feel overjoyed for her. Funny, vulnerable, and genuinely moving – this is a show that will stay with me for a long time.

For Ticketing:https://sohotheatre.com/events/riki-lindhome-dead-inside/

REVIEW: English National Ballet: Body & Soul

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Rating: 5 out of 5.

A bold, visually innovative double bill that feels like exactly what contemporary ballet needs right now

At Sadler’s Wells, Body & Soul by English National Ballet brings together two outstanding premieres from Crystal Pite and Kameron N. Saunders, offering a programme that explores how our relationship with others and the world around us.

The first half presents the UK premiere of Body and Soul (Part 1) by Crystal Pite, originally choreographed for the Paris Opera Ballet. The choreography is centred around a French spoken narrative that describes the dancers’ movements in real time. As the narration outlines each action, the dancers respond with a movement vocabulary that is intentionally restrained, relying on repetition and synchronised movement to build tension.

Visually, the work is meticulously composed. Stark lighting creates shifting focal points across the stage, while costumes of trench coats, white singlets and black trousers establish a uniform, almost dystopian aesthetic. The result is highly cinematic, at times resembling a curated sci-fi piece.

The second half introduces the world premiere of Proper Conduct by Kameron N. Saunders, a choreographer known for his work across both commercial and contemporary dance. Drawing on personal experience, Saunders explores the tension between individuality and societal expectation, asking what it means to search for authenticity under constant observation.

The visual design plays a particularly striking role in shaping the atmosphere. The set feels expansive and immersive, transporting the audience into something otherworldly. This is reinforced by the dancers’ astronaut-like costumes, which introduce a sense of detachment and unfamiliarity. The effect is both visually compelling and conceptually aligned with the work’s themes of identity and perception. Combined with the cooler lighting and futuristic aesthetic, the staging creates a distinct shift from the first half, offering a more expansive and visually dynamic environment that lingers long after the performance ends

Body & Soul is not driven by narrative in a traditional sense, but by atmosphere and thematic exploration. It leaves a lasting impression through its visuals, conceptual ambition and the contrast between two distinct choreographic voices.

REVIEW: House Seats with Henry Patterson

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Rating: 4 out of 5.

“A raw and intimate look at the making of a West End leading man”

At Crazy Coqs, House Seats with Henry Patterson offers an intimate and honest evening of conversation and performance, as Henry Patterson sits down with West End performer Ian McIntosh to explore the journey behind a remarkable career.

Currently starring as Jean Valjean in Les Misérables, McIntosh reflects on the experiences that have shaped him, both on and off the stage. What makes this format particularly compelling is its simplicity: a conversation interwoven with live performance, allowing the audience to understand and experience his talent firsthand. McIntosh spoke about being drawn to melody above all else, describing how the emotional pull of music has guided his connection to roles such as Valjean.

The evening is at its strongest when McIntosh shares his personal story. Coming from a working-class background, he spoke candidly about initially training to become an electrician at 16 before finding his way to drama school. His early experiences performing in school productions revealed a natural vocal talent, but his path was far from straightforward. In a moment of vulnerability, he discussed stepping away from musical theatre after being bullied, as well as the challenges he faced during training including being held back a year at drama school to develop his acting skills.

These reflections gave greater weight to the career milestones that followed. McIntosh recounted his breakthrough moment stepping into a leading role in Rock of Ages, having initially been an alternate, and the significance of receiving his first Olivier Award nomination. Throughout the evening, he performed songs from across his career, including selections from Cabaret, The Commitments and Les Misérables, each delivered with both technical strength and emotional sincerity.

Patterson proves to be an assured and thoughtful host, creating space for both humour and honesty. The result is a deeply personal evening that goes beyond performance, offering insight into the resilience, vulnerability and determination required to build a life in theatre.

See future events at Crazy Coqs here.

REVIEW: Close Up Classical with David Arnold

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Rating: 5 out of 5.

Inside David Arnold’s love letter to classical music 

At Ronnie Scott’s Jazz Club, Close Up Classical with David Arnold offers a refreshing and deeply personal way to experience classical music. Hosted by film composer David Arnold, the evening centres on a simple but engaging idea: Arnold selects some of his favourite classical pieces and shares with the audience why they resonate with him.

Arnold proved to be a thoughtful and engaging guide throughout the night. His commentary framed each piece around a particular theme, helping the audience understand what draws him to the music. The evening opened with a focus on joy, beginning with the sparkling overture to A Midsummer Night’s Dream by Felix Mendelssohn. This was followed by the elegant waltz from The Sleeping Beauty by Pyotr Ilyich Tchaikovsky, whose sweeping melodies lifted the mood and set a celebratory tone for the programme.

A particularly enjoyable aspect of the evening was the back-and-forth between Arnold and violinist Lizzie Ball. Their exchanges offered insight not only into the music but also into the performer’s perspective. Arnold spoke with clear respect for musicians, frequently highlighting the demands of recording sessions where players are often required to sight-read complex scores with very little preparation time. These moments gave the audience a greater appreciation of the skill and discipline behind the performances.

For me, the highlight of the night came during the programme’s exploration of yearning; the feeling of striving for something just out of reach. Arnold spoke about his love of melodies where each note feels inevitable, as though the music has no choice but to unfold in the way it does. This idea was beautifully illustrated through extracts from Swan Lake by Pyotr Ilyich Tchaikovsky and the Adagietto from Gustav Mahler’s Symphony No. 5, both of which created one of the most moving moments of the evening.

Arnold also challenged the perception that classical music must always be serious or formal. Introducing a playful piece by Benjamin Britten, he explained that he chose it simply because it made him laugh; a reminder that humour and curiosity are just as present in classical music.

In the intimate setting of Ronnie Scott’s, the result was a warm, engaging evening that felt less like a traditional concert and more like being invited into a musician’s world to hear the music that inspires them most.

REVIEW: Anna Lapwood – International Women’s Day Concert

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Rating: 4 out of 5.

Wholesome celebration of women and music

At Royal Albert Hall on 8 March 2026, Anna Lapwood and her special guests delivered an inspiring and thoughtfully curated evening for Anna Lapwood – International Women’s Day Concert, celebrating the work of women in music while showcasing the expressive power of the hall’s monumental organ.

Lapwood proved not only a remarkable performer but also an engaging guide throughout the evening. Acting as organist, MC and singer, she introduced each piece with passion and knowledge, helping the audience understand the symbolism and emotional context behind the music. Her explanations struck a perfect balance and made the programme accessible even to those unfamiliar with organ repertoire.

One of the evening’s highlights was a trio of works centred on themes of flight and dreaming. Rachel Portman’s Flight captured the effortless grace of birds soaring through the sky, with a melody that felt light and fluid. This was followed by Olivia Belli’s Limina Luminis, which Lapwood introduced as portraying the emotional mindset of an astronaut preparing for launch. The music beautifully conveyed the anxiety and anticipation of that moment from the gradual build-up of emotion before lift-off and the profound experience of seeing Earth from space for the first time. The sequence concluded with Dreamland by Kristina Arakelyan, a piece that gently bridged imagination and reflection. Together, these works formed a compelling narrative arc, exploring humanity’s fascination with flight from the natural grace of birds to the technological triumph of space travel.

The visual presentation also added another dimension to the performance. Screens inside the hall displayed close-ups of Lapwood’s playing, including shots of her footwork on the organ pedals. For many audience members, this offered an insightful glimpse into the complexity of organ performance. The lighting design further elevated the experience as it shifted in colour and intensity throughout the programme, echoing the mood of each piece and adding an additional layer of atmosphere to the performance.

The evening reached an epic scale with excerpts from Howard Shore’s organ symphony based on the score from The Lord of the Rings. Lapwood’s introduction gave helpful context to the themes before launching into a powerful and cinematic performance that filled the hall with a sense of grandeur and drama.Guest performers Jess Gillam and Katie Marshall were both excellent additions to the programme, bringing their own energy and artistry to the stage.

Overall, the concert was a celebration not only of the organ but of imagination, storytelling and the creativity of women in music.

REVIEW: Carols at the Royal Albert Hall

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Rating: 5 out of 5.

The most magical and festive performance in London  

By now, Carols at the Royal Albert Hall has firmly established itself as a Christmas staple, with the tradition stretching back more than a century. The performance brought together an impressive lineup: the Royal Choral Society, the National Youth Choir, the British Imperial Military Band and the Royal Philharmonic Orchestra, whose combined sound filled the hall with warmth and joy. On the evening I attended, the concert was conducted by Richard Cooke, with Josie d’Arby acting as presenter, and a standout performance from the soloist Kyra.

Let’s begin by setting the scene. This was, without question, the most festive I’ve felt in London all winter. From the moment you step inside the Royal Albert Hall, you’re immersed in the Christmas spirit with children and adults alike dressed in their finest festive outfits. But the most spectacular sight is the stage itself. It’s difficult to do it justice in words. Framed by two enormous, beautifully decorated Christmas trees, and crowned with a glowing Christmas at the Royal Albert Hall sign at its centre, the whole scene feels truly magical. The festive atmosphere spills beyond the stage too, with shimmering tinsel draped along the front of the balcony seating, catching the light and wrapping the hall in warmth. If there was a standout moment, it came at the start of the second half, when the performers re-entered in an array of playful costumes. The audience particularly loved seeing the Christmas trees get up and dance during Kyra’s beautiful rendition of “Rockin’ Around the Christmas Tree.”

The choirs took turns leading the programme, which was interwoven with moments for the soloists to shine. Each ensemble performed beautifully, their harmonies rich and clear, while the orchestra provided a generous sound that underpinned the evening with warmth. Much-loved traditional carols featured prominently such as “O Come, All Ye Faithful” and “Away in a Manger” before the concert reached its conclusion with the all time favourite “Hark! The Herald Angels Sing”. Alongside these classics, the audience was also treated to a selection of modern favourites, delivered by Kyra. I thoroughly enjoyed Josie d’Arby as a presenter; she had a very welcoming presence and provided really interesting insights on each of the pieces while also encouraging the audience to partake in the singalongs. 

It is impossible not to feel the Christmas spirit at an event like this. Between the joyous sing-alongs, the festive decorations and the warm moments of audience interaction, you’re all but bound to leave the hall feeling uplifted, festive and with a big smile on your face!

REVIEW: A Decade in Motion by Acosta Danza

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Rating: 5 out of 5.

Brilliant evening celebrating Cuban dancers, choreographers and culture

Founded in 2015 by the celebrated dancer Carlos Acosta, Acosta Danza is acclaimed for its distinctive blend of contemporary and classical works infused with Cuba’s rich musical and cultural heritage. Ten years on, the company has become a showcase for some of Cuba’s most talented dancers, blending contemporary, ballet, and popular dance styles with individuality. At Sadler’s Wells, their anniversary programme A Decade in Motion offered four contrasting works, unified by incredible control and musicality

The evening opened with La Ecuación, choreographed by celebrated Cuban artist George Céspedes. A glowing gold cube at centre stage set the tone, immediately captivating the audience as four dancers emerged from the darkness. They began with a series of solos, gradually building until X Alfonso’s score ignited the work with energy. From there, the dancers moved through shifting formations, the mood alternating between rapid, razor-sharp sequences and sustained, physically demanding poses. The choreography continually tested balance and flexibility, with recurring extended one-leg holds serving as a motif. Clever use of light and shadow heightened the tension, adding an extra layer of rhythm and intensity to the piece.

The next work was the UK premiere of 98 Días, choreographed by Javier De Frutos. Ten dancers in blue overalls began seated at the back of the stage, before stepping forward one by one into solos that gradually expanded into intricate group formations. The choreography made striking use of each dancer, balancing individuality with collective power. Over a narrated poem built around Lorca’s Son de Negros en Cuba and songs by Estrella Morente, the dancers bodies mirrored the rhythm of the text before breaking into the dance to the bongo-inspired soundtrack. The meaning carried through in how the dancers physically shaped the words regardless of whether the audience understood Spanish.

The standout of the night was the piece Llamada by Goyo Montero. Set to flamenco tracks, it blurred gender roles, with male dancers in deconstructed tutus. The works swung between flashes of rage and raw vulnerability, ending with the ensemble miming visceral screams. The raw energy emanating from the dancers was beautifully tense and unsettling.

 The final piece of the evening was De Punta a Cabo by Alexis Fernandez & Yaday Ponce. Against the projection of Havana’s Malecon from dusk to dawn, the full company took over the stage. After three “heavier” works, this felt like a release; small groups evolving into larger formations, pairs reforming, styles shifting between contemporary, salsa, and ballet. At heart, it read as an electric Havana night out.

The programme was cohesive without repetition and the dancers were brilliant. Each act had its own identity while still fitting together as a whole. The dancers’ musical intelligence was remarkable. Even in silence, the language felt audible, and they were consistently aligned with the score. Acosta Danza managed to be enthralling, playful, and celebratory in a single evening. Four distinct works, performed at the highest level, combining elite technique with genuine charisma. 

REVIEW: Momentum

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Rating: 4 out of 5.

Momentum brings forgotten gems to the stage with dazzling artistry

Reformed in 2023 under the Artistic Direction of Christopher Marney after a 30 year hiatus, the London City Ballet continues to wow its audience with a collection of rarely seen, international works. Mr Marney, acclaimed for reviving overlooked yet important repertoire, curated an evening featuring choreography by George Balanchine, Liam Scarlett, Florent Melac, and Alexei Ratmansky. The programme provided the company’s dancers with a platform to display both artistic subtlety and technical brilliance across both classical and contemporary works.

Momentum opened with Balanchine’s Haieff Divertimento, which was considered lost for decades until two members of the original cast set about reviving the ballet in 1981. The dancers shone most during their solos, with each dancer cleanly executing the petit allegro and pirouettes that the choreography demanded. Alejandro Virelles stood out for his combination of lightness and confidence, while Jimin Kim brought precision to every step. The duet with Sahel Flora Pascual and Virelles had a brightness that anchored the ballet, and the overall effect was clean and joyful. In future performances, it would be rewarding to see stronger cohesion in ensemble moments, with the dancers more finely attuned to one another and to the music.

Liam Scarlett’s Consolations and Liebestraum (2009) marked a complete tonal shift. Set to Liszt’s piano works, played live beautifully by Reina Okada, Alina Cojocaru and Joseph Taylor were breathtaking in the final pas de deux, while the entire cast, dressed in simple black, captured the ebb and flow of intimacy and fracture. Another highlight came in the pas de deux danced by Yuria Isaka and Arthur Wille, whose palpable chemistry was expressed through effortless partnering.

Florent Melac’s Soft Shore, a new commission set to Beethoven, flows on almost too neatly in mood, yet it has its own distinct qualities. Constance Devernay-Laurence and Jospeh Taylor gave the choreography weight and texture, while Alejandro Virelles and Arthur Wille brought contrast in their partnering work which moved the audience. The inclusion of a contemporary work showcased the company’s versatility, with the dancers excelling in this more modern setting.

What’s clear across the evening is the strength of London City Ballet’s ensemble as the company continues to establish its presence in London and globally as a touring company. Artistic Director Christopher Marnay has curated a programme that balances rediscovery and tribute of old and new choreography. Momentum reveals a company still young, yet already distinguished by thoughtful programming and superb dancing.

REVIEW: God is a Scottish Drag Queen

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Rating: 4.5 out of 5.

 If God really were a Scottish Drag Queen, we’d all be laughing a lot more! 

God is a Scottish Drag Queen is exactly what it sounds like: Mike Delamont struts on stage in a power blazer, playing God as a no-nonsense Scottish drag queen with opinions on everything. For two hours at the Leicester Square Theatre, he doesn’t miss a beat; there’s no slow build, just constant laughs line after line. He covers everything from the best walkout songs and weird ocean creatures to why homophobic Christians love to cherry-pick scripture and how the Bible, surprisingly, is kind of a steamy read. It’s sharp, silly, and hilarious from start to finish.

Delamont kicked things off with one of the most engaging show openings I’ve seen in a while. Without giving too much away, I will just say it instantly set the tone and had the Monday night crowd laughing before he even stepped on stage. Physical comedy is where Delamont really shines; he doesn’t just deliver the punchline, he acts it out with every part of his body. Whether he’s jumping across the stage, striking a pose, or reacting with perfect timing, it all adds to the chaos in the best way. There were also a few musical moments and effective use of a big screen, both of which helped bring the stories and punchlines to life.

From the title alone, you might expect God is a Scottish Drag Queen to be inflammatory or designed to provoke, but that couldn’t be further from the truth. At its core, the show is more thoughtful than you might expect. Alongside jokes about COVID, clueless people, and cultural quirks, Mike Delamont carves out space for meaningful commentary, particularly on issues facing the queer community. What’s most impressive is how seamlessly Delamont shifts between silly and serious without losing the crowd. I highly recommend this show to anyone who needs a good laugh and could use a little reminder that joy, humour, and kindness still exist in the world.