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REVIEW: TWO

Published on April 11, 2026April 11, 2026 by isabellescerriLeave a comment

An impressive performance that raises a glass to those who are often misheard

When the sun’s out, where can you often find Londonders? The local boozer is certainly your best bet, and Jim Cartwright’s TWO provided for a perfect evening of entertainment. Set in a bar, the talented Peter Caulfield and Kellie Shirley welcome us into the hustle and bustle of life within and beyond the pub. From the off, we are introduced to the pure skill and commitment of the actors as they serve drinks, collect glasses and provide an authentic montage of demanding hospitality work.

Originally written in 1989 and first performed at the Bolton Octagon Theatre, Cartwright’s play seeks to tell the tale behind the drunken regulars, odd tourists and inter-generational punters that visit the pub. Playing 14 different characters, the audience gets to experience the inner turmoil and relationships that are often overlooked.

James Haddrell’s direction is on point. From the swift costume transitions to neat entrances and exits, the performance struggles to miss a beat. The characters mostly feel full, and particular stand out characterisation lies in authentic accent work and body language. We meet a range of pub goers, from old ladies to hilarious eccentric couples. The story begins with the pub’s landowners, and from the play’s beginning, we learn of a lengthy and complicated life-work relationship.

Though the pace and rehearsed transitions are highly applaudable, the weight of showcasing fourteen different characters does somewhat come to show. Some punters demonstrate some darker themes, which could dictate an entire play. Where an emotionally and physically abused couple come into the picture, it seems the demands of the play’s rapid multirolling reduce the space and attention that is needed for such situations. The moment a young boy walks into the bar sparks a turn in the relationship between the landlady and landlord, and we see an emotional breakdown from both sides. This moment is rather heavy-hitting and allows for an emotive opening from the bartenders. Nearing the end of the play, this moment adds to an intense buildup. Though very key, I think the outburst that this child’s entering the establishment caused would have benefited from some previous hints from the landlords.

Nevertheless, the commitment to characterisation and audience is quite spectacular. The joy and warmth that accompany the familiar pub setting are a credit to all of TWO’s creative team. Where the set and direction are on point, the energy and dedication of both Peter Caulfeild and Kellie Shirley in performing as fourteen different characters is really impressive. The play leaves the audience with an abundance of feelings. TWO makes you feel warm, sad, giddy and ready to go to the pub, all at the same time.

REVIEW: 10 First Dates

Published on March 23, 2026March 22, 2026 by isabellescerriLeave a comment

A witty, charming tale of ten dates, and a woman who deserves more

At midday on a sunny Tuesday, Camden’s Etcetera Theatre welcomes a Gooper Dust
Production of 10 First Dates. Starring Laura Shipler Chico as Maggie, the play’s protagonist, and a skilled Mark Parsons as her ten dates, Camden’s Women’s Writers Festival continues to celebrate gifted female writing. Directed by Jamie Saul and written by Christine Rose, the play seeks to offer a comedic insight into the reality of dating again as a middle-aged woman.
After the departure of a 25-year old marriage, Maggie is left newly single and considers
her entrance into the modern world of dating. We meet our protagonist as she scrambles to find the right outfit, on an initially stripped-back set, featuring two stage blocks, a coat hanger and a mirror. Anxious of this dating rebirth, we learn of Maggie’s concerns when adapting to contemporary abbreviations and navigating the swipes of the likes of Tinder and Bumble.
Rose’s writing is witty, sharp and convincing as we learn of the play’s premise. Maggie will encounter ten first dates, lasting no more than an hour, and certainly not exceeding two hours.
Saul’s direction initiates some smooth transitions. The revelation of the washing line of number cards which emerges from the coat hanger is particularly impressive and a sleek transition transports Maggie into her first date. Saul’s direction utilizes spacing and proximity to indicate Maggie’s apprehension.
Our first impression of Parson’s characterisation is excellent. Through costume, posture
and voice, Parson’s skill becomes very apparent. This dynamic between Maggie and Date One, lays the foundation for the headaches of online dating, whilst portraying the homogenous experience of dating men. As we meet the varying dates, Parson’s impersonations maintain strong, depicting rich archetypes and aiding Maggie’s endeavour.
Maggie’s dating experiences vary, from dates which disgust her or violate her to warm
her and enlighten her- Rose makes sure to encompass a range of experiences. The theme of sex and the heavy male attention to it runs throughout. We witness Maggie in uncomfortable positions, yet as the dates progress in their sequence, we see some improvement, represented in the words printed on the mugshots of each date on the photocards of the washing line.
Between the dates, Maggie provides feedback to the audience, commenting upon her
frustrations. These moments had the potential to provide a deep understanding of why Maggie feels she must undertake this journey, yet as the numbers increase, I found a repetitiveness in her observations. This made the performance feel slightly like a countdown, and potentially too linear for what 10 First Dates could push for. If the initial exploration of Maggie’s past was pushed to reveal her inner turmoil, these dates could really strengthen the play’s concluding note of self-acceptance.

Nevertheless, 10 First Dates exemplified some great acting and smooth choreography, whilst providing continuous moments to laugh out loud at. With some small edits and a deep dive into the character’s psyche, 10 First Dates has the potential to be really impactful to an audience and offer a critical perspective on modern-day dating.

REVIEW: Welcome to Pemfort

Published on March 20, 2026March 20, 2026 by isabellescerriLeave a comment

an outstanding example of theatre that challenges introspection

Sarah Power’s Welcome To Pemfort, is an example of masterful playwriting and the magic theatre can create when a talented team come together. Not only does the play offer an outstanding performance of skill, but it creates conversation which doesn’t just stay within the theatre. Set in a museum shop, beautifully designed by Alys Whitehead, we are rapidly introduced to the bold characters of Power’s world. The direction by Ed Madden is formidable. From the onset of the play, the audience are made aware of rich characterisations and dynamics between the staff of Pemfort. A small and dedicated team of three consists of Glenn (Ali Hadji-Hieshmati ), uma (Debra Gillett) and Ria (Lydia Larson). Glenn takes the lead as the premise of the play is laid out- Pemfort is suffering and something must be done about it. Power showcases the care and dedication the individuals have to their work, and the excellent world-making within this establishing scene underlines how this small fort in rural england, stands for much more for its workers. The solution to the need to raise money, comes in the form of a living-history day, in which the staff will host an interactive day of festivities to celebrate Pemfort, and attract a new wave of visitors and income.

The complexities begin as Kurtis, played by Sean Delaney, enters. Through some hilarious interactions, Deleaney beautifully portrays a kind, young man who is seeking a new sense of community as he joins the sales team. We soon come to learn of his past, having been in prison, and his shared experiences of NA meetings with Uma. Despite this being unknown to the wider team, Kurtis examples dedication and care to his new peers, and builds an especially close relationship with Ria, whom he helps on her quest to nurture an endangered deer. These beautiful moments capture a real growth in intimacy, before much physical touch is made. With intimacy director Georgina Makhubele’s guidance, cosy and soft lighting by Cheng Keng and the grounding bird whistle sound of Max Pappenheim, we as an audience are so convinced of this tale of trust and growth, before Power breaks this all away. As a dark secret is revealed, the actors, if possible, execute an ever greater performance. The loud and busyness of London and Glen’s past finally unfolds upon the peace of the fort. Through tense body language, and amazingly crafted stage fighting direction by Enric Ortuño, a shadow of violence is cast. With standout performances from Hadji-Hieshmati and Delaney, Power brings in deeper issues of masculinity, trauma and questions of rehabilitation.

Welcome to Pemfort is a striking and thought-provoking production that showcases the very best of contemporary theatre—bold, moving, and impossible to ignore. A must see.

REVIEW: Smalltown Boy

Published on March 14, 2026March 19, 2026 by isabellescerriLeave a comment

The joyous joining of drag and drama is masterful.

Not often does drag not hit the mark. Not often does a drag performance leave you considering your own experiences of grief. Brenda Callis seeks to deconstruct the reality of a queer body within rural living. On it’s final stretch of its tour, having debuted at Bristol Old Vic, Smalltown Boy takes over The Pleasance Theatre with an immersive, cabaret of song and sorrow. It’s lead, Edie, played by a talented Elliot Ditton, maps a physical and emotional journey to rural Cornwall as she discovers the death of her lover- Leo. This endeavor is not, of course, without its many hurdles. As Edie learns of her lovers family, local community and disapproving looks, we are presented with the bright artistry that is drag and small-town drama.

The amalgamation of form is initially established within the set. Audiences sit and enjoy a drink at the cabaret-esque tables for two, on looking a set reminiscent a classic British sitcom. As Edie encounters Leo’s mother’s (Claire) home, we see the merging of worlds- a basic, family home with the addition of an on-stage-stage, glittering in the middle. Through some audience work and an opening musical number, the play suggests to follow a solo drag performance. Yet this is quickly swayed, as Edie lays down some uncomfortable conversation with the audience, and though confusing at first, we learn to understand this as Edie’s attempts to converse with Leo.

The initial interaction between Claire, played by Kate Milner-Evans, and Edie is certainly awkward. The beautiful costume design of Alice Sales, places footwear as a metaphor of these two worlds colliding- the high-camp heels of Edie, versus the simple practical walking boot of Claire. Claire’s bewilderment at Edie is very noticeable, yet at times it felt somewhat too uptight, and I must note as the performance continued you could feel a relaxation from the actors. Nevertheless, as the characters come together and loosen up, there is a real overwhelm of emotion and discomfort around their situation. We meet Hannah, played by Shiquerra Robertson Harris, who is suggested to be the reason Edie had to come down to cornwall, and her partner Stephen, played by Theo Cowan. I have to point out the excellent characterisation of Stephen and Frazer Meakin’s direction is rather superb. The cabaret moments are hilarious and perfectly comedically timed, as drag is intertwined so neatly into the performance.

The emotional narrative certainly becomes a huge factor at play, and as Edie’s physical costume delayers, as does the layers of the story. As the play enters its climaxing

moments, the key theme of grief is really deconstructed. A back and forth between Edie’s coming and going, and conversations of her place in the spreading of Leo’s ashes takes place. Important discussions are held, as the family are hinted of leo’s real connection to Edie, and we begin to understand their stance on otherness within their community. Though very moving, I found this unfolding to be slightly prolonged and I feel the script would have benefitted from some refinement, to ensure clarity and precision in its message. Regardless, all aspects of this performance, from the sound, through to the costume and props, proved to compose a deep, hilariously-camp portrait of grief and I can’t wait to see where this beautiful show is taken next.

For Listing please visit: https://bristololdvic.org.uk/whats-on/smalltown-boy

Author:Isabelle Scerri

REVIEW: Daniel Moore’s Definitive Guide to Failure-Free Living

Published on February 7, 2026February 6, 2026 by isabellescerriLeave a comment

A funny, uncomfortable, intense, sweaty night of brilliant theatre

Matthew Edgar’s curation of Daniel Moore’s Definitive Guide to Failure-Free Living is
without a doubt, one to look out for. A co-production with Drayton Arms theatre, Edgar
situates the audience in a room of anger, sweat, masculinity, whales and decisions. As
the audience enters the space, through the brilliant direction by Harry Daisley, the scene
is already unfolding. As a scruffy looking Daniel Moore pumps out push-ups, erratically
dresses himself and paces the space, a sense of unease fills the room and our first
interaction with this character pre-empts what we are in for.
The narrative seeks to prove that Daniel Moore does not fail, as he adheres to the
deadly glow of a button in the centre of the room. He has pressed this button as it lights
up for 19,999 hours, and we are here to join him in his 20,000 hour, to which he would
have succeeded his job and will call it quits. As we are welcomed into his world, he
seeks to expand his knowledge beyond his own self-appreciation, dreaming of
spreading his wisdom to those who haven’t had the privilege of hearing of it so far. The
harsh bodily movements, unsettling constant slicking back of greasy hair and low
mumbling proves that we are in fact, trapped in this dimension with him.
At first, the performance seems somewhat situated within the solo narrative of his
mission- to press the button, to not fail. As the performance unravels, we learn that
Daniel’s motives reach much further into his own being. The multi-rolling performed by
Edgar was impeccable. The ability to formulate an entire scene with three characters
varying of age, gender and physicality was highly commendable. The sharp transitions,
alongside very rehearsed accents, felt beyond convincing. The pace throughout the
performance certainly paralleled the growing understanding of the character and the
reasons behind his obsessions.
The creation of this piece, outside of its talent to draw in the audience, felt very
important to a wider world too. Where 2025 saw the impacts of the likes of Andrew Tate
and a national hit of the TV drama Adolescene, Daniel Moore’s Definitive Guide to
Failure-Free Living felt very important in carrying on discussions in 2026. What I really
commended about this piece, is its unpredictability- nothing was handed to the audience
on a plate. Moreover, an underlying link to male violence felt extremely important.
Where Edgar created room to draw the lines between his intensity and uncomfortable
sexual behaviours and remarks, he manufactured a piece which reached beyond
theatre. Edgar confined us within his characters space, yet left us filling in our own
gaps, and placing our own red buttons in our worlds. A really brilliant night at the
theatre, and an even greater impression left on the audience’s mind.

REVIEW: Concrete

Published on January 23, 2026January 23, 2026 by isabellescerriLeave a comment

“A joyously crafted piece of work, performed by two very talented actors.”

Tucked into the upstairs nest of Islington’s The Old Red Lion theatre, a joyous audience encountered an epic story of platonic and familial love, swear words, potential kidnapping and buckets full of northern wit.

Part of FreshFest (The Old Red Lion Theatre’s 4th-year-running festival that celebrates new writing) Ché Tligui’s Concrete had only been previously exhibited at twenty minute scratch nights. Upon entry, the performance is already in action. The scene is decorated with remarkable detail, and the costumes, sound and lighting also follow with such professionalism. It only takes a couple of minutes and a sense of calm concentration settles over the audience, as Joe Stanley who plays Craig delivers a humorous and convincing introduction to the play. The relationship between Craig and Tristen (played by Callum Burns) is electric, and I applaud both the acting talent and direction for such detailed characterisations- Tligui really does make the performance feel concrete.

With many funny side-stories and plot devices along the way, their is a neatness embedded within both the convincing realities of the two boys, alongside key references to socio-political contexts. Physical indicators of the times including the CD player, flip phones and colourful sports tracksuits certainly aid a discussion of the context of the pairs worlds. References to Thatcherism and implied right-winged newspapers cleverly works to create tension between both Craig and Tristen and the audience are left with question of the personal vs the political. Where the groundwork of the play is the pair’s relationship, I think the dilemma opened up reaches beyond deciding to stay or move to London, it offers a chance for the audience to question their own priorities.

Concrete really did demonstrate a grounded representation of everyday struggles, and though hesitant at first to its rather abrupt ending, I think it strengthed the core exploration of the pairs relationship. However, here the plot points and structure felt so strong, I wondered at times if important moments could be pushed further, or pulled back in some cases. As we learn of the future of the baby, the reaction to this moment felt a little small. This also ties in with the audiences little understanding of Craig and Tristen’s background, and it would have been even more compelling to understand how they got to their position today. Nevertheless, a small cuts to running gags and a push to the context would only greaten such a joyously crafted piece of work, performed by two very talented actors.

REVIEW:Prashasti Singh: Divine Femine

Published on December 18, 2025December 18, 2025 by isabellescerriLeave a comment

“A confident, cleverly-crafted evening. Prashasti knows how to work a crowd. “

Soho Theatre downstairs was graced with the returning presence of Prashasti Singh,a 30-something (she won’t tell you how old she is) Indian comedian for her performance of Divine Feminine. The stand-up routine sought to explore themes of therapy, the psyche, gendered stereotypes and contemporary Indian society. Singh greets a bubbly, packed room and is keen to engage the audience in her opening moments. The audience soon learn Singh is far from shy, and cleverly engages with the key themes from the off, satirically remarking upon male privilege.

Singh navigates her set through her discussions of aging and her journey of self-discovery. Intertwined with gags of Indian celebrity references, Singh takes the audience on a very relatable and honest journey. Working chronologically with age, where we learn Singh wanted to be her dad as a child, and channelling through to her later 30s, the set appears very neatly choreographed.

Having discovered the demographic of the room, being majority over 30 and of Indian decent, Singh attempts to include the audience in the story to the best of her ability and at times her storytelling is spot on. In some moments however, the jokes felt limited to specific experiences and knowledge. In particular, the presentation of an Indian celebrity on an easel, witnessed a divide in the audiences understanding. This moment later led to more confusion as the set referenced back to the celebrity.

Yet as Singh exclaims, some sentences simply cannot be translated, and a few members of the audience would have to miss out. Nevertheless, her conversations on mental health felt very important, giving insightful takes on being single, losing a sense of self and family pressures. Where a sense of collective understanding was created, is where this performance felt the must successful. Singh’s explorations of relationships with men felt very apt, pinpointing the harsh realities of their behaviour. She calls on the men in the audience at times, and they are seen to joyfully laugh along at themselves. The end of the set reveals where the Divine Feminine title comes into the piece. The potential for this ending moment felt big,as Singh builds much anticipation towards this moment, expanding on the specific details of her story. However, I couldn’t help but feel a little disappointed in its finale, where the end product didn’t land as well as the build-up. Regardless, the crowd-control Singh had was undeniable and this elegantly crafted performance left the audience feeling warm, listened to and with a smile on every face.

REVIEW: the supermodel in the caff

Published on December 11, 2025 by isabellescerriLeave a comment

“Brilliant night to get you out the gaff, as Bentley welcomes you into her cleverly crafted characters of the Caff.”

A mug of tea, squirty ketchup, salt, vinegar and a very talented Emma Bentley. the supermodel in the caff strives and succeeds in portraying neat characterisations of four women of varying class, backgrounds and dreams, whilst simultaneously sharing one desire- to be heard.

And hear them we do. With spot-on lighting and technical mastering from Stella Kailides, choosing to perform in the round, a less common staging preference, enabled a sense of community from the off, as Bentley greets audience members with a ‘how do you like your eggs?’ charm. Where the sound effects were spot on, I believe the atmosphere Bentley had already established, alongside her continuous acknowledgment of the audience, was performatively enough and perhaps the noisy cafe background music wasn’t needed afterall. A salt and pepper shaker by the audiences seat side, and I reckon we could be the busy caff for her!

Bentley depicts four key women in the play, taking turns to explain their being in the caff. An insecure, likable young woman (Nessa), a homeless lady (Janey), a waiter (Ellen) and the supermodel herself (Bea). Benltey cleverly intertwines the characters existence in the same space. Notably, the researched renditions of Nessa, Janey and Bea were greatly accurate. The use of movement and body language felt very well studied and made the characters entirely believable. Where Ellen was also performed hilariously, the character seemed to struggle to fit as smoothly into Bentley’s worldmaking. The transitions between the characters, where Bently would change in the corner of the room, hidden from the audience, worked to aid the established Brechtian take on the performance. However, these moments of transition seemed to interrupt the flow and I wonder if they were made an inherent part of the performance, perhaps performed in the middle of the stage, it would have aided a strong demonstration of interconnectivity between the characters stories.

Nevertheless as a one-woman play, Bentleys attention to mannerisms, cultural and current references were cleanly performed. Where Bentley could have pushed the ending to leave the audience pondering considerations further than the women we met, the utilisation of props, bisexual lighting (pink + blue) was spot on. I look forward to seeing how the piece develops further- what a night at the caff.