Category: Theatre

It’s a cross-cultural story of a family that is especially suitable to London, evident in the mix of Greek and English conversation in the auditorium.

REVIEW: Love in A Foreign Land

Published on by Eoin FentonLeave a comment

Rating: 3 out of 5.

An inspiring but unfocused tale of an immigrant mother.

Love in a Foreign Land, running in the Playground Theatre, is a new work from the London raised Cypriot playwright Maria Vigar and Greek director Anastasia Revi. With support from the Cyprus High Commision, it tells a story inspired by Vigar’s own mother, who left Nicosia in the fifties for London to find her emigrant husband. It’s a cross-cultural story of a family that is especially suitable to London, evident in the mix of Greek and English conversation in the auditorium. Knowing laughter erupts at shouts of ‘poutána’, name day customs, and beloved Cypriot brands appearing on stage. There’s even some humming along to the classic tunes. These moments of joy and cultural insights are highlights in an otherwise heavy work.

Vigar’s text is a thorough reading of the tribulations of this family, all of the skeletons are coming out. There’s domestic abuse, xenophobia, infidelity, sexism, and trauma in Love in a Foreign Land — a title which is perhaps too simple to convey the tribulations endured. Her biography is very detailed, no moment goes unexamined, and the play runs for a bit longer than it should. Vigar’s text is at its best when conversant, the interactions between the adult children and their mother are particularly warming. There are moments of resonance, but the sheer historical scope of the work leads to a lack of focus, particularly in the second act. This is not helped by a complicated set that delays momentum during scene changes.

Revi’s directorial style favours characters that are larger than life. This works when in the
hands of performers like Wanja Mary Sellars — a wonderful character actress who,
seemingly, can shift roles at the drop of a hat. However this tends to result in overblown
moments of soapy drama. When the action begins at a ten, where else is there to go? This is personified in the abusive husband Andreas played by Ilias Alexeas. His outbursts are frequent, his voice is almost always raised, he is perpetually waving his arms in anger. It is a characterisation that is so drenched in villainy that he becomes less believable as the action goes on. Scenes between the young couple are difficult to watch not only for the brutality of the sleazy Andreas, but for the melodramatic nature of their dialogue. Revi’s favouring of high impact delivery is at odds with the humanity of Vigar’s text.

The leading role of Theophania delivers fluent portrayals from Lucy Christofi Christy and
Elena Hadjiafxendi as the older and younger Theo respectively. Hadjiafxendi has a
bright-eyed charm to her and a beautiful singing voice that punctuates the action of the play. When Theo first arrives in London, Hadjiafxendi is brimming with life, her exhilaration radiates farther than the black box confines of the Playground, yet she manages to remain human and believable in the bombastic world Revi has created. Christy is jaded and mercurial. Her suffocating regrets trigger passionate outbursts as she berates her younger self. This relationship between the past and the present Theophania is the most compelling element of the text. Despite her tempestuous marriage and occasional spats with her offspring, her most agonising dialogue is internal. The role of Theophania in the hands of these skillful performers, much like the woman herself, holds the shaky foundations together.

Image Credits: Ikin Yum

REVIEW: The House Party

Published on by justinemsjonesLeave a comment

Rating: 4 out of 5.

“A raw, unflinching portrayal of the rollercoaster ride that is youth.”

At 18, a night of partying can feel like the perfect escape, a brief moment where all the pain and uncertainty of growing up fades into the background. But, as The House Party reveals, that fleeting relief often doesn’t last. This powerful production dives deep into the emotional complexities of adolescence, blending nostalgia with raw realism to explore the trials and tribulations that come with being 18 in today’s world.

Loosely inspired by Strindberg’s Miss Julie, the play revolves around Julie (Synnove Karlsen), who marks her 18th birthday with a last-minute house party. Her best friend, Christine (Sesley Hope), tries to console her, but harbors a secret – one that may fracture their tight-knit bond. When Julie’s boyfriend Jon (Tom Lewis) arrives, the atmosphere shifts, and long-buried secrets surface.

At its core, The House Party is a poignant exploration of female friendship – the kind that becomes a lifeline in the face of life’s challenges, yet remains shockingly fragile when tested by secrets and unspoken truths. The play delves into the chaotic web of desire, insecurity, and emotional dependence that defines this period of life. It is a bittersweet reminder of how fragile our connections can be when we’re still learning who we are and how to navigate the complex world around us.

The three leads deliver standout performances, each infusing their roles with incredible depth and authenticity. Karlsen, Hope, and Lewis bring humor and vulnerability to their characters, effortlessly shifting between moments of lightheartedness and raw emotional intensity. Their chemistry is excellent, drawing the audience in and evoking genuine laughter, while also inspiring moments of quiet reflection – sometimes leading to the unspoken wiping of tears from audience members.

The supporting ensemble deserves equal recognition for their impeccable contribution to the production. With rhythmic, intentional movement, they elevate the energy and atmosphere, underscoring the chaotic dynamics of the party while enhancing the emotional undercurrent of the piece. Their subtle but vital presence helps ground the narrative, ensuring the play feels both dynamic and alive.

However, at times, the pacing of the play can feel a little slow, particularly in moments of introspection. The stark contrast between the high-energy party scenes and the quieter, more drawn-out emotional exchanges creates a unique tension, but there are moments when the momentum dips, leaving the audience eager for the next shift in tone. Despite this, the emotional payoff is undeniably worth the wait, as the layers of each character’s struggle unfold.

Overall, The House Party is an emotional rollercoaster – a raw, unflinching portrayal of the rollercoaster ride that is youth. It’s funny, heartbreaking, and deeply relatable, capturing the vulnerability and intensity of being 18 with a remarkable honesty. If you haven’t yet experienced it, make sure to catch The House Party at HOME MCR before it wraps up on Saturday 29th March.

REVIEW: Outsider

Published on by chelseajinaLeave a comment

Rating: 4.5 out of 5.

A feat to witness, Outsider displays incredible athleticism and enrapturing choreography 

Various slacklines cut across the stage, tightropes that give the production a new sense of height. They stay there, unused but looming, as twenty dancers from Ballet du Grand Théâtre de Genève perform below. Their presence creates an atmosphere of tense apprehension, further entrenched by composer Julius Eastman’s music; four pianos that seem to rally each other, their anxious desire for something both tantalizing and breathtaking. Outsider was performed as part of Dance Reflections by Van Cleef & Arpels Festival at Sadlers Wells.

Choreographer Rachid Ouramdane makes incredible use of simple, repeated movements to create a maze of bodies. The dancers weave in between each other with awe-inspiring ease and speed. Reminiscent of bees, perfectly in tune with one another, the dancers flip between partners, run simultaneously through what seem to be invisible lanes, and move with such intricate timing that they appear as one single organism. No dancer can exist in this world alone — they are all a product of their shared work. Truly, only at infrequent, short intervals do any dancers occupy the stage in isolation, and when they do, they appear to be in peril. They are stuck, spinning, yearning, until they are joined by another, wherein they reconnect and commence their journey once more. Partner work is imperishable in this world. Dancers consistently find one another and move together like honey. Their partnerships seem so natural, so smooth, that they appear almost liquid. Partners are interchangeable but ultimately invaluable and exceed pairs. They consistently form groups, performing incredible feats that push dancers to reach the higher echelons of the stage, reaching for what is above. 

Ouramdane’s choreography embodies athleticism beyond its usual inferences in dance. Linking ballet to the high performance athletes that occupy the stage’s sky, the choreographic language feels athletic to its core. Dancers truly run across the stage, they hoist other dancers to shockingly unexpected heights, displaying the incredible strength and speed that the public typically does not associate with dance. When the athletes ascended to their tightropes, the audience seemed to hold their breath. The dance that is their balance ties the piece together and illuminates the dancers’ desire to reach said heights. Their yearning for what occurs above becomes clear and gives new meaning to the production. The athletes on their tightropes are folded further into the story as they begin to interact with the dancers below, seemingly providing them a perhaps false hope that they too can ascend to the sky like they have. 

The enjoyment of Outsider exists beyond watching incredible athletes and dancers perform beautiful choreography. Its message has the potential to mean many different things to many different people, depending on what space you occupy within your own world and community. What are they reaching for? What exists up there? What keeps the masses from achieving their own ascent?

REVIEW: The Jewish Dog

Published on by Victoria AshfordLeave a comment

Rating: 4.5 out of 5.

A unique perspective of a dark period in history

The importance of not forgetting is the foundations of The Jewish Dog. When atrocities  happen, we tend to want to bury them and forget that they even took place. We want to  move on and carry on from before they happened, not quite knowing how we fit in.  

The atmosphere felt light and “The dog” greeted everyone entering the theatre, which set  the tone of the interactive, breaking the fourth wall performance. A doghouse and earth  with several objects placed on top was the stage for this piece. Floor lighting highlighted  the objects and cleverly gave them depth. “The dog” had a go pro on a head mount to give a  unique perspective which is something I haven’t seen used in this way before.  

The light-heartedness and jokes introduced this piece-though a lot of cultural references  were lost on me as we are shown memories and stories relating to the item are told.  Throughout the performance, “The dog” engages with the audience which made me feel  more emotionally involved than had it just been a typical play. But, sure enough the light heartedness stops instantaneously. The severity of the rounding up of Jews is gripping and  what follows felt intense as “The dog” recounts poignant moments as he grapples with his  own identity as he tries to survive in a world where he is told that he doesn’t belong. There  is no ending to spoil as it doesn’t end. There is no conclusion, no resolution for the  audience to end on which I felt was the main takeaway. “The dog” gives us a few facts  about Treblinka and the piece was left on a sombre note.  

Despite a few technical issues, which was handled with light-heartedness and humour,  luckily at the start of the performance, it didn’t feel awkward, and I think it was because the  audience had already been interacted with. Had it been a typical performance, it could  have easily taken the audience out of the moment. 

The Jewish Dog is an interesting piece, not only due to an untold or thought of perspective,  but because of how society is connected to dark times. It is so easy to bury the past but sometimes that is the wrong cause of action. Sometimes things need to be remembered  so we can all learn and we can choose to do differently.

REVIEW: Pat Rascal: Space Gravy

Published on by jaybinghamLeave a comment

Rating: 5 out of 5.

Three best friends travel from Yorkshire to space! 

Suitable for ages 16+. 

Pat Rascal: Space Gravy is an absolute treat to watch! It is packed with laughs from beginning to end, the jokes ranging from goofy to intelligent to outrageous. The three actors that make up Pat Rascal (Anisa Khorassani, Matt Blin, Rob Davidson) have impeccable chemistry and intuition, bouncing lines off each other with ease. They seem to genuinely enjoy involving the audience in their gags, our engagement with the show integral to maintaining its flow. While the story follows a narrative – three men, the bestest of friends since childhood, aspiring to travel from Yorkshire to the planet Mars – it is told via a series of witty sketches, bringing the audience on a journey through time (and space!). 

Pat Rascal is described as “two-thirds Yorkshire-bred, one-third jealous”. Space Gravy honours Yorkshire – primarily by naming its central character (Khorassani) ‘Yorkshire’ – with several hilarious references, i.e. by representing their nationality not with the UK flag, but with the Yorkshire Tea logo! A lot of us in this country, including myself, grew up wheeze-laughing to the naughty British sketch shows that would appear on our telly every evening. This play provides us with that sense of nostalgia, really making us feel like a live studio audience at a legendary episode taping. It is quintessentially British, being audacious and self-deprecating, yet still patriotic.  

Pat Rascal also uses props excellently, enhancing Space Gravy’s delightful absurdity. The play opens with Blin and Khorassani throwing grapes into each other’s mouths (while Davidson lip-syncs to narrations of Yorkshire’s excellent progress in the 2012 Olympics), and it closes with the three actors wrapped tightly together in an open cardboard box. We have pieces of A1 paper translating for the audience funny Spanish sentences into English (who knew Pat Rascal knew Spanish?), and, of course, Yorkshire puddings being passed around. Though the props “may or may not fit in the Camden People’s Theatre”, they certainly fit into this play! 

Stories about friendship have always been my favourite! Though we tend to love the Big Confrontation Scenes, Space Gravy remains refreshingly positive. Though Yorkshire, Yorgos (Blin) and Jon (Davidson) move away from each other as kids, it is the county Yorkshire and their dreams of going to space that bring them back to each other. Seeing three hilarious friends achieve their dreams is just FUN. All of them are worth rooting for. There isn’t a weak link in this play; all three actors are at the top of their game, uplifting each other as well as themselves. 

If you want a brilliant night out, go and watch Pat Rascal: Space Gravy! Kudos to all involved! 

REVIEW: Ghost Stories

Published on by nebularis85Leave a comment

Rating: 3 out of 5.

“A thrilling experience to be had! Not for the easily scared.”

From the writers of the League of Gentlemen and Derren Brown’s show “Dead set” Jeremy Dyson and Andy Lyman’s “Ghost Stories” has landed in Edinburgh this week at the Festival Theatre. “Ghost Stories” certainly does set the atmosphere well and expectations for a thrilling night full of intrigue and fear are definitely achieved. The lighting and sound add a great level of suspense and tension superbly crafted by lighting and sound designers James Farncombe and Nick Manning. As we wait to enter the auditorium there is tension built with unpleasant banging and rumblings leaking out as theatre goers order pre theatre drinks. Upon entering all sense are heightened as the sounds are louder and the lights at random points flicker on and off. With the safety curtain down and a lectern set up in front of it there is certainly a feeling of all not being as it seems. Throughout this high tech show the lighting and sound are key to each story’s tension and suspense being effectively impactful and frightening as without them the jump scares would, I fear, land flat.

From the start it is clear the intention is to be a highly immersive experience with audience interaction and responses important to the plot moving forward at the beginning. We begin with a lecture in real time about the paranormal and the study of parapsychology lead by the main character Professor Goodman executed brilliantly by Dan Tetsel. Tetsel gives much needed comic relief after intense moments with little nuances adopted into his role. He successfully puts the audience at ease bringing a good balance of light and shade throughout the performance. During the opening scene Professor Goodman talks of the relationships we all have with the paranormal. With a quick poll taken using hand raises it is revealed that a large percentage of us are believing in paranormal existence or simply wanting to believe. No spoilers will be revealed in this review for the sake of secrecy for the shows continued success however I can say it was more enjoyable to learn something about our understanding of paranormal activity as a premise compared to the story unfolding later.

A cast of 5 strong actors certainly made the stage feel as though there was a larger presence there continuously as each part came into realisation with an intense and heightened sense of fear. Some moments are truly terrifying and the actors narratives are beautifully delivered by all the cast who use their voices well to set the scene and fully absorb the audience. The senses truly are immersed as with every ‘ghost story’ told the auditorium gets considerably colder. A clever way to really get the hairs on the back of your neck standing on end. Director Sean Holmes has cleverly crafted all scenes using shadow effectively along with well chosen props and staging designed by Jon Bausor which all enhance the unsettling moments and help to build the tension well. It is certainly the sound design by far that keeps the suspense prolonged and further praise needs to be awarded to how slick and effective this has been excellently put together by Nick Manning.

Overall this exciting horror performance is definitely worth a look with its palpable tension and scary moments which are highly thrilling to watch. Check it out this week before it closes this Saturday 29th March.

REVIEW: Macbeth

Published on by Antonia Constantin1 Comment

Rating: 4 out of 5.

A sharp, fast-paced Macbeth that speaks directly to a new generation

This year’s production of Macbeth forms part of Playing Shakespeare with Deutsche Bank, an educational initiative by Shakespeare’s Globe that has been running for 19 years. This latest adaptation of Macbeth is a fast-paced, 90-minute version, carefully edited to preserve the heart of the story while making it more digestible for those studying it as part of the GCSE curriculum. 

The world of this Macbeth is set in a kind of heightened now and not historical Scotland, a world close enough to our own that teenagers could probably imagine themselves in it. Combat gear, bikes, backpacks. It opens with a patrol of modern-day soldiers sweeping a space, only to be interrupted by three hikers who stumble into danger and are immediately shot. It’s brutal, jarring—and those hikers? They come back as the three sisters, though here they feel more like wandering spirits than witches.

These sisters are a highlight. Dressed in clothes that look like they came straight off the high street, they cartwheel, climb, and flip across the stage like something between ghosts and parkour influencers. Their movement is sharp and unsettling, but also weirdly cool, which is exactly the point. The supernatural here isn’t mystical—it’s disruptive, impossible to ignore, and oddly familiar.

Banquo, too, feels tailored to the audience. He rides on stage with a bike helmet and a laid-back attitude, and after his death, he joins the sisters in their acrobatic world, flipping across the stage like death gave him extra agility.

The whole play runs without an interval, stripped down to the essentials. There is a sense of efficiency, maybe too much at times. A lot of text has been cut, and with that, some of the emotional and psychological complexity goes missing. The characters are played with clarity, but mostly safely.You are  not likely to walk away haunted by their inner turmoil.

That said, there are plenty of fun and clever touches. One of the most memorable scenes is when Macbeth and Lady Macbeth prep for Duncan’s murder. There is an energy to it that feels more like an episode of Dexter than Shakespeare. They even whip out luminol spray to test for blood. It’s dark, but playful.

The newly written porter scene isn’t just a playful break in tone. It is a moment that acknowledges its young audience, speaking directly to them and even making a bit of fun at their world. It goes beyond simply breaking the fourth wall: it challenges, and invites them in. With sharp humour, Jo Servi takes on fast fashion and AI-generated homework, two hot topics for a generation growing up in the middle of climate anxiety and tech overload. 

This isn’t the deepest Macbeth I have ever see, but that is  not its goal. It is a smart gateway production, especially for first-timers or teenagers who might otherwise find Shakespeare intimidating. It doesn’t ask too much, but it might just spark curiosity. And sometimes, that’s the best kind of first impression.

Macbeth runs at the Globe Theatre until the 20th April.

REVIEW: Sabrage

Published on by annieyezhoua29f00172fLeave a comment

Rating: 4 out of 5.

The sexiest show in London!

In the heart of King’s Cross, Lafayette transforms into a playground of provocative performance with Sabrage, a show which delivers an exciting evening that teeters between burlesque, circus, and unbridled entertainment. Directed by Scott Maidment (known for Madonna’s Rebel Heart tour), the show cultivates an immersive party atmosphere. The costumes blend Moulin Rouge glamour with queer club aesthetics, creating a visual language that’s both camp and sophisticated. 

From the moment the performance begins, it’s clear this isn’t your typical theatrical experience. Co-produced by Strut and Fret, and the Menier Chocolate Factory, Sabrage embraces a raw, playful energy that challenges traditional performance boundaries. The show’s title references the champagne-opening technique, and this sense of theatrical ritual shines throughout the entire production.

The most compelling moments where when the technical skill of the very talented cast took centre stage. Emma Phillips’ juggling routine, where she balances umbrellas and a small table using just her feet, demonstrates the kind of technical feat that elevates the show. Similarly, Spencer Novich’s performance combines exaggerated mime, sharp physicality and comedic musical cues to create an original and entertaining piece.

Another highlight was the aerial work performed by Kimberley Bargenquast and Flynn Miller. Their harness performance manages to be simultaneously elegant and provocative, culminating in a moment of genuine theatrical magic accentuated by exploding glitter confetti.

Among the show’s most audacious moments is Remi Martin’s comedic performance, where he transforms his anatomy into a percussive instrument to the tune of Edith Piaf’s Je Ne Regrette Rien. Martin demonstrates the show’s unapologetic approach to physical comedy. It’s a moment that encapsulates Sabrage’s determination to shock, amuse, and push theatrical boundaries.

Despite the show’s high-energy performances and striking visual effects, some segments felt overly fluffy, occasionally dragging on or repeating themselves without adding much substance.

Sabrage is not a show for those seeking traditional theatrical narrative. It’s a boundary-pushing cabaret that celebrates physicality, camp humour, and uninhibited performance. For audiences seeking an evening of entertainment that defies conventional expectations, this show delivers a memorable, if occasionally uncomfortable, experience.

REVIEW: Florence

Published on by Savinay SoodLeave a comment

Rating: 4.5 out of 5.

“Fleabag meets Jekyll and Hyde in this biting dark comedy” 

Honor Santa Barnes is a revelation in this one woman show. Florence follows a nameless woman and her invented alias of a high society persona in order to succeed in the art world. As the show progresses the line between our protagonist and her persona blurs, asking questions about the cost of pretending to be someone else. The show is philosophical and dark, but most importantly, funny. 

Honor Santa Barnes and Eleanor Blackwood’s script is equal parts class based satire and poignant reflection on mental illness. Their protagonist is not simply one dimensional, she is cruel and funny and judgemental and insecure all at once. The intimacy between performer and audience is incredibly effective, the show acting as a conversation. They are able to avoid typical pitfalls of one person plays largely through the frequent humour. The concept of pretending to be someone else has been played for drama (e.g in The Talented Mr Ripley) and laughs (e.g in Anything Goes) and whilst this is a distinctly dramatic show, I admire the fact that it stays very personal, and therefore plausible, there are no murders, no mobs, no secret weddings, just a woman who hates herself. Keeping the stakes relatively low is exactly what this genre needs to feel grounded and real. I wish we’d seen her contradict herself more, calling into question the narrative she’s presenting, the reference to her 5 bedroom childhood home was brilliant and I wish we’d had one or two more references like that. However, at a tight 55 minutes, the show is a near perfect one person show. 

A one person show lives and dies on the strength of its leading actor, and Honor Santa Barnes does not disappoint. The show makes full use of her range, showcasing every accent from RP to Glasweigan to Australian. The show simply wouldn’t work without her charisma and athleticism. Her performance is equally manic and measured, and it truly is an artistic tour de force and the show seems designed to show off her range. Her commitment to the performance is remnicient of Jodie Comer in Prima Facie. She is utterly charming, and the audience roots for her even when she is doing objectively terrible things. 

It would be criminal not to mention the efficacy of the design for the show. Ed Saunders’ creative use of LEDs coupled with Sarah Spencer’s synth music and Ellie Wintour’s minimalist set work together absolutely beautifully. The design elements transport the audience everywhere from a nightclub to a gallery space to an upper class party. The script perhaps hits less hard than it could in the wake of recent films like Saltburn, but it is still an incredibly strong show. I have no doubt that this show will have further life at a Fringe and when it does, you absolutely should go see it.

REVIEW: The Kelton Hill Fair

Published on by nmcgarrityLeave a comment

Rating: 5 out of 5.

A once in a lifetime fair, and a once in a lifetime show representing Scotland’s finest creators.

From beginning to end I was blown away by Wonder Fools’ latest production, The Kelton Hill Fair. Written by Jack Nurse and Robbie Gordon, the play showcased the efforts of an incredible case and wonderful crew to bring together a story that is as unforgettable as it is unsettling. The story was created by a selection of young people from Dumfries and Galloway: their talent must be recognised within the production, and they – Holly Marie Chapman, Charlie McAdam, Emma Forsynth, Sara Thomson, and Eilidh Thomson – must be applauded for their impressive storytelling collaboration.

The play follows Flo (played by the brilliantly earnest Ava Hickey) as she runs from her foster mother after trouble with the police and a schoolteacher. Bereft and alone, she stumbles upon the Kelton Hill Fair: a fantastical fair that is only accessible one night in the year, filled with those that don’t belong. Just like her… or so it seems. She meets the wonderfully batty group – the apparent-feminist Lady Dixie, played fabulously by the superb Julie Wilson-Nimmo; the erratic but initially-charming Hare (Michael Dylan excelled within the role!), the loveable down-to-earth Lizzie (Laura Lovemore twice moved me to tears), and, of course, Robert Burns (the incredibly versatile Martin Donaghy). Cut through with startling, unnerving moments of reality for Flo, the group do their best to make Flo feel at home in the idiosyncrasies of fair life: all with a staggering amount of alcohol (in true Scottish style?). Sam Stopford, filling in for Perri Snowdon as Billy Marshall, stood in contrast to the initial levity of the other fair folk. Brooding, temperamental, and manipulative, the emotion Stopford displayed especially towards the end was an incredible display of skill. Both he and Hickey stunned the audience with the final few scenes of the play, giving some of the most heartfelt acting I’ve seen in a while. 

Bold and brilliant, I cannot forget the incredible work of the crew behind the scenes. In charge of set, Jenny Booth created the charming innovative hill, while the lighting by Benny Goodman and the music by VanIves accompanied the tone set by the acting and writing incredibly. With brave portrayals of some of Scotland’s most well-loved legends (Burns in particular, as perhaps the most famous Scot of all time, was given extraordinary, slimy depth), The Kelton Hill Fair accomplishes the ambitious motives of national storytelling and broadening local participation that the company set out with. The cast and crew have an astonishing ability to twist emotions: sympathy turns to horror and disgust; levity and comedy becomes tragic within moments. The audience laughed and gasped and fell dead silent all throughout the performance.

Walking away from the performance with tears in my eyes and a renewed feeling of Scottish… perhaps not pride, but identity… in my heart, I have only two regrets. The first is that I had not found the company sooner: I was spellbound the entire time and know they will only excel further from here. The second is that I had walked into the theatre quite fond of Burns’s poem ‘To A Mouse’ – and found myself leaving knowing that I would never read it the same way again. With a mix of poetry both old and new, wonderful songs and music, and a universal story of what it means to belong, be remembered, and have someone on your side, Wonder Fools’ next production is not to be missed. If you have the chance, I cannot recommend The Kelton Hill Fair highly enough. 

The Kelton Hill Fair runs at the Tron until the 29th March.