Off-West End theatre

This review is from 2023. SplitLip’s delightful spoof WW2 musical has been heading inexorably for the West End for something like five years now. It’s a fringe theatre comet that’s gathered mass and momentum via seasons at the New Diorama, Southwark Playhouse and Riverside Studios, and has now made impact in Theatreland – wiping out a West End dinosaur to boot, as it displaces ‘The Woman in Black’ after over 30 years at the Fortune Theatre. And it’s really hard to be anything but delighted for the company, which consists of David Cumming, Felix Hagan, Natasha Hodgson and Zoë Robert. All bar Hagan perform in the show, with Claire Marie Hall and Jak Malone rounding out the cast. This is very much their triumph. And though it’s been redirected for the West End by Robert Hastie, ‘Operation Mincemeat’ is at heart the same show it always was. There are no added backing dancers or bombastic reorchestrations. It’s slicker and bigger in its way, but still feels endearingly shambolic where it counts. It’s a very larky account of the World War 2 Operation Mincemeat, a ploy from British intelligence to feed the German army disinformation via a briefcase of false war plans strapped to a corpse that they hoped to pass off as a downed British pilot (yes, there was a recent film with exactly the same name, about exactly the same thing, and yes they do make a joke about this). The story centres on Charles Cholmondeley (Cumming), the socially inept MI5 operative who dreams up the plan, and...

A labour of love that has worked its way slowly to the West End over the five years since it debuted at Southwark Playhouse, at its best Jethro Compton’s The Curious Case of Benjamin Button is an extraordinary thing, a soaring folk opera that overwhelms you with a cascade of song and feeling. It is based on F Scott Fitzgerald’s 1922 short story, and shares a premise: Benjamin Button (John Dagliesh) is a man inexplicably born at the age of 70, who then begins to age backwards, leading to a strange, exhilarating, sometimes extremely sad sort of life. Writer/director/designer Compton’s interpretation is very different to both Fitzgerald’s and the 2008 David Fincher film starring Brad Pitt. For starters it’s not set in nineteenth century America, but is virtually a love letter to Compton’s native Cornwall, its story spanning much of the twentieth century.  Fitzgerald’s plot is loosely followed, but heavily tinkered with – one of the more significant changes is having Dagliesh’s Benjamin born with a full adult’s mind and vocabulary rather than beginning life as a baby in an old man’s body. More to the point, it has a joy, romance and big-hearted elan that stands in stark contrast to Fitzgerald’s cynicism and the dolefulness of Fincher’s sloggy film. Indeed, despite tragic notes from the off – Benjamin’s mum takes her own life early on – the tone is largely whimsical and upbeat, focussing on the eccentric minutiae of Cornish village life, from oddball shopkeepers to dozy sheep....

This review is from 2019. Anansi the Spider returns in 2025.  Anansi the trickster spider went global a long time ago. But Justin Audibert’s inaugural production in charge of the Unicorn takes folklore’s most famous arachnid right back to his roots. Under Sadeysa Greenaway-Bailey’s sprawling tree set, performers Afia Abusham, Sapphire Joy and Juliet Okotie file on clutching djembe drums, wearing West African clothes and accents as they launch into a funny, energetic trio of tales. In the first act, Anansi steals the world’s wisdom, only to reflect that this might have been a rather unwise decision; in the second he blags some vegetables from a green, er, fingered snake and cons a series of unfortunate other animals into paying the steep price demanded for the veg; the third hops to modern London – this time Anansi is a chancer who concocts an elaborate scheme to bag himself two dinners and ends up falling flat on his face. The three women divvy up three Anansi roles for a funny and lively show for ages three to seven that’s essentially old-fashioned storytelling, done with pace and care. There are no splashy spider costumes, but they’re not necessary – the young audience get that each woman is a different facet of Anansi. And if it’s mostly about the power of their words, then engaging music and lighting switches up the mood when small attention spans threaten to wander. There’s also some sublime physicality, be that Anansi teetering precariously up the enormous tree...

After being at the Leicester Square Theatre since what feels like the dawn of time, Freckle Productions’s moves to a new venue as it returns with its splendid puppet-driven family adaptation of Julia Donaldson and Axel Scheffler's popular book. The hapless Stick Man's domestic idyll – living up a tree with his Stick Lady Love and their trio of stick sprogs – is shattered when an enterprising dog mistakes him for a common or garden piece of wood. Ages three-plus.