It’s 2003, and war has broken out in Iraq. Baghdad is in flames. Iraqis are forced to manage conflicting loyalties to the invading force claiming to liberate them, and the thousands of countrymen who died because of the invasion.

Meanwhile, it’s 2025, and war is dominating global headlines: Israel and Palestine, Russia’s invasion of Ukraine, and mounting rhetoric against Venezuela from the United States, rhetoric that in many ways mirrors that of the Iraq War. This play could not have better timing, drawing clear parallels with current events.

The premise is embellished from the true story of an unlikely casualty of the Iraq War, a Bengal tiger that was shot dead by an American soldier at the Baghdad zoo. But in the play, the tiger does not simply die. Instead, she ends up haunting the streets of Baghdad, questioning her existence, her beliefs and her morals as the war rages on.

Olivier Award-winning Kathryn Hunter is spectacular as the tiger. She is sharp and cutting, making every word one to hang on. What makes her performance even more impressive is the fact that she has been subbed in at the last minute for David Threlfall, who is out due to illness. She makes the role hers in spectacular fashion, stealing the show with buckets of charm.

It would be criminal not to mention the rest of the cast are great, whose only fault is performing alongside Hunter. But each one of the tight group of actors is flawless in their role.

Joseph’s writing is a wonderful existential web that drips with dark humour. This results in a performance that’s funnier than some comedies while still delivering gut punches where it matters.

Bengal Tiger at the Baghdad Zoo is the right show at the right time, performed and directed with genuine excellence. It does not disappoint.

Jim Compton-Hall
Photos: Ellie Kurttz

Bengal Tiger at the Baghdad Zoo is at the Young Vic from 4^th December 2025 until 31^st January 2026. For further information or to book, visit the theatre’s website here.

The story of a wooden puppet desiring to be a “real boy” is well known, although musical creators Charlie Josephine and Jim Fortune expand on Pinocchio’s setting before releasing their string-less tyke on stage. It’s a traditional Italian town (via way of Northern England) that views any change as a hindrance. Bumbling inventor Geppetto (a lovably vexed Nick Holder) wants to shake things up, creating a puppet-boy from a remarkably vocal lump of wood (voiced and performed with terrific exuberance by Lee Braithwaite). Pinocchio is born, and alongside a litany of questions, he’s got a boundless thirst for adventure.

While designer Grace Smart’s baroque-rococo aesthetic, Victorian toy-theatre layered set, and Megan Rarity’s commedia dell’arte costumes appear to tease a conventional production, Pinocchio is a thoroughly modern rendering that combines irreverence with unabashed heart. The titular star feels very appropriate for today’s audience: a magic puppet with attention-deficit disorder that drives his insatiable curiosity. Sublime puppeteering from Braithwaite, Stan Middleton, Aya Nakamura and Andrea Sadler not only create life-like movements but also embody his loud, impulsive nature. He’s an eye-trap for the children, and sufficiently noisy and domineering at times to keep them fully engaged.

But there are delights for adults too. Alongside cheering on Holder’s insecure underdog as he blunders through the travails of unexpected fatherhood, Josephine and Fortune’s script revels in jabbing at the story’s famous retellings (such as Steven Webb’s camp, pointedly renamed “Giacomo” Cricket and Lucy McCormick’s depressively “Blue” Fairy) and the Globe setting itself. Ed Gaughan’s shabby showman, Franzini, is a particular naughty pleasure when he adlibs about middle-class audiences and other West End theatres. Yet, the play isn’t all jokes and sentimental songs about blueprints for life and love. There are a few shocking moments on Pinocchio’s journey, although this darker edge isn’t permitted to linger long.

The above is just a few splinters of this enchanting show. The ensemble remains energetically comedic throughout; the creative stagecraft and choreography surprise when realising improbable story scenes on-stage; and some of the tunes in the vaudevillian-style score are very catchy (Act One’s finale tune Money Matters has the audience humming into the interval). Best of all, the modest pit area is probably the best view in the whole house. If audiences can’t splash a fortune on the London Palladium’s Christmas panto, this new musical is a wonderful and, dare this reviewer say, superior alternative. The joyous magic in this production not only brings the wooden boy to life, but London’s famous “wooden O” as well.

James Humphrey
Photos: Johan Persson

Pinocchio is at Shakespeare’s Globe from 13^th December 2025 until 4^th January 2026. For further information or to book, visit the theatre’s website here.

Watch the trailer for Pinocchio at Shakespeare’s Globe here:

Across 80 minutes, the jokesters deliver several short summaries of classic pantomimes, reinvented for comedic effect. Everything about Clarkson and Trainor is hilarious. Their chemistry is effortless, and it carries straight to the audience. Almost every gag lands, with one joke about being “as smart as a Reform councillor” sparking a loud burst of laughter from everyone.

The strength of the production lies in the originality of its humour and the balance between the performers. Both men share the stage equally, taking turns narrating and embodying the characters. A standout moment is the cat in Dick Whittington, who apparently has to “sound street” because he grew up on the street, channelling Ali G.

The show does more than parody pantomime plots; it brings all the familiar tropes, laughter and audience involvement that make panto what it is. Participation from attendees is excellent when it comes, particularly the self-proclaimed princess sequence and the wonderfully egotistical Princess Charming in Sleeping Beauty and Cinderella, who earns the most audience laughs.

Credit is due when it comes to the script, written by Hurst, Clarkson and Jefferson Turner. In less capable hands, Potted Panto could have tipped into chaotic nonsense, but here the controlled madness is exactly what keeps everyone engaged. The writing is witty and sharp, with a few adult jokes woven in, yet it still appeals to children thanks to occasional toilet humour that never becomes excessive.

Nicky Bunch’s costumes blend fairytale accuracy with playful creativity. Theatregoers instantly recognise the characters, even when the beanstalk costume looks like a Year 6 DT project, which is entirely intentional.

Music and sound add to the fun. Tom Lishman’s sound design heightens several gags, especially Princess Charming’s repeated and deliberately irritating cry of “Huzzah!” Phil Innes’s musical compositions supply an upbeat, Christmassy background that keeps spirits high throughout.

The only confusing moment is the 3D AI segment. While this part features the most audience participation and the context is there, the AI joke itself feels out of place. It is contemporary, but it doesn’t sit comfortably within the rest of the production’s style. Crowd involvement helps redeem the sequence, though it still doesn’t land as strongly as the rest.

Overall, Potted Panto is a brilliant night out for the whole family. It offers more than a retelling of familiar stories; it delivers impeccable comedic timing, well-crafted jokes, over-the-top costumes and plenty of full-belly laughs.

Sophie Humphrey
Photos: Geraint Lewis

Potted Panto is at Wilton’s Music Hall from 3^rd December 2025 until 3^rd January 2026. For further information or to book, visit the theatre’s website here.

The theatrical production excels from the outset, offering an immersive 1840s Victorian world steeped in Charles Dickens’s history and Christmas spirit. Yet it is not all warmth and cheer, as Dickens has a new tale to share: A Christmas Carol.

This retelling features Tama Phethean in a remarkable one-man performance, taking on every character from the 1843 novel. The fact that the role is shared between three actors across the run speaks to the sheer effort and stamina required. Phethean is outstanding. He switches effortlessly between working and middle-class London accents, bringing each character to life with precision. His physicality is masterful. Tiny Tim is still and fragile, while Ebenezer Scrooge shifts between sharp-footed irritation and begrudging softness depending on his mood. Every movement is purposeful, and every line lands.

Throughout the performance, the audience hangs on Phethean’s every word, laughing, reacting and watching him navigate the vast room without missing a beat. Surrounding him is a richly detailed Victorian setting. Lanterns hang above the tables and glow during tense moments. The walls are lined with old books, and wreaths and a Christmas tree add warmth, creating a vivid sense of festive London.

The atmosphere is deepened by a beautiful classical score composed by Steffan Rees and performed by three virtuosos: on percussion, violin and cello. The music is soulful and perfectly pitched, especially during one of the standout solos later in the evening.

Most importantly, the production captures the feeling of Christmas. The audience participation is particularly charming, with guests invited to read small roles from Dickens’s world. Watching people step into character with amusement and confusion adds to the magic.

The three-course dining experience complements the performance. Diners begin with Dickens-inspired cocktails designed to accompany each course. The highlight is the pear-infused Pear Tree Cup, although the Smoking Bishop, reminiscent of mulled wine, pairs well with the potted beef starter. The Roast Duck Leg, created by Executive Chef Ashley Clarke, is excellent and full of flavour. The only disappointment is the allergen-friendly dessert option: a small chocolate mousse is neither Dickensian nor an adequate substitute for the Twelfth Night Cake.

Where the food occasionally falters, the show more than compensates. This is a thoughtful and imaginative one-man retelling of Christmas past and future. The staging, music, food and costumes come together to present Dickens’s most beloved tale in a way that feels both traditional and fresh. The result is an evening wrapped neatly like a Christmas gift, ready to be unwrapped and enjoyed.

Sophie Humphrey
Photos: Johan Persson/Hanson Leatherby

The Great Christmas Feast is at The Lost Estate from 14^th November 2025 until 4^th January 2026. For further information or to book, visit the theatre’s website here.

The production begins in a pub, with 1,000 per cent energy put into the New York Girls and Round Table dances, and a heart-warming, quintessentially Irish tune is matched with impressive high kicks and impeccable leg work from the dynamic Olivia Graydon and the Irish dancers. These early numbers demonstrate how versatile Irish dance can be – from upbeat and fun to sultry and sensual. Then the tap dancers – a young ensemble led by the egregiously talented Bayley Graham – take the stage with Fly As Me, a swaying, street-dance style number with a confident, swaggering feel.

Highlights of tonight’s performance include the acapella sea shanty rendition of Wellerman, and The Mop Boy and The Mop Boy Returns.  The Mop Boy (Matt Walker) has a job to do – but whenever nobody is looking, he dances with himself, using the mop as a partner and showcasing some impressive tap skills. The Boss (Tom Ball) catches him a few times, but Mop Boy persists. After being trolled by the sound engineer with a series of “lonely” themed songs, Mop Boy finally catches the attention of Graham and is welcomed into the tap group.

Graham brings oodles of slightly cocky charisma. He has a casual self-assurance, and his Tap Solo oscillates between jaw-dropping prowess and subtle, flirty toe clicks. At one point, he performs faster and faster shuffles while balancing a stick on his nose. He knows he’s good, he knows that you know he’s good, and it’s mesmerising to see what he can do.

What stands out about Emerald Storm is the sheer enthusiasm and joy on the performers’ faces, and how supportive the show feels. Even when the dancers are technically meant to be competing in a dance off (Tap Jam), it’s much more about elevating each other than overshadowing, with every dancer given the chance to display their skills. The talent in the room is palpable. Emerald Storm is a delightful celebration of tap and Irish dance, both of which don’t get to rule the stage often enough. Hopefully, this production can encourage a new generation of dancers to embrace these styles and keep them alive.

Sophia Moss
Photos: Nick Brooker

Emerald Storm is at Emerald Theatre from 25^th November until 14^th December 2025. For further information or to book, visit the theatre’s website here.

Two faces has Love Actually, a film that may tempt you to decry it as a crass cutesifying of all things British for the purposes of courting American love (the mere fact of Marshall’s accent scoring him instant adoration overseas is as canny a self-metaphor as Curtis’s movie could have mustered) just as it unfailingly leaves you hammered into submission with the sheer, unselfconscious bravado of its airport-running, aquatic Nativity-staging, public proposing finale. To take Love Actually in all its “yes, Christmas is stupid and so is love and aren’t they great anyways?!” glory and declare that what it really needs is to be sillier, raunchier and more self-deprecating could easily be seen as gilding a lily that doesn’t need much gilding to begin with. Thus, it’s to the credit of the team behind the new all-singing, all-dancing spoof show Lovers Actually that their venture proves as infectious as it does.

The layout is fairly straightforward: a cast of four (Martha Pothen, Ross Clifton, Holly Sumpton and Joseph Beach, each pulling at least quadruple duty across the film’s vast ensemble and showing off impressive pipes) act out fairly faithful recreations of the many plots of Love Actually, now with classic Christmas tunes thrown into the mix and cheerfully mangled. Admittedly, in the early going, there is some cause for concern regarding the ways in which the rich source text has been re-interpreted. Pop culture references are all well and good, but one joke has been afforded to the show’s adaptation of the film’s Liam Neeson/Thomas Brodie Sangster story – that being to transform the Neeson of the film into the growling bone-breaker of Taken, barking orders to whip his stepson into shape – and this joke (and others)’s dependence on our familiarity with the film’s famous faces wears thin. When Alan Rickman’s pitiful adulterer strides out in the wig of a certain Defence Against the Dark Arts teacher, fear sets in that a spoof of Love Actually may have few tools at its disposal save shouting out the elephant in every celebrity-bedecked room.

Then, a burst of inspiration strikes when it comes time to enact the movie set flirtations of sex scene body doubles Judy and John. As the ever-game cast mutilates the Christmas songbook (ah, the proud stupidity of belting “In the cheek’s mid-sphiiiiiinnnnccctteeerrr” to the tune of a certain sung-through Christina Rosetti poem), Lovers Actually fully locks into the freewheeling, anything for a laugh spirit that will power it to genuine comic heights over the course of its punchy 100 minutes, its confidence gathering to the point that the gaffes have almost as much charm as the hits.

Redundant an observation as it may be, the fact that writers Neil Hurst and Jodie Prenger clearly love Love Actually for everything it is and fails to be is a considerable factor. Queer readings have never been far from Nighy’s late-in-the-game declaration of love for his faithful, long-suffering manager, or Mark’s not at all creepy fixation on the marriage of Juliet and Peter (a notion the film itself entertains before chickening out), but it’s satisfying all the same to see them realised with such enthusiastically filthy gusto. Additionally, the idea of Natalie acquiring more agency in her fairytale will they, won’t they with the Prime Minister has been considered, but few would envision it in the form of the onstage Natalie belting into a dildo while laying waste to the PM’s office (with time for a meta jab at the movie’s tone deafness on the subject of the character’s appearance).

It’s enough good-natured silliness to make you wish the movie’s bummer Laura Linney story had made the cut (if one may suggest some rejigged Christmas lyrics: “This is the depressing part of the movie (ba dim), that gets you to channel surf when it’s on TV (ba dum)!”). Still, just as important as the clear affection for all things Love Actually is the engagement of an intimately scaled, enthralled crowd. While the show’s gags are as suitably hit-and-miss as most any spoof show’s are bound to be, no bigger laugh is inspired all night than when one of the cast members breaks into laughter from the sheer intensity of their own performance. In this moment, theatregoers and those onstage are collaborators in the same shared spirit, and one imagines Lovers Actually would suffer greatly from a less receptive audience. On this night, however, Lovers Actually is a winner. It may even make you that little bit more open to the idea of sitting down to the film with relatives yet again.

Ultimately, highly committed performances, a swiftly shape-shifting set (courtesy of designer Louie Whitemore, with additional credit due to choreographer Kim Healey and director Alex Jackson), and so much pure, high-energy stupidity add up to a thoroughly likeable spoof that hits many of its marks without overstaying its welcome. It even takes the time to punch upwards at the grotesques of contemporary American and British politics without getting off track (“Nigel Farage? Well, someone must love him. Probably”), another sign of a show with its goofy heart set firmly in the right place.

Thomas Messner
Photos: Pamela Raith

Lovers Actually is at the Other Palace from 27^th November 2025 until 3^rd January 2026. For further information or to book, visit the theatre’s website here.

Alec Leamas is running a British spy operation in East Germany until his last undercover agent is discovered and killed by the opposing side. He heads back to London, ready to pack it all in when Control asks him for one last mission before he can truly come in from the cold.

Leamas is to play the role of a drunk, upset over the death of his friend and ready to betray his country, handing false information to the enemy to get them to kill one of their own.

The plot moves at a thrilling pace, hitting all the classic le Carré notes. There’s the gritty reality of spying, as opposed to more fantastical, glamorous works. It bounces around moral relativism: “Intelligence work has one moral law – it is justified by results.” And it weaves an intelligent tapestry of clues, letting the audience know that all is not as simple as it seems and something else is afoot.

Rory Keenan plays Leamas fantastically, bringing large helpings of both mystery and gravitas to the role. Agnes O’Casey also shines as love interest Liz Gold. There’s really very little fault in any of the cast, who immediately feel like a set of heavyweight performers.

The stage is almost bare, save for a beautifully designed Cold War map that adorns the floor. Occasionally, a simple chair or table is brought in, but very little is needed save for the cast themselves, adding beautifully to the dark and lonely feel of le Carré’s world.

It’s an all-round excellently crafted show. Paying homage honourably to original work, The Spy Who Came in from the Cold is everything anyone would want in a dark spy thriller: gripping, exciting and very, very clever.

Jim Compton-Hall
Photos: Johan Persson

The Spy Who Came in From the Cold is at Soho Place from 26^th November 2025 until 21^st February 2026. For further information or to book, visit the theatre’s website here.

Ebenezer Scrooge is one of the most well-known characters in literature, miserly, moody and a misanthrope. The parsimonious penny collector is portrayed this year by Paul Hilton, perfectly cast with his naturally distrusting and sullen expressions. The ensemble set the scene as guests arrive, handing out mince pies and satsumas, the theatre a sight to behold, with golden lanterns glistening above, while live music plays out on stage. Scrooge sits at his desk, working, when carol singers arrive at his home, ingenious frames rising from the stage floor, an inventive set by Rob Howell.

Scrooge’s cheerful nephew, Fred (Matthew Durkan), reminds his uncle that Christmas is the time to be extra charitable and think of those less fortunate, though his relative heartily disagrees. Soon thereafter, Scrooge’s late business partner Jacob Marley appears in large chains, embodying a ghost, who tells the miser that he’ll be haunted by three spirits. As the first of these, the Ghost of Christmas Past appears, and a large lamp swings down from above, striking in its imagery. Matthew Warchus’s direction and Jack Thorne’s adaptation preserve the essence of Dickens’s novella, yet Hilton’s delivery is filled with sarcasm and humour; the entire production is wholesome and luminous, while the cast are brilliant in their roles.

As each spirit visits, Scrooge becomes increasingly regretful of the way he’s lived life. The death of his clerk, Bob Cratchit’s son, Tiny Tim (portrayed by at least four young actors in this production), creates a grieving lull over the audience, an incredibly realised scene of sorrow, where you finally see some empathy from Scrooge. As he slowly comes to terms with how empty his life has been without love, Dickens’s protagonist begins to gradually change his ways, particularly after the visit from the Ghost of Christmas Yet to Come, as Scrooge sees the future, shortly after his demise.

In the second half, redemption is right around the corner, with a whole festive feast being prepared. The audience partakes in passing down the roast turkey and honey-glazed ham, while a bunch of brussels sprouts lands through a small parachute. As the snow cascades in white foam bubbles, the Yuletide festivities have reached their jolly peak.

There are many versions of this 1843 classic that exist today across various media, but there’s a reason why the Old Vic keeps seeing returning thespians year after year. If there’s one adaptation you see of the famous festive story, make it this.

The production company have raised over £2 million for various charities around the world over the last eight years, and Hilton kindly asks guests to donate; one attendant donated £20, which was heartwarming to see, as the crowd exited following a last beautiful rendition with jingle bells.

Selina Begum
Photos: Manuel Harlan

A Christmas Carol is at the Old Vic from 12^th November 2025 until 10^th January 2026. For further information or to book, visit the theatre’s website here.

Watch the trailer for A Christmas Carol at the Old Vic here:

A twee interwar charm is firmly established from the off, and the origins of adopted sisters Pauline (Nina Cassells), Petrova (Sienna Arif-Knights) and Posy (Scarlett Monahan) Fossil are explained. The exposition in this play is handled very well indeed, with slick, comedic stagework and a sparkling clarity of storytelling, which barely slips throughout. The sisters’ characterful warmth is embedded via lifelike scenes of communal discovery, highlighting their tender relationships, among themselves and with their guardian Sylvia (Anoushka Lucas) and pious but much-loved housekeeper Nana (Lesley Nicol).

An effective formula has been found in this production for conveying a lot in not much time, all while remaining comprehensible and boldly entertaining enough to remain family-friendly. Montage-like scenes are rife and do the legwork in achieving this rare and very welcome effect, with the help of all manner of creative props, adaptive scenery and what can only be imagined to be some precise and technical blocking. The soundtrack is also a key driver of this: deep, involved and inventive, employed cinematically but sufficiently sparingly, and ingeniously incorporating elements of some of the great ballet scores.

The set is conventional, perhaps verging on pedestrian, but it certainly carries appeal and versatility enough to serve its purpose. Meanwhile, the ensemble’s hovering, followed by a momentary bout of immersive audience participation pre-show, felt underprepared. Nevertheless, these factors do little to take away from an otherwise superb production.

A key spectacle for the family through the Christmas period and into the new year, the National Theatre’s Ballet Shoes melds intricacy of production, emotive storytelling, delightful visuals, and cunning humour into this charming, charming tale.

Will Snell
Photos: Alastair Muir

Ballet Shoes is at the National Theatre from 26^th November 2025 until 21^st February 2026. For further information or to book, visit the theatre’s website here.

Petty Men offers a play within a play, with Goodbody and Chisham’s unnamed characters understudying for Cassius and Brutus in the 100^th performance of a modern run of Julius Caesar. They’re a classic odd couple: Understudy Cassius is a disciplined thespian, forever rehearsing his lines, while Understudy Brutus is the more relaxed and lackadaisical of the pair. What unites them is a love for their craft and an underlying bitterness that others get to tread the boards while they languish backstage. To amuse themselves, they stage their own version of the play in the dressing room. But as they delve into the rich source material, the themes of brotherhood and betrayal hit a little close to home, and the events of the plot bleed out beyond the pages of the script.

Levai, Goodbody and Chisham have engineered a clever concept that offers an interesting take on the text: the aspirations of the overlooked understudies are an apt parallel for the bloody ambitions of Shakespeare’s conspirators. The blending of the two storylines is well done; the strongest scenes are the ones in which Shakespeare’s beautiful language is enmeshed and interspersed with modern speech. The high drama of the original play is effectively brought to life again in the newer story, and Petty Men is always compelling. Goodbody and Chisham are strong performers, and they have an impressive chemistry together that the performance wouldn’t work without.

But the deliberate messiness of the core concept – the ever-blurrier lines between the characters’ reality and the play they are performing – makes the story feel, at times, downright confusing. There are a lot of different production elements thrown into the mix – music breaks, fake blood, text animations on the closed-captioning screen – but they’re hit-and-miss, with only some substantively adding to the story. There’s a sense that we’re not really supposed to focus on this too much, that there’s been a conscious choice to sacrifice conventional narrative structure for tone and atmosphere. It’s certainly entertaining, but it’s not always easy to follow.

Petty Men deserves accolades for originality and for offering a genuinely interesting new storytelling approach to a classic text. It’s well-directed, well-acted and very watchable. It’s just a bit messy around the edges.

Maggie O’Shea
Photos: Olivia Spencer

Petty Men is at Arcola Theatre from 19^th November until 20^th December 2025. For further information or to book, visit the theatre’s website here.