Everything Theatre

A delicate exploration of why humour so often accompanies grief.

A riotous blend of dance, slapstick and nudity set to classical music transforms everyday embarrassments into gloriously absurd comedy.

A fabulous rendition of Sondheim to share with company, and an outstanding immersive event.

Ned Blackburn’s raw and moving play follows Johnny as he struggles with sexuality and identity in a culture obsessed with masculinity and rugby.

A good cast can’t put the sting in this Wasp.

Dreadfully funny, riotously camp and thoroughly engaging!

A stylish Ridley piece that, despite strong performances and design choices, occasionally loses track of its time

A darkly comic feast that offers plenty to savour early on, but only crumbs to digest by the end.

A dead man guides us through a sharp, dark underworld tale of drugs, gangsters and spiralling violence.

Even the best of production values can’t hide the lack of a real story.

An interesting concept that needs development.

Churchill’s masterpiece given a searingly sharp contemporary edge in a darkly comic production.

A lively event featuring Walter showcasing her book She Speaks!, where she reimagines Shakespeare’s female characters with wit and depth

An affectionate, hilarious romp through seventy years of the competition that seems to divide and yet unite us all.

Bold, brash and brilliantly entertaining, Tender blends electrifying performances with sharp insight to deliver a fresh, funny and affecting study of masculinity.

How do we find the courage to break the cycle and create change?

The design aesthetic is a thing of beauty: from the repurposed spaces to the tiniest stage prop.

A comic exploration of finding community in unlikely spaces.

explosive drumming, humour, choreography and human connection to celebrate resilience, energy and the unifying power of live performance.

25 years young: BalletBoyz wonderful anniversary celebration

Celebrating inclusion, performance history of blackness, queerness, and urbanity… decolonising theatre, one beat at a time.

Impactful performances and moving staging centre this powerful adaptation.

A well-known tale of fairies, weddings and mischief refreshed with song, glitter and bubble machines to instantly grasp the audience’s attention.

A poignant, visually rich sketch of nineteenth and twentieth century theatre.

A dynamic, creative and energetic selection of music and dance from around the globe

Liz Moran and Lucy Keeley on the Playground Festival for early years audiences

Daryl Beeton on investigating what it’s like to feel Boxed In

The official press launch of Cole Porter’s High Society

Stephen Leach and Mimi Collins on One Breath Before The End

Llewella Gideon on CARE at the Young Vic

Lilwen Faulkner on new play Five

Party Favour, a one-woman fairy clown fever dream, comes to Etcetera Theatre soon.

Josephine Burton takes us inside Our Public House

Mr Daljung Kim on bringing The Last Man from small screen to stage

Al Nedjari on playing the trailblazing Omar Sharif in Love Omar

PuppetSoup's Gabriela Céspedes and Fagner Gastaldon discuss a summer of Lambe Lambe

Callum Pardoe is CHANNEL SURFING AT THE END OF DAYS Callum Pardoe’s CHANNEL SURFING AT THE END OF DAYS receives its world premiere at Hen and Chickens Theatre later this month. Produced by the new grassroots company Friends of David, the play is a bold, apocalyptic anthology that draws atmospheric inspiration from the surrealism of David Lynch and the haunting echoes of Joy Division. Described as an exercise in experiencing humanity through its “fleeting beauty, silliness, and heartache,” the production offers a glimpse into the final moments of a variety of characters before an unknown reckoning brings an end to life on Earth. As fans of anything apocalyptic, we couldn’t resist asking Callum if he’d like a chat, because if the world is really going to end, we may as well find out what to expect. Besides, what do you have to lose if this really are our last few days before it all goes boom. Why have you chosen an anthology structure to explore the “end of days” rather than a singular, linear narrative? It’s a format that the play has lived in since its inception back in early 2020. I wanted to experiment with dialogue and the end…