Moon Kim’s surreal play The Arms tells the bizarre story of Domi, a woman who grows extra limbs to help save the world, and her suspicious neighbour Sora. Blending dark comedy, horror and physical theatre, the production explores clashing ideas of doing good, unfolding through strange twists, striking visuals and bold performances.

Part poetry, part drama, Blackbird Hour follows Eshe, a grieving Black woman spiralling through loss, love and self-destruction. Babirye Bukilwa’s unflinching play offers a visceral exploration of mental crisis and the fragile, complicated ways others try to care.

A one-woman show inspired by real New Traveller experiences, Roadside follows a young woman searching for freedom, belonging and authenticity within roadside festival culture, blending poetic storytelling with powerful sound and striking personal insight.

The National Theatre’s War Horse gallops into Bristol with breathtaking puppetry and emotional power, telling the timeless story of a boy and his horse amid the horrors of World War One.

This dazzling revival of How To Win Against History brings the flamboyant life of the fifth Marquess of Anglesey to the stage in a camp, poignant musical that celebrates individuality, excess, and the courage to live unapologetically.

Dazzling, extravagant, and unapologetically over-the-top, Moulin Rouge! The Musical trades the film’s grit for spectacle, delivering a whirlwind of pop mash-ups, lavish design, and high-energy performances.

Chalk Line Theatre’s electrifying production captures one wild night in Luton, blending humour, danger, and tenderness in a coming-of-age story that lays bare the pressures facing working-class youth in modern Britain.

The first major exhibition of Paule Vézelay’s work in over four decades revives the legacy of the Bristol-born surrealist, showcasing her distinctive abstract ‘living lines’ and her long-overlooked contribution to the European avant-garde.

The stage adaptation of 50 First Dates brings Adam Sandler and Drew Barrymore’s beloved rom-com to life with charm, catchy songs, and palpable chemistry, delivering a warm, feel-good story about love, memory, and community.

Ralph Fiennes closes his Theatre Royal Bath season with Small Hotel, a surreal, dreamlike play that follows a wounded TV host drifting between life and death, confronting love, loss, and memory through a series of haunting encounters.

Who could have predicted that a musical tribute to Adolf Hitler would ever become a comedy hit on Broadway? It delivers one belly laugh after another, proving as radical and joyously subversive as when it first appeared on film in 1967

Lost Atoms’, the latest production from physical theatre company Frantic Assembly, is an intensive two-hander with memorable performances and striking, highly physical staging.

Powerful, angry performances hold together Yaël Farber’s sprawling, bleak vision of a king and his country in terminal decline in King Lear at Almeida Theatre, London.

At London’s Donmar Warehouse, Lucy Kirkwood’s The Human Body depicts the establishing of the National Health Service through the eyes of a Shropshire doctor.

Bristol Old Vic theatre was caught in the middle of a real-life drama when the star of its latest production was injured at the start of a sell-out run of Bangers at the Weston Studio.

Patriots circles around a group of high-profile dissidents, some now dead. Chief among them here is Boris Berezovsky, a talented mathematician turned businessman, and friend turned foe to Vladimir Putin.

“The Pillowman”, Martin McDonagh’s 2003 play about child mutilation, state tyranny and freedom of expression, at the Duke of York’s theatre, London, until 2 September, is a very different kind of gothic horror.

Bristol Live and the Bristol Post ran my review of Bristol Old Vic's festive children's musical play, "Four Seasons".

As proof that super shows can come in small packages, it’s a pleasure to welcome Operation Mincemeat to a West End too often characterised by musical bloating

Astonishingly, Guys and Dolls is the Bridge Theatre’s first ever musical, but on the strength of such a vivid, vibrant triumph of a revival, I should hope not its last.