Paul in London

As part of its Temptation Season, Jermyn Street Theatre serves up a civilised and biting farce with Love All. Full of incisive observations about the roles and expectations for women at the time while managing to be a fun and silly romp spanning Venice and London, it is a both a guilty pleasure and a lost gem currently playing at the Jermyn Street Theatre .  Written by Dorothy L Sayers, better known for her detective novels, there is an obsessive attention to detail in the piece. You could miss something crucial to the plot or a laugh later on if you're not paying attention.  The premise is that Lydia Hillington (Emily Barber), a famous London stage actress, has given up the stage to elope with a famous novelist Godfrey Daybrook (Alan Cox). But after eighteen months of living in a hotel on the Grand Canal, all is not well. A chance meeting with a producer inspires her to escape to London to audition for a role an exciting new playwright is casting (Leah Whitaker). Meanwhile, Daybro

Walking into Jermyn Street Theatre to see the new translation of Strindberg's Creditors feels like you're transported to a small seaside hotel in the late 1800s. The sounds, look and feel, takes you there on some unknown Nordic island where the action takes place. And it's gorgeousness lulls you into a false sense of security for the mind games that are about to take place over the next ninety minutes. It opens with Adolf (James Sheldon), talking desperately about the love for his new wife with a man he recently has befriended, Gustaf (David Sturzaker). She's just published a book about her idiotic husband from her first marriage and now gone away for a few days. And her absence is driving Adolf crazy. He's stopped painting and started working on a very sexually provocative sculpture. But his new friend is sowing the seeds of doubt about his wife. He saw her on the ferry chatting to some young men. And as Adolf becomes increasingly neurotic about his new

Last May the  Arcola  Theatre presented The Daughter-In-Law in it’s downstairs space. Now is the chance to revisit this piece in its larger theatre. And it’s great to have another look at this simple tale and evocative production about lives against the backdrop of the 1912 miner’s strike.   Transferring from the intimate downstairs space gives the production a bigger audience and a bigger space to work with. And while it loses some of the intense claustrophobia of the smaller space it also seemed funnier. And more shocking. With it’s local dialect and intense relationships you soon find yourself drawn into the life of this Nottinghamshire mining town.  DH Lawrence’s drama, written in 1913, is set a world where money and family are your means for survival.  Mrs Gascoyne (Veronica Roberts) has two sons who are still in her orbit. The youngest Joe (Matthew Biddulph) is carefree and careless living at home. The other Luther (Matthew Barker) has just married.  But the marriage

A monologue by a woman in a dirty rabbit onesie seems like the unlikeliest of dark tales. But Original Death Rabbit leaves no stone unturned. It‘s an exploration of millennial angst, mental illness and the quest for acceptance on the internet. Rose Heiney’s monologue which was originally broadcast on BBC Radio Four is currently playing at the  Jermyn Street Theatre .   It opens with a woman in a filthy pink bunny outfit. She is the original death rabbit. It started out as a stunt at university to reclaim the bunny from Playboy. But by accident she became an internet meme when she photographed wearing the outfit at a cemetery. Soon death rabbiting (wearing a bunny outfit in inappropriate settings) became a thing. Like planking or flossing. And then a promising career tumbles down a rabbit hole of internet forums, social media platforms, mental illness and addiction.  On the internet, anyone can be a star. Unless of course you have a theatre blog. If you’re controversial