Review: Damaged Goods, King’s Head Theatre
Though it’s not the most adventurous piece of theatre, Damaged Goods by emerging playwright Rosalind Adler, marks itself out in its touching faith in humanity a...
Simon Fearn
Review: Guy, The Bunker Theatre
We can’t all be Hamilton – finding a distinctive musical voice is where many exciting new shows fall down. Guy, a musical about the pitfalls of online dating fo...
Review: Mamzer Bastard, Hackney Empire
Mamzer Bastard is a new opera about family identity and long-buried secrets, set in New York during a city-wide blackout in 1977. It borrows heavily from film n...
Review: Shakespeare’s Mad Women, Theatre N16
It’s something everything Bardolator has to contend with: Shakespeare’s tragic women get little stage time and even less agency. They are most often disposed of...
Review: Act and Terminal 3, The Coronet
Swedish playwright Lars Norén cannot be accused of being a household name, yet this double bill of experimental shorts shows him to be a writer of the highest o...
Review: Leave Taking, Bush Theatre
It hardly needs saying that Leave Taking is an inspired piece of programming for the Bush Theatre. Though first performed in 1987, this tale of a first generati...
Simon Fearn
Simon is a London-based lover who loves in-yer-face theatre, monologues and new writing. He has reviewed for The Stage, Litro magazine, Broadway Baby, EdFringe Review and Cuckoo Review.