Month: April 2026

There is something rather lovely about seeing Alfie Boe return to Blackpool.

Performing at the beautiful Blackpool Opera House, housed within the historic Blackpool Winter Gardens complex, Boe was appearing only a short distance from where he grew up in Fleetwood as one of nine children. This latest tour felt less like a polished arena spectacle and more like an artist reconnecting with himself. Touring his new album Face Myself, Boe appeared determined to strip things back a little: dressing casually, playing guitar, telling stories about family, childhood and music, and leaning into the folk, country and working-class roots that shaped him long before musical theatre superstardom arrived.

Opening with Ten Thousand Miles, a poignant song about distance from his children, the evening immediately established a more personal tone. Boe spoke warmly throughout about his upbringing, his father’s eclectic record collection and growing up in a noisy, music-filled household, and the audience clearly adored hearing these glimpses behind the polished public image.

The setlist itself wandered joyfully across genres: folk, country, musical theatre, Americana and classic balladry all colliding together like somebody enthusiastically rifling through an old vinyl collection at midnight.

Some moments stood out immediately. His reggae-flavoured take on You’ll Be Back from Hamilton was unexpectedly hilarious, while a cover of Chris Isaak’s Wicked Game received a genuinely beautiful, restrained rendition. He Lives In You from The Lion King was another highlight, introduced with affectionate references to his long and successful partnership with Michael Ball.

A particularly touching moment came during From a Jack to a King, when Boe invited his brother John onto the stage to sing with him. It perfectly captured the warmth and family atmosphere running throughout the evening and reinforced how personal this tour clearly is for him.

For me personally, though, Don Williams’ You’re My Best Friend carried the biggest emotional punch. The song has a deep family connection for me, so hearing Boe sing it with such warmth and sincerity turned the evening unexpectedly emotional.

And then, of course, there was Bring Him Home from Les Misérables.

Boe remains one of the definitive interpreters of this song and the performance was every bit as powerful as you would hope. Before beginning, however, somebody’s phone loudly interrupted the moment. Rather than becoming irritated, Boe stopped, confiscated the phone from the audience for a few minutes, posed for photos with it on stage and turned the entire situation into a running joke before effortlessly sliding back into one of the most vocally demanding songs in musical theatre. It perfectly captured the atmosphere of the night: warm, funny, unpretentious and deeply human.

Not every musical diversion landed equally. Personally, I still think Boe is at his absolute best when he fully unleashes that extraordinary classical tenor voice rather than leaning too heavily into lighter folk and country material. But that is also partly the point of this tour. This was clearly about Alfie Boe the person rather than Alfie Boe the polished crossover star.

And perhaps that is why the audience connected to it so strongly.

Blackpool crowds can be lively at the best of times, and this audience certainly had its rowdier moments, but there was enormous affection in the room throughout. Boe’s obvious love for his hometown audience was returned tenfold.

The evening ended with perhaps the nicest touch of all: Boe patiently standing afterwards to sign programmes and chat with fans one by one. No rushed exit. No disappearing backstage. Just genuine warmth and gratitude towards the people who had come to see him.

In an era where many performers feel increasingly distant from their audiences, that kind of generosity stands out almost as much as the voice itself.

UTS Rating: 🎭🎭🎭🎭

#AlfieBoe #BlackpoolOperaHouse #LiveMusic #MusicalTheatre #UnderTheStars

YUNGBLUD @ O2 Arena – April 2026

By Girloutside

On April 24, 2026

In Entertainment Review Blog

🎸🔥 Few modern artists inspire the kind of passionate devotion that YUNGBLUD now commands. Born Dominic Harrison in Doncaster, he first exploded onto the scene blending alternative rock, punk, pop and raw emotional honesty into something that feels entirely his own. Open about his experiences with ADHD and neurodivergence, he has become an especially important figure for many younger fans who see parts of themselves reflected in both his music and his message. Across albums including 21st Century Liability, weird! and YUNGBLUD, he has built a fiercely loyal global following drawn to his openness around identity, mental health and feeling different. This latest world tour, centred around the new Idols material, feels like another major step up – bigger stages, grander visuals and the unmistakable sense of an artist fully growing into his status as a modern rock frontman.

Friday 24^th April 2026 saw a sold-out O2 Arena, gothic staging, towering flames, leather, sweat and thousands of voices screaming every word back at him. The result was a show that somehow managed to feel both enormous and strangely intimate at the same time.

The set leaned heavily into the Idols material, opening dramatically with Hello Heaven, Hello before tearing through highlights including Lowlife, fleabag and a genuinely spine-tingling rendition of Black Sabbath’s Changes. The encore run of Ghosts, Zombie and Suburban Requiem was spectacular, with Zombie in particular absolutely exploding inside the arena and proving more than worth the wait. The crowd reaction throughout the night was deafening, but during those final songs the entire O2 seemed to lift several levels louder.

Visually, the show was stunning: gothic imagery, cathedral-like staging, constant bursts of fire and YUNGBLUD himself prowling the stage with relentless energy and charisma. He looked incredible too, beginning the night in a leather waistcoat before quickly abandoning it altogether, performing shirtless beneath the cross necklace gifted to him by Ozzy Osbourne. Rock star theatrics fully intact 🔥

Vocally, Dom was great. His rocky, rasping voice carries just the right amount of grit and vulnerability, equally capable of explosive aggression and surprisingly emotional softness. Live, those vocals give the songs an added rawness that makes even an arena feel personal.

What makes him so compelling live, though, is that beneath all the swagger and chaos there’s something very genuine about him. He swears constantly, throws himself around the stage like a man possessed and whips the crowd into absolute frenzy, but he also comes across as deeply people-focused and emotionally open. There’s a warmth and sincerity to him that explains why his audience feels so fiercely connected to him.

The crowd itself was one of the loveliest I’ve experienced at a large arena show – predominantly quite young, but wonderfully mixed in age and overwhelmingly friendly, open and supportive. It felt less like a typical arena audience and more like a huge gathering of people who had all somehow found their place together.

At several points Dom became visibly emotional talking about how incredible it felt to see “this community” continuing to grow. It was clear that, for him, this isn’t simply about performing gigs or building a fanbase – he genuinely sees these shows as a space for people who feel different, emotionally attuned or perhaps slightly outside the mainstream. That sense of belonging and mutual care ran through the entire evening.

One particularly lovely moment came during fleabag, where, continuing a now-customary tradition, he invited a fan from the audience onstage to play guitar. On this occasion it was a young guy from Winchester, who absolutely smashed it and was clearly having the moment of his life ❤️

And perhaps the defining memory of the night came when a few people in the crowd began fainting. Rather than brushing past it, Dom repeatedly stopped to check on them, reminding everyone:

“We look after each other at YUNGBLUD shows.”

That line summed the night up perfectly. Loud, chaotic, emotional, wildly theatrical and full of heart. Exactly what modern arena rock should feel like.

UTS Rating: 🎸🎸🎸🎸🎸

#YUNGBLUD #O2Arena #London #Rock #LiveMusic

The Sophs @ 100 Club, London – April 2026

By Girloutside

On April 22, 2026

In Entertainment Review Blog

This was my third time seeing The Sophs, having previously caught them at End of the Road Festival and The Windmill, Brixton in September 2025, and somehow they just keep getting better. This latest stop at the legendary 100 Club felt like exactly the right setting for a band this exciting: sweaty, loud, intimate and packed with music obsessives fully dialled into every influence flying around the room.

Originally formed in Los Angeles by a group of musicians pulling from wildly different musical backgrounds, The Sophs have rapidly built serious word-of-mouth buzz thanks to their explosive live reputation and genre-blurring sound. Recently signed by Rough Trade Records and now embarking on their first full UK tour supporting their debut album, Goldstar, they currently feel poised somewhere between cult discovery and the edge of something much bigger.

And what a room for them to play. Opened in 1942 and forever tied to London’s rock history, the 100 Club has hosted everyone from the Sex Pistols and The Clash to Oasis, Paul Weller and countless jazz legends before them. You can feel that history in the walls the second you walk downstairs. It remains one of the capital’s true surviving music institutions.

As for The Sophs themselves? Absolute chaos in the best possible sense. Their sound is like an explosion of genres colliding at once: indie rock, punk, folk, garage rock, Americana, emo and classic rock, with moments drifting into theatrical spoken-word intensity before suddenly detonating again. Throughout the set there were Russian-sounding flourishes, dramatic eastern European textures and bursts of Spanish or Latin-inspired rhythms, giving the performance an almost cinematic unpredictability. One minute it felt like a punk gig, the next a travelling cabaret fuelled by adrenaline.

The audience skewed slightly older than many newer guitar bands attract, but that actually made perfect sense. This is music for people who hear influences, textures and references.

The set itself was relentless from start to finish. Opening with Richard Burnett’s I’m a Man of Constant Sorrow immediately established the band’s strange collision of Americana and theatrical indie chaos before crashing headlong into THE DOG DIES IN THE END, one of my absolute highlights of the night. Other standout moments included the gloriously frantic SWEAT, the swaggering GOLDSTAR, BLITZED AGAIN and the emotionally chaotic DEATH IN THE FAMILY. Covers of Bill Withers’ Better Off Dead and Mac DeMarco’s For the First Time somehow sat perfectly alongside their own material, further showing the sheer breadth of their influences.

The theatricality of the performance is a huge part of what makes the band so compelling live. Songs don’t simply start and end; they build, collapse, mutate and explode with dramatic intensity, leaving the audience somewhere between a gig, a punk cabaret and something close to musical delirium.

The energy onstage was relentless from all six members. Frontman Ethan Ramon commanded the room with wild-eyed intensity and charisma, while Sam Yuh added layers of atmosphere through the keys. Guitarists Austin Parker Jones and Seth Smades drove the set forward with swirling riffs and huge walls of sound, anchored by the thunderous rhythm section of Devin Russ and Cole Bobbitt. Together they somehow create something both loose and razor-sharp at the same time. And yes… it probably needs to be said that they are all extremely easy on the eye too 😉

Despite the obvious influences swirling around, The Sophs never feel like imitation. There’s something messy, emotional and unpredictable about them that makes every song feel like it could either completely fall apart or become transcendent at any second. Thankfully, it was mostly the latter.

Equally lovely was the atmosphere after the show. Despite the growing hype around them, the band stayed behind to meet fans, sign merch and chat with pretty much everyone who wanted a moment with them. Friendly, humble and genuinely appreciative of the support; exactly the kind of energy you hope bands retain as they grow bigger.

Still one of the most exciting new bands around right now. Catch them while you still can in venues this size.

UTS Rating: 🎸🎸🎸🎸🎸

#TheSophs #100Club #LiveMusic #IndieRock #LondonGig

The Sophs | GOLDSTAR

The Extraordinary Life of a Rat Racer @ Bridge House Theatre, Penge – April 2026

By Girloutside

On April 22, 2026

In Entertainment Review Blog

The Extraordinary Life of a Rat Racer is a bold, fast-paced and deeply personal two-hander that offers an unflinching look at anxiety, intrusive thoughts and the often chaotic landscape of the mind. Currently in development ahead of its run at the Edinburgh Fringe, this is a piece very much still evolving, but one that already shows clear potential and a distinctive creative voice.

Written by Chiara Fumanti, who also performs as Eva, the show began life as a simple note – a “short story only written in incohesive anxiety-led thoughts throughout the day” – before gradually developing into a fully realised stage piece. That origin is still very much embedded in the DNA of the work. The structure feels intentionally fragmented at times, mirroring the experience of intrusive thinking, and giving the piece an immediacy that feels both raw and authentic.

At its core, the play explores the tension between our external lives and our internal worlds. Eva, an Italian immigrant navigating life in London, is accompanied – and often tormented – by Arthur (Andrea Guerini), a physical manifestation of her intrusive thoughts. Their relationship is deliberately toxic, with Arthur acting as both antagonist and distorted conscience: a kind of ringmaster of the mind, stirring action, applying pressure, and pushing Eva further towards the edge.

The subject matter is not easy. The writing leans into the visceral and the unsettling, with moments that are deliberately shocking in their imagery. Yet what sits beneath this is something more introspective: a desire to understand identity, to question where our thoughts come from, and to explore the idea that the mind itself can feel like a battleground. As Fumanti describes it, the audience is not simply watching events unfold, but witnessing “civil war” within the protagonist’s psyche.

There is something particularly compelling about seeing a piece at this stage of its life. As it stands, the production is high-energy and rarely lets up, moving at a relentless pace from the outset. While this creates intensity, there is a sense that it would benefit from greater variation – moments of stillness, silence, and space for the text to breathe. The material is strong enough to sustain that kind of contrast, and allowing certain moments to land more fully would only enhance its impact.

The performances are committed and emotionally driven. Both Fumanti and Guerini bring a clear sense of ownership to the work, which is perhaps unsurprising given its autobiographical roots and the fact that the piece has been self-created, self-produced and developed within a very small team. That personal investment is evident throughout.

Guerini’s portrayal of Arthur is striking in its physicality and unpredictability. There are shades here, whether intentional or not, of the anarchic, manic energy associated with characters like Drop Dead Fred. For those unfamiliar, the 1991 film starred Rik Mayall as an outrageous, imaginary friend who re-enters a woman’s adult life as a kind of chaotic alter ego – disruptive, inappropriate, and gleefully unfiltered, yet ultimately rooted in deeper emotional truth. Arthur carries a similar sense of unruly, intrusive presence: part tormentor, part darkly comic companion, blurring the line between external character and internal voice. It’s a performance style that teeters on the edge of chaos, and while at times it risks overwhelming the quieter emotional beats, it is undeniably memorable and gives the piece a distinctive tonal edge.

Staging is inventive, making strong use of minimal resources. Balloon “characters,” scattered across the stage and inscribed with words and faces, become a recurring visual motif, at once playful and unsettling. They are popped, handled, and interacted within ways that build tension and reflect Eva’s internal state. There are also moments of audience interaction that further blur the line between observer and participant, drawing the audience into Eva’s world in unexpected ways.

That said, clarity of delivery is something that could be further refined. At times, the pace of speech, combined with accents, makes certain lines harder to fully absorb. Slowing the rhythm in key moments would not only aid understanding, but also allow the emotional weight of the text to resonate more deeply.

What is perhaps most impressive is the intention behind the piece. This is not simply a depiction of anxiety for shock value; it is an attempt to reframe it. The closing sentiment underpinning the work – that we are not meant to “destroy” the darker parts of ourselves, but to find a way to live with them – is a thoughtful and quietly powerful one.

As it moves towards Edinburgh, The Extraordinary Life of a Rat Racer feels like a piece with a strong foundation and a clear sense of purpose. With further development, particularly in pacing, tonal variation and refinement of performance, it has the potential to become something genuinely impactful.

For now, it stands as an intriguing and promising work in progress: raw, inventive, and unafraid to explore difficult terrain.

UTS Rating:

The Extraordinary Life of a Rat Racer continues at The Bridge House Theatre, Penge until 25^th April 2026.

2 High Street, Penge, SE20 8RZ

Tickets: £17 (pay more), £15 (standard), £13 (pay less)

https://www.ticketsource.co.uk/the-bridge-house-theatre/e-ovmpjj

It continues at Barons Court Theatre, West Kensington, London

30th June – 4th July 2026, 7.30pm

28a Comeragh Road
London W14 9HR

Tickets: £15 (£10 concessions)

https://www.baronscourttheatre.com/ratrace

#TheExtraordinaryLifeofARatRacer #TheatreReview #EdinburghFringe2026 #NewWriting #MentalHealthTheatre

A Mirrored Monet @ Charing Cross Theatre – April 2026

By Girloutside

On April 17, 2026

In Entertainment Review Blog

A Mirrored Monet at Charing Cross Theatre is an immersive and visually striking piece that invites its audience not simply to observe, but to step inside the world of its subject. Drawing on the life and legacy of impressionist painter Claude Monet, the production blends music, movement and impressionistic design to create something that feels less like a traditional musical and more like a living canvas.

The concept is a compelling one. With a central playing space and fluid stage design (kudos to Libby Todd and Matt Powell) the audience is drawn into the action, moving through moments that feel cinematic in their use of light, colour and sound. Blues and soft washes of colour echo Monet’s own palette, while Jodie Underwood’s lighting design is also particularly striking, shifting between softness and intensity to mirror the emotional landscape of the piece. At times it captures something fleeting and painterly, resembling reflections on water; at others, it frames the characters in moments of quiet introspection. Combined, these elements create a world that feels both gentle and immersive; one that invites you in, and quietly holds you there, drawing you into Monet’s internal landscape as much as his external life.

At its heart, however, A Mirrored Monet is less concerned with biography than with something more universal: the cost of ambition and the question of what it means to truly succeed. Through its dual portrayal of Monet – both the older, reflective artist and his younger, searching self – the piece explores the tension between external recognition and internal truth. Camille, Monet’s first wife, emerges as the emotional centre of the story – not as a counterpart to ambition, but as its quiet cost. Through her, the production gives shape to what can be lost in a life devoted to art: love, stability, and the everyday human connection that exists beyond legacy. If Monet represents the enduring pull of creation, Camille represents what is left behind in its wake.

The performances across the board are of a very high standard. Jeff Shankley, as the older Monet, anchors the piece with a beautifully textured, gravelly speaking voice and a calm, reflective presence that draws the audience in. He brings a real warmth and authority to the role and, with a CV that includes originating Greaseball in Starlight Express and Munkustrap in Cats (how cool is that?!), it’s a genuine pleasure to see him here in a later-career role that feels so well suited to him.

In contrast, Dean John-Wilson’s younger Monet brings a more searching, emotional energy, capturing the artist at an earlier, more uncertain stage of his life. Surrounding him is a wonderfully drawn circle of fellow artists – Bazille, Renoir and their mentor, Manet – creating a bohemian snapshot of the Impressionist movement in its formative years. There’s something particularly appealing about seeing that community brought to life on stage: a group of young creatives, bound together by ambition, friendship and a shared desire to break away from convention.

Aaron Pryce-Lewis, the Welsh powerhouse, as Manet, is a standout. With a commanding stage presence and a rich, resonant baritone, his performance adds both authority and warmth, and provides some of the musical highlights of the evening. Across the ensemble, the vocals are consistently strong, with a polished, high-quality feel throughout. Brooke Bazarian as Camille is particularly notable in this respect, her voice clear, expressive and beautifully controlled.

Carmel Owen’s score itself leans more towards atmosphere than melody. While it may not offer many immediately memorable or “catchy” numbers, it works effectively within the piece, supporting its reflective tone rather than competing with it. There are moments that echo the sensibility of Sondheim’s Sunday in the Park with George, an inevitable comparison, perhaps, given the subject matter, and while this production doesn’t aim for the same musical impact, it shares a similar interest in art, legacy and the inner life of the artist.

There is, perhaps, a slight sense of the piece lingering a little too long in places, with some musical numbers and passages extending beyond their natural peak. However, this never significantly detracts from the overall experience, which remains cohesive and thoughtfully realised.

Ultimately, A Mirrored Monet is a reflective, quietly moving exploration of art, memory and identity. It delivers its impact not necessarily through spectacle or immediacy, but rather through atmosphere, nuance and the questions it leaves behind.

UTS Rating:

A Mirrored Monet continues its run at Charing Cross Theatre until 9^th May 2026 with tickets available here: Charing Cross Theatre

#amirroredmonet #charingcrosstheatre #offwestend #newmusical #claudemonet

Welcome to Pemfort @ Soho Theatre, London – April 2026

By Girloutside

On April 12, 2026

In Entertainment Review Blog

Welcome to Pemfort is a new play running in one act at approximately 90 minutes, and every bit as intriguing and unusual as its title suggests. Set entirely in the gift shop of a struggling countryside castle (or fort, if you prefer 😉), it explores themes of rehabilitation, community, honesty and personal history through its four characters: Glenn, Ria, Kurtis and Uma.

As the staff prepare for their first “Living History” event, which is sure to be a truly momentous occasion, the arrival of a new team member, Kurtis, subtly unsettles the dynamic. It soon becomes clear that he is attempting to reintegrate into society following a prison sentence, setting the tone for a story that is as thoughtful as it is quietly compelling.

There’s an almost tranquil quality to the production at times; a sense of calm, routine and gentle humour, but this is laced with an underlying tension that never quite disappears. Ed Madden’s intelligent direction ensures the atmosphere feels peaceful on the surface, yet something is always bubbling just beneath it. This is beautifully supported by Alys Whitehead’s design: a detailed, carefully observed set that feels entirely authentic, as though lifted directly from a real countryside gift shop.

Max Pappenheim’s use of sound and music is also particularly effective in reinforcing the mood. Subtle transitional moments, rather than full scene changes, gently mark the passage of time, accompanied by music that enhances the sense of stillness and reflection. Layered with the ambient sounds of the countryside – birdsong drifting in from outside the shop – it creates a world that feels both grounded and quietly immersive. Kurtis’ arrival introduces a subtle shift; he feels, at least initially, like an interloper in an established, comfortable world.

The performances across the board are excellent. Ali Hadji-Heshmati’s Glenn is a particularly striking presence; the portrayal is incredibly precise and deeply observed, capturing a character who experiences the world in a distinctly different way to others, without ever feeling overstated. Debra Gillett’s shop manager Uma brings warmth, kindness and a slightly new-age sensibility to the piece, a steady, reassuring presence who holds the group together. Ria, who becomes central to the unfolding story, is played by Lydia Larson with a natural ease and openness that makes her both relatable and emotionally engaging.

Sean Delaney as Kurtis, however, is the standout. Quiet, withdrawn and initially unsure of himself, he gradually reveals a depth of character that is both compelling and deeply sympathetic. As his story unfolds, the audience is drawn into his experience – his shame, his remorse, and his attempt to rebuild himself. A key monologue, delivered with remarkable control, is one of the most powerful moments in the play. There is no overplaying; just a careful, honest build that lands with real emotional force. When his voice finally cracks, it is genuinely heartbreaking, and the room feels completely still.

Sarah Power’s writing itself is hugely impressive. There is a quiet confidence to it, a willingness to let moments breathe, to allow characters and relationships to unfold naturally without forcing resolution. The dialogue feels authentic and uncontrived, and the dilemmas faced by the characters are drawn with a striking sense of realism and proximity. Running alongside the central narrative is a subtle but effective metaphor involving a deer; a creature in need of help, but difficult to approach. It’s a clever addition by Power and a gentle, almost symbolic thread that mirrors the play’s wider themes: the desire to help, the instinct to hold back, and the limits of what we feel able to accept or overcome. It’s handled with a light touch but adds a layer of quiet poignancy to the piece.

At its core, this is a play about honesty, about the courage it takes to tell the truth, and the consequences that truth can carry. As the relationships between the four characters evolve, the piece begins to pose a series of quietly challenging questions. Can a person ever truly be reformed? How far are we willing to go in offering forgiveness? And what happens when our principles come into conflict with our personal happiness?

These questions are never resolved easily. Instead, the play allows the tension to sit and deepen, inviting the audience to engage with the moral complexity of the situation. There is no neat resolution here and that feels entirely intentional.

Without giving too much away, the final stages of the play take an unexpected and deeply affecting turn. What might resolve simply instead becomes something far more complicated and far more honest.

This is a slow-burn production, but one that rewards patience. Thoughtful, well-directed and beautifully performed, it’s a piece that lingers, not because of spectacle, but because of the questions it leaves behind.

UTS Rating:

Welcome to Pemfort continues at the Soho Theatre until Saturday 18^th April with a few tickets left here: Welcome to Pemfort – Soho Theatre

Teeth ‘N’ Smiles @ Duke of York Theatre, London – April 2025

By Girloutside

On April 10, 2026

In Entertainment Review Blog

Cigarette smoke, student politics, artistic ego and emotional collapse swirl together in David Hare’s Teeth ’n’ Smiles, revived in the West End fifty years after it first shocked audiences at the Royal Court. Set during a chaotic Cambridge May Ball in 1969, the play follows struggling rock band Maggie Frisby and the Skins as the idealism of the sixties begins curdling into something far messier. Written in 1975, Hare’s play emerged from the same cultural landscape that produced punk, glam rock and the collapse of flower-power optimism, and Maggie herself has often drawn comparisons with figures such as Debbie Harry and Patti Smith: charismatic, self-destructive women trying to survive in male-dominated music scenes while everything around them threatens to implode.

This new revival clearly hopes to reconnect the play with a modern music audience through the casting of Rebecca Lucy Taylor, better known as Self Esteem. And for a while, it works.

The first half has genuine electricity running through it. Taylor gives a committed, charismatic performance as Maggie, capturing both her swagger and her slow-motion collapse. More importantly, she sounds fantastic. The songs land well, particularly the newer material written for this production, and whenever the band launches fully into performance mode the show suddenly finds clarity and pulse. If you love theatre and live music equally, there is a lot here to enjoy.

The younger cast members also bring much-needed energy and realism. Roman Asde is particularly impressive as Anson, giving one of the evening’s most believable and emotionally grounded performances. Michael Fox brings restraint and quiet melancholy to Arthur, while the rest of the band feel convincingly scruffy, weary and trapped together in that specific post-gig emotional wasteland of cigarettes, bruised egos and bad decisions at 2am.

Unfortunately, not every performance lands as successfully. Phil Daniels undoubtedly brings cultural weight and recognisable swagger to Saraffian, but the casting feels oddly outdated for a modern West End revival. Rather than disappearing into the character, Daniels often simply feels like Phil Daniels performing a familiar version of himself, and alongside some of the younger cast members the performance begins to feel curiously out of step with the production around it.

Despite its flashes of brilliance, the production ultimately collapses under its own weight.

The second half becomes increasingly muddled and dramatically unfocused. This is not an especially difficult story to follow, which makes the confusion more frustrating. Scenes blur together, emotional threads lose momentum and the production never quite finds a clear dramatic rhythm once the initial energy dissipates. The play’s themes of artistic burnout, fading counterculture and musical disillusionment remain interesting, but they are not shaped sharply enough here to sustain the running time.

Taylor cannot carry the entire production alone, however magnetic she is. She needs stronger support around her: tighter direction, clearer storytelling and, in some cases, stronger performances.

Inevitably, comparisons have also been drawn with Stereophonic, which recently occupied the same theatre and explored similarly toxic band dynamics with far greater precision and emotional depth. Teeth ’n’ Smiles has moments of raw atmosphere and musical power, but never reaches that level of cohesion.

Like the band at its centre, this production is chaotic, bruised, occasionally thrilling and ultimately unable to hold itself together.

UTS Rating: 🎭🎭

#TeethAndSmiles #SelfEsteem #DavidHare #WestEnd #TheatreReview

I Was a Teenage She-Devil @ The Other Palace Studio, London – April 2026

By Girloutside

On April 9, 2026

In Entertainment Review Blog

I Was A Teenage She-Devil is a slice of full-throttle, neon-drenched insanity, in the best possible way.

The show began life at the Edinburgh Fringe, and you can feel that DNA running right through it. This is a show built for late-night crowds, cult energy and word-of-mouth buzz; now it’s made the leap to London at The Other Palace’s intimate studio, bringing its glitter, guitars and glorious chaos with it. Written entirely by Sean Matthew Whiteford, it has a clear, confident voice and a strong sense of exactly the world it wants to create.

At the show’s heart is a classic (and knowingly bonkers) story: Nancy must quite literally sell her soul, journey to hell and back, through that chaos discover who she really is and, of course, find true love at the end of it all. It’s big, bold storytelling, delivered with a tongue in cheek wink and a lot of volume.

From the moment it starts, the energy is sky-high and stays there. No slow build, no gentle introduction, just straight into a riot of sound, colour and attitude. Neon pink, glitter, leather, studs… it’s all here, with playful nods to 1980s music and film culture woven throughout, including a cheeky Back to the Future quote and a tribute to icon Sam Fox through song.

Vocally, it’s seriously strong. Big, high-octane voices across the cast, with numbers that feel closer to a live gig than traditional musical theatre. There’s confidence to it, as though everyone on stage knows exactly the show they’re in and is having a great time delivering it.

🔥Standouts?
Jordan Fox’s Big Rod is a scene-stealer – funny, charismatic and just the right side of ridiculous, with mesmerising denim shorts that deserve their own billing (and postcode, to be honest 😉). Think somewhere between Disney’s Gaston and a Bill & Ted character dropped into a rock musical. Aoife Haakenson’s Nancy is engaging and grounded (the pink neon recorder is a beautiful touch!), giving the show a strong, likeable centre and a performance that holds its own amid all the chaos. And then there’s Satan, brilliantly played by Sean Arkless, who is right up there with the best. His seamless shift from awkward library weirdo to leather-studded rock devil is a standout transformation and one of the show’s most entertaining arcs.

Chaos really is the order of the day. Confetti flying. Satan making an entrance. Glitter everywhere. A metal-infused god-like moment. Possession. Synths. Big hair energy. It comes at you in waves, a kind of joyful, controlled madness that feels very true to its Fringe roots.

There are glimpses of something deeper underneath – identity, belonging, a touch of darkness – but they’re lightly sketched rather than fully explored. You do get the sense there’s room for this to grow into something even bigger and sharper if it wanted to lean further into those themes.

At 80 minutes, it’s tight, punchy and slick. Hugely entertaining, brilliantly performed, and clearly very well rehearsed. Whether it evolves beyond this or stays exactly as it is, it already succeeds at what it sets out to do: deliver a fun, high-energy, slightly unhinged night of theatre.

UTS rating:

I Was A Teenage She-Devil continues at The Other Palace Studio until 26th April with tickets available here: I Was a Teenage She-Devil – The Other Palace Theatre

Under the Stars Interview – From Fringe to London: I Was A Teenage She-Devil

By Girloutside

On April 4, 2026

In Entertainment Review Blog

Some shows arrive fully formed. Others explode onto the scene in a blaze of glitter, guitars and chaos and then grow into something bigger, louder and sharper. I Was A Teenage She-Devil definitely appears to belong in the second category.

The 80s horror rock musical first appeared at the Edinburgh Fringe before transferring to London. It starts previews tonight at The Other Palace, and it’s already building the kind of cult buzz that new musicals dream of. Behind it are producers Claire Feuille and Josh Dooley of Feuille Dooley Productions, who have worked across everything from Fringe theatre to Broadway and were also involved with the journey of the amazing Operation Mincemeat from West End to Broadway.

Fittingly, their first reaction to She-Devil was not a careful business decision. It was the music. They told me that when they first heard the score, they thought someone had discovered a lost mixtape of previously unheard hits by every 80s legend imaginable. They were hooked immediately.

From Fringe Chaos to London Glow-Up

Moving from Edinburgh Fringe to an Off West End run isn’t just a venue change, it’s an evolution. The new London production includes edits to the book, new material including a brand new song, and a full creative upgrade with set design, lighting and sound transforming the space into a complete world rather than a Fringe black box.

But what’s interesting is that these producers clearly love the Fringe process. They described Fringe as being on “a different planet” compared to London and New York. At Fringe, there’s nowhere to hide behind production value. The work has to stand on its own, and everyone on the team ends up doing everything from logistics to quick changes to laundry.

London, though, is where they prefer to develop new musicals long term, largely because of audiences. They said London audiences are far more open to the messiness of new work in development and are constructive in their responses, whereas New York audiences can be much less forgiving during the process phase. That alone probably explains why so many new musicals now choose London as a development home.

80s Horror Rock, Identity and Heart

On the surface, I Was A Teenage She-Devil sounds like pure camp chaos: 80s horror rock musical, big energy, big hair, big guitars.

But underneath, the show also explores identity and finding your true self, particularly through a queer lens. The producers talked about how the 80s were incredibly queer in fashion, music and culture, yet mainstream films rarely openly celebrated queer characters or stories. This show aims to do exactly that, combining comedy, horror and a genuinely heartfelt core.

It’s that combination of ridiculous fun and real emotion that often creates cult musicals.

What Producers Actually Do (Apparently Everything!)

I asked, for those who may not know, what producers actually do, and the answer was one of my favourite parts of the interview.

Josh said that early in his career he asked a big producer what a producer actually does, and the answer he got was simply:

“Producers produce.”

He didn’t understand it at the time, but now he says the job is basically to produce whatever is needed. Need money, people, a venue, a solution to a problem, a new plan, a miracle? That’s the producer’s job. He joked that the mob would probably call them “fixers.”

In reality, producing a new musical involves choosing the show, planning its development path, building the creative team, finding the right venues, managing marketing and audience development, listening to audience feedback and, of course, raising money. Constantly.

Lessons from Operation Mincemeat

Through their work on the West End to Broadway transition of Operation Mincemeat, Claire and Josh saw first hand how a show can grow from Fringe beginnings to global success. One of the biggest lessons they took from that production was the importance of audience community and not jumping too quickly into bigger venues. Gradually increasing theatre size allows a fanbase to grow and keeps shows financially sustainable.

It’s a fascinating reminder that theatre success isn’t just about the show itself. It’s about strategy, audience relationships and long-term development.

Building an Audience Before Opening Night

Another really interesting point was about the concept album being released before the London run. The producers believe new musicals shouldn’t be overly protective of their material anymore because audiences now have endless entertainment choices competing for attention every minute of the day.

Instead, releasing music early helps build a relationship with audiences before they even step into the theatre. Theatre isn’t just about one night out. It’s about building fans who come back again and again.

Advice for New Musical Writers

Claire and Josh’s advice for writers and theatre makers developing new musicals was surprisingly honest.

Josh said that he once chased stability outside the arts and found neither stability nor happiness, so returned to theatre because if you’re going to struggle financially, you might as well enjoy what you’re doing! Fair play!

Claire said the most important thing is finding the right collaborators and sticking with them, because developing a new musical is a long journey and you need a team who believe in each other.

Both pieces of advice felt very real and very theatre.

What’s Next for She-Devil

The big dream for the future of I Was A Teenage She-Devil is simple: a bigger space, bigger budget and a live band on stage. The show is essentially a rock concert in musical form, and Josh and Claire clearly can’t wait to fully realise that scale.

Meanwhile, they’re heading back to New York and Edinburgh Fringe with new plays and will be returning to London again later in the year with more work. So they are definitely producers to keep an eye on – watch this space!

What I loved about speaking to Claire and Josh is that they clearly love the messy, chaotic, unpredictable process of making new theatre. And that’s exactly where the most exciting shows come from.

I Was A Teenage She-Devil feels like one of those shows that could have a very interesting journey ahead of it.

And honestly, any musical described as an 80s horror rock musical with a heart already sounds like a very good night out to me. I truly can’t wait to see it on Wednesday!

I Was A Teenage She-Devil begins previews at The Other Palace Studio TONIGHT! It opens on 8^th April and runs until 26^th April. Don’t miss it – book your tickets here: I Was a Teenage She-Devil – The Other Palace Theatre

#IWasATeenageSheDevil
#LondonTheatre
#OffWestEnd
#NewMusical
#TheOtherPalace

The Devil Wears Prada @ The Dominion Theatre – April 2026

By Girloutside

On April 2, 2026

In Entertainment Review Blog

There’s something undeniably thrilling about attending a big, glossy West End production and The Devil Wears Prada absolutely delivers on spectacle.

Based on the much-loved 2006 film The Devil Wears Prada, which starred Meryl Streep and Anne Hathaway, the story actually began life as a bestselling novel by Lauren Weisberger, published in 2003. The journey from page to screen to stage feels fitting for a story so steeped in ambition and reinvention.

The musical adaptation brings together an equally high-profile creative team, with a score by Elton John, lyrics by Shaina Taub and a book by Kate Wetherhead. Following earlier runs, it arrived in the West End in 2024, stepping confidently onto one of London’s biggest stages.

This is a show that knows exactly what it is: bold, glamorous and unapologetically stylish. From the moment you take your seat at the beautifully refurbished Dominion Theatre, there’s a real sense of occasion. It’s a stunning space; grand, comfortable, and perfectly suited to a production of this scale. There’s something simply fun about being part of an audience for a show this big with a high-profile star, a packed house, and that unmistakable buzz that only the West End at full tilt can create.

From the outset, this show feels like stepping into a fashion fantasy. The sets are slick and ambitious, with the Paris sequence in particular standing out as a real visual highlight – elegant, atmospheric, and beautifully realised. The costumes, as you’d hope, are a triumph: faithful to the spirit of the film while cleverly adapted for the stage, they bring that iconic world to life with flair.

Performance-wise, the cast is strong, but the standout for me was Matt Henry as Nigel. Charismatic, warm, and vocally superb, he completely owned the stage whenever he appeared. Having previously seen him as Lola in Kinky Boots at the Adelphi Theatre, it was a real treat to see him again here and he did not disappoint. There’s a natural ease and confidence to his performance that draws you in, and he brings both heart and humour to the role.

Vanessa Williams is, of course, a major presence as Miranda Priestly. She’s poised, controlled, and effortlessly watchable, offering a slightly softer, more measured take than Meryl Streep’s iconic film portrayal. It’s a different interpretation, but one that works well, and she carries the role with undeniable star quality (and looks phenomenal doing it).

Where the show falters, however, is in its music.

With Elton John behind the score, expectations are naturally sky-high. Yet surprisingly, the songs don’t quite leave their mark. While they support the action well enough in the moment, there’s a lack of standout numbers; nothing that lingers in the mind once the curtain falls. For a production of this scale, and with such a legendary composer attached, it feels like a missed opportunity.

That said, The Devil Wears Prada remains a hugely enjoyable night out. It’s polished, entertaining, and visually impressive – the kind of show you go to when you want to be swept up in something big, bold, and beautiful.

It may not have a killer soundtrack… but it absolutely knows how to put on a show.

UTS Rating:

#thedevilwearsprada #dominion theatre #vanessawilliams #matthenry #eltonjohn