This 1960s spy comedy, co-written by Henry Lewis and Henry Shields, takes over the Noël Coward Theatre, weaving through a complex tapestry of Cold War narratives while playfully nodding to the classic James Bond films. Under the deft direction of Matt DiCarlo, the show delivers impeccable comic timing and stellar ensemble performances. A particularly side-splitting moment occurs in the first act as the plot bounces between four hotel rooms, creating a whirlwind of chaos that’s reminiscent of *Fawlty Towers* in its peak absurdity.

Lewis, known for his role as the pretentious mentalist in *Mind Mangler*—Mischief’s parody of the magician’s world—consistently steals the spotlight as Douglas Woodbead, an exceedingly smug actor who arrives at an upscale West End hotel to audition for the first Bond film. Despite his unimpressive filmography, which includes just a commercial for hemorrhoids, he is convinced he will land the role over a Scottish rival named “Sean.” Unbeknownst to him, he is about to get caught up with American and Soviet spies who are also in the hotel, all seeking plans for a secret weapon.

This plot, serving as a classic McGuffin, leads to a series of mistaken identities, pyrotechnics, lethal umbrellas, shattered wine bottles, and even a run-in with a particularly rebellious pigeon hiding in a wardrobe. The Cold War antics kick off with a hilarious sketch, infused with echoes of *The Two Ronnies*, in which MI6 agents become hopelessly tangled in their own aliases. David Farley’s set design is a treat, as the backdrop unfolds like a set of Russian nesting dolls, giving the grand hotel a whimsical aura reminiscent of classic Looney Tunes cartoons.

Shields portrays the lackluster suitor Bernard Wright, who becomes an unwitting participant in the chaos while attempting to propose to his girlfriend (played by Adele James). Dave Hearn shines as a ruggedly handsome CIA agent looking to outsmart his KGB adversaries, while Greg Tannahill’s character, the hotel desk clerk, finds himself in all sorts of humorous predicaments while maintaining his composure.

Although the barrage of gags and witty remarks begins to wane slightly towards the end, there are moments when you feel like collateral damage in a playful, chaotic showdown. Nevertheless, this is precisely the kind of wildly inventive comedy that the world could use right now. Embrace the madness! ★★★★☆ 140 min To Sep 5, SpiesComedy.com

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In this rendition, Hall distills Brecht’s story of a woman profiting amidst the turmoil of a 17th-century European conflict, capturing its core essence. Mark Dornford-May’s directorial approach injects the production with vigor that complements Hall’s adaptation. The Horden Methodist Church, transformed into a theatrical venue, may appear modest, yet the open staging, accompanied by a minimalistic approach to props and nuanced lighting by Drummond Orr, embodies the essence of Brecht’s style. Audience members, positioned in elevated seating, are directly engaged by the performers, creating an immersive experience of this ongoing struggle.

The ensemble members seamlessly blend into the narrative, maintaining a dynamic presence throughout, whether embodying distinct characters or contributing to Mandisi Dyantyis’s exquisite percussive score with rhythm sticks. It is impressive that many performers are making their professional debut, highlighting the dedication required during the extensive rehearsal process. Notable performances come from Noluthando Boqwana-Page as the silent victim Katrin, Keith Irons portraying the Cook, and Wendy Hindmarch as Yvette, the prostitute, who delivers a comedic take on The Fraternisation Song.

Brecht aimed to provoke his audiences, to awaken them to action; he wanted to “knock them into shape.” This lively production powerfully resonates with contemporary issues of dehumanizing conflict and injustice. Surprising is the emotional weight of the performance. Paulina Malefane shines as Mother Courage, exuding vitality and resilience, at times nurturing, yet chillingly pragmatic as seen when, following another child’s death, she grimly states, “back to business.” This outstanding production deserves a chance to reach a wider audience beyond its current limited engagement.

The result is a rather basic, feminist-tinged drama highlighting the issues of patriarchy, typical of a one-hour show often found at the Edinburgh Fringe. My instinct is to refrain from critiquing it to protect the feelings of all involved. Yet, here it is, featured at the Almeida, known as one of London’s trendiest venues, under the direction of Lyndsey Turner.

Interestingly, Anne Boleyn is absent from the narrative. Instead, Pickett, known for contributing to the Hulu series The Great centered on Catherine the Great, focuses on three young women in a village distanced from the royal court’s dynamics. News of King Henry’s renowned second wife gradually filters down to them. Given the 21st-century vernacular laced with modern slang, one might expect a character to check her phone for TikTok updates regarding the woman who has been labeled as ‘the Great Whore.’

Performances by Siena Kelly, Tanya Reynolds, and Liv Hill are commendable, although the characters they portray lack depth. Kelly’s Anna is depicted as a free spirit contemplating the burden of beauty, while she nonchalantly cleans herself after intimate moments with a local’s son. Reynolds takes on the role of Mariella, a compliant midwife, and Hill portrays Jane, who yearns for a hint of domestic happiness while being conscious of her unremarkable looks. Ultimately, their friendship deteriorates due to personal betrayals and the oppressive nature of a misogynistic society. Angus Cooper and Adam Hugill embody representatives of local masculinity, primarily characterized as brutish and dim-witted.

The bucolic set designed by Max Jones stands out, bathed in warm tones by lighting designers Jack Knowles and Tim Lutkin. While one can appreciate the changing colors, the dialogues often leave much to be desired. There are a few witty exchanges that provide some amusement, but the majority of the script remains at a level reminiscent of a children’s history show. Turner’s directorial approach feels uninspired. In a perplexing choice, Anna begins to thrash about to the tune of the pop song Can’t Find My Way Home toward the conclusion. Theatre-goers take note: there is no interval, offering no escape from the proceedings.★☆☆☆☆110minTo Jun 7, almeida.co.uk

This revival of Richard Bean’s adaptation of David Mamet’s 1980s film about con artists, initially premiered at Almeida in 2010, adds to the list of underwhelming productions. While Bean’s script injects more humor than the original screenplay, it ultimately fails to provide the suspense necessary to engage the audience. One would have to be incredibly naïve not to predict the plot twists.

It’s unfortunate because director Jonathan Kent has assembled a capable cast, led by Lisa Dillon as Dr. Margaret Ford, an uptight psychiatrist and bestselling author who unexpectedly falls for Richard Harrington’s Mike, a Chicago con artist who introduces her to the seedy world of low-stakes poker. In a matter of moments, our astute protagonist, an authority on compulsive behavior, is reimagined as a wide-eyed ingenue.

Andrew Whipp adds comic relief as Bobby, the scruffy bartender who is oblivious to the difference between a standard beer and a cocktail. Oscar Lloyd convincingly portrays Billy, a trust fund slacker who serves as Margaret’s gateway into the murky underworld.

Just over six months have passed since this stage featured Bean’s trawler drama Reykjavik, an interesting yet ultimately frustrating play made up of two discordant halves.

One structural flaw is the portrayal of Mike, a jaded master of “the social psychology of the con,” suddenly exhibiting a romantic side. Additionally, there’s an awkward conclusion that makes references to Hitchcock’s Strangers on a Train, rambling like the psychiatrist’s summary in Psycho. My conclusion is that most of us would have preferred to revisit Mamet’s original film at home.

⭐️⭐️⏳⏳⏳105min To Jun 7, hampsteadtheatre.com

Directed by Finn den Hertog, an associate artist with the National Theatre of Scotland, this iteration showcases remarkable performances from Jack Lowden and Martin Freeman, the latter stepping in for Sean Gilder, who had also impressed in Edinburgh. Lowden mesmerizes as Luka, a troubled young man grappling with his addiction, filled with anxiety and raw emotion. Meanwhile, Freeman shines as James, the mentor guiding him through the complex 12-step recovery process.

This narrative is far from a typical story of triumph over hardship; instead, it provides a morally nuanced exploration of power struggles. Initial coffee-fueled dialogues suggest that James occupies the role of the seasoned, rational guardian, while Luka appears to be seeking solace beyond alcohol, perhaps in a new form of obsession.

In program notes, Ireland reflects on his personal experience with Alcoholics Anonymous in his twenties, noting a spiritual awakening during the pandemic after previously identifying as an atheist. This thematic resonance is underscored by the play’s opening, which features a stark rendition of a heartfelt Johnny Cash ballad, an artist familiar with struggles of faith.

Lowden crafts a character whose frantic thoughts lead nowhere, akin to a vehicle caught in neutral, while Freeman adeptly reveals a composed exterior that gradually discloses deeper vulnerabilities.

By the conclusion, the power dynamics between James and Luka remain ambiguous. Luka’s confrontations with his shame are often humorously crass—his description of marriage humorously suggesting a transactional view. As we glimpse James’s inner life, it becomes apparent that his tranquility might be more facade than reality. Ireland skillfully employs sharp dialogue and dark humor to highlight these themes.

In contrast to the Edinburgh production’s complex rotating set, the current staging at Sohoplace is minimalist, featuring just a few chairs and a table. Ireland has also removed a pivotal scene where James ends up hospitalized, resulting in a production that, while simpler, is laden with an increased sense of tension. The unspoken elements effectively provoke deeper contemplation.

★★★★★ 90min To Jul 26

In this ambitious stage adaptation of Stoker’s 1897 gothic horror masterpiece, Erivo will perform 23 distinct roles, joining the ranks of renowned artists undertaking the formidable challenge of a one-woman show in the West End.

At 38, Erivo returns to the London theater scene after an impressive decade navigating Broadway and Hollywood, where she garnered three Oscar nominations alongside winning a Tony, Emmy, and Grammy.

The south London native expressed her excitement about this return on Tuesday, stating that “returning to the stage feels like a homecoming, one that I’ve been craving for a long time.”

Producers confirmed that the production, set to launch in London in February, coincides with the film awards season, suggesting that Erivo may miss performances to attend award ceremonies.

No details have been provided regarding an understudy for the role.

Erivo is not the first performer to embrace the challenge of a one-woman show. Australian actress Sarah Snook, recognized for her portrayal of Shiv Roy in Succession, won the Olivier Award for Best Actress last year with her solo performance in Oscar Wilde’s The Picture of Dorian Gray.

The 37-year-old actress, who performed all 26 characters, discussed the significant challenge of memorizing a “60,000-word monologue” just eight months after becoming a mother.

Additionally, Andrew Scott has brought his one-man rendition of Anton Chekhov’s Uncle Vanya to New York following a successful London run and an Olivier Award nomination for Best Actor.

Critics hailed Scott as a “human Swiss army knife” for his portrayal of Vanya and the other roles he took on in the production.

On Tuesday, Erivo shared that the idea of undertaking this project is daunting, recognizing that it would demand a “huge challenge … and will ask everything of me.”

She noted, “It’s a rare gift for an actor to inhabit so many voices and perspectives in one piece.”

Erivo initially rose to fame on stage, featured in musicals such as Sister Act and The Color Purple before transitioning to film, with notable performances in Widows and Harriet. Her role as Harriet Tubman earned her two Oscar nominations—one for Best Actress and another for Original Song for a piece she co-wrote for the film.

This year, she received her second Oscar nomination for her lead role as Elphaba in Wicked, with a sequel also featuring her and Ariana Grande as Glinda set to release in November.

After completing the promotional tour for Wicked: For Good, Erivo will immediately begin rehearsals for Dracula, as confirmed by the producers.

Recently, she announced a new studio album while also working on an upcoming film, Children of Blood and Bone, and expressed a strong desire to return to the stage.

Erivo remarked, “To do so with a story as rich, complex, and haunting as Dracula offers a beautiful opportunity to delve into character, into myth, and into the heart of what makes us human.”

She praised the “thrilling, terrifying, and deeply resonant” vision of Kip Williams, who is adapting and directing the Dracula stage production.

Williams, known for adapting The Picture of Dorian Gray featuring Snook, emphasized that there are many “iconic characters” in Dracula for Erivo to portray.

He mentioned that the stage adaptation aims to expand upon Stoker’s themes of fear and desire, presenting a modern view of the vampire as a monster that resides not just externally, but within ourselves.

This new initiative enhances the legacy of the Cass Sculpture Foundation, which previously occupied 26 acres from 1992 until 2020, showcasing around 80 outdoor sculptures. The park’s footprint has now expanded to 70 acres, incorporating an ancient woodland, and the infrastructure has been improved, with the addition of two gallery spaces, a restaurant adorned with ceramic artworks by Lubna Chowdhary, and expansive wildflower meadows, redesigned by landscape artist Dan Pearson, featuring sculptures by Isamu Noguchi, Hélio Oiticica, Veronica Ryan, and Rose Wylie.

Among her collection, a more reserved piece — a concrete cast of a shed’s interior — quietly stands at the end of a verdant path, reminiscent of a gothic figure at a countryside celebration. Meanwhile, a captivating sound installation by Turner Prize laureate Susan Philipsz, featuring a four-part round inspired by Elizabethan dance, resonates deeply in the forest.

In the smaller gallery, a compelling film by Amie Siegel examines the transition of several works by George Stubbs from private residences to museum displays. Stubbs created three sporting paintings for the Third Duke during his stay at Goodwood around 1759-60, which can be found in the main house.

Taking center stage in the main gallery is Whiteread’s sculpture Doppelganger (2020-2021), crafted from low-cost building debris and painted pure white, resembling an ethereal, collapsing dwelling. Her work often reflects on the remnants of human life in our surroundings. Another indoor piece, Bergamo III (2023), is part of a public artwork commissioned by the municipality of the COVID-impacted region, utilizing stone from the area shaped into forms inspired by the negative spaces left beneath chairs. Although it may require some background knowledge, this sculpture holds significant emotional resonance for the local community.

The exhibition’s photographs are visually powerful, capturing moments across a range of settings from busy London streets to the desolate Californian deserts. Each image serves as a testament to time’s passage and the inevitable decay of human-made structures. While infused with a sense of sadness, there’s also a touch of absurdity, as seen in the remnants of a discarded plastic toy on the street or the cheerful emergence of daisies through tangled netting on a sand dune. A poorly repaired decorative wall seems to exude the indomitable human spirit, illustrating a faint but present hint of humor. ★★★★☆Open until November 2, find more at goodwoodartfoundation.org

What recent art exhibitions have caught your interest? Share your thoughts in the comments below.

The exhibition for the Sony World Photography Awards will be open from April 17 to May 5 at Somerset House. For further details, visit worldphoto.org.

The tunic was made accessible through the Storehouse’s innovative Order an Object service, allowing visitors to request up to five items online for a hands-on viewing experience. This initiative has gained popularity since its launch on May 13, leading to numerous bookings for periods ranging from one to four hours. Visitors are accompanied by a member of the Storehouse staff, who can provide context and insights into the selected artifacts.

Housed in the former Olympic Broadcast Centre, the purposefully designed Storehouse by Diller Scofidio + Renfro stands amidst contemporary housing and the greenery of Queen Elizabeth Olympic Park. This redevelopment received significant support from the Department for Culture, Media and Sport, amounting to £63 million, aimed at relocating the V&A’s collections from Blythe House in Kensington.

Upon entering, the Storehouse resembles a sleek modern office space, complete with plants and a minimalist café. Moving through metal-lined corridors filled with diverse cultural artifacts, visitors step into the vast Level 1 Collection Hall, which feels like an expansive Aladdin’s cave filled with a multitude of visual treasures. The layout diverges from traditional museum displays, favoring a random assortment based on object characteristics instead of chronological or thematic categories, fostering unexpected encounters with history.

Grouping items such as Margaret Calvert’s renowned Children Crossing sign alongside cast iron Chinese warriors and a vintage Moulton bicycle creates a dynamic visual narrative. Two sections of the now-demolished Robin Hood Gardens housing estate are also part of the installation, adding layers of social history to the exhibition.

On an upper level, a beautifully detailed late-15th-century ceiling from Toledo has finally emerged from over 30 years of storage, showcasing the intricate craftsmanship that blends Islamic and Christian artistry. This remarkable artifact stands as a testament to a pivotal moment in Spanish history when Islamic influence began to wane amid conflicts of religious conversion and expulsion.

Storehouse also enhances appreciation for the V&A’s stunning architectural treasures. A glass section in the main hall provides an overhead view of an elaborately adorned 17th-century marble colonnade originally from Agra, giving visitors a sense of the intricate design and historical significance.

The lower level of the facility is where much of the conservation work occurs, largely out of public view yet entirely visible from other areas. This setup invites visitors to engage with the preservation process, featuring specialized zones dedicated to challenging artifacts, such as a large space for stage cloths. Currently showcased is Alexander Shervashidze’s impressive copy of Picasso’s The Race, created for the Ballets Russes in 1924, which Picasso himself endorsed with his signature.

Visitors can closely observe conservators at work, with built-in galleries providing viewing access to ongoing conservation efforts for large textiles. The state-of-the-art “wet” conservation studios, fitted with cameras and live feeds, enable conservators to communicate their processes to the public.

Overall, Storehouse presents an enchanting and intellectually engaging experience akin to exploring a vast treasure chest of history. It emphasizes the V&A’s commitment to making its national collection publicly accessible, marking a significant shift in how museums engage with their audiences. The grand opening of the V&A Storehouse is slated for May 31, and it promises to be a captivating destination.

What I Ordered

Cristóbal Balenciaga evening dress, Paris, 1954: This complex garment has gained significant interest, especially among fashion students, inspiring the architectural design of the V&A East Storehouse.

Astrolabe, Iran, 1600-1700: This beautifully crafted brass instrument, essential for navigation, was developed in ancient Greece and later refined in the Middle East, featuring detailed Arabic engravings.

Lucie Rie buttons, London 1945-48: Acclaimed studio potter Lucie Rie, who fled Nazi Austria, crafted these buttons for the haute couture market, donating this selection to the V&A.

Henry Irving costume, London, 1881: Despite the advent of electric lighting, Irving opted for softer gaslight effects at the Lyceum, enhancing the visual allure of this striking tunic worn during performances of The Cup.