What a journey Jamie Eastlake’s play has had: his stage adaptation (which he also directs) of Jonathan Tulloch’s book The Season Ticket began life as a three-hander in 2022, when it was performed in a social club on North Tyneside.

In the long slide from its imperial economic might, it’s hard to make a case for finding a place for “The UK” and ‘“World-leading” in the same sentence. But we’re pretty good at pop music, particularly once you offset Sir Cliff with Johnny Hallyday. C’mon Europe, whaddya got?

It’s taken a while for that to be recognised by The Establishment, eventually getting round to gonging up Sir Macca and Sir Ringo, Sir Elton and Sir Rod, Sir Mick and Sir Tom. But who exactly is Sir Ray? He certainly needs more than one name, so what’s he ever done?

Humour is a good way of defusing tense situations. You know, social embarrassments, personal difficulties and existential puzzles. In the wonderfully titled Eat The Rich (but maybe not me mates x), Jade Franks turns her experience of being a Scouser who survived a Cambridge university education (just, and then some) into a short, but entertaining monologue. And, having really wowed Edinburgh last year, she brings this comedy of bad manners to the studio space of the Soho Theatre.

Such is the USA administration’s overwhelming saturation of the news cycle that, even with the comforting presence of an ocean between, it’s hard not to find Talking Heads’ unforgettable lyric relentlessly buzzing through your brain on repeat

Lawlessness and lack of accountability seem, tragically, on the verge of becoming a new American norm, so what better time to re-consider High Noon, the classic 1952 Western that forefronts issues of moral rectitude. Will Kane, the marshal who stays on in his tight-knit New Mexico community to square off against an outlaw whom he sentenced to hanging five years before, possesses a moral propriety akin to the likes of Atticus Finch.

Just weeks after the theatrical version of the cult film Paranormal Activity successfully recreated the original’s nail-shredding fear, A Ghost in Your Ear offers its own distinctive route to transcendental terror. Where Paranormal Activity – directed by Punchdrunk’s Felix Barrett – leans heavily on superb stage illusions, A Ghost in Your Ear, as the title suggests, largely channels its chill factor through soundwaves. 

Lyle Kessler’s 1983 three-hander has embedded itself in the American repertory, attracting a Tony nomination and star casting. Here it was graced with an award-winning turn onstage from Albert Finney, who later starred in a film version. But is it more than an actors’ play?

Egad, what a simply spiffing time is to be had at the Orange Tree just now! Director Tom Littler has taken Sheridan's first play, and (with his associate Rosie Tricks) pruned and honed and moulded it into an even sparkier version of itself. The plot, the satire of manners, are still intact but now Lydia Languish, Jack Absolute, Mrs Malaprop et al inhabit the Bath, not of 1775 but 1927.

If it's possible for snippets from live theatre to play in the mind on a perpetual loop, the London theatre during 2025 offered many such moments that I am (very happily) finding it hard to shake. 

Peace and Goodwill to All Men outside. Inside, on stage at least, there’s not much peace nor goodwill to be had on the horror-filled Saturday afternoon before Christmas. A high-spirited full house is set to spend a couple of hours with spirits of a very different kind. In every sense, it's a shocking contrast.