For some reason, October turned out to be a fantastic month for theatre visits. Some of these were planned months in advance, a couple, very last minute, which meant that I saw five very different productions, from quiet intimacy to loud, inventive spectacle.
Clarkston — 8 October, Trafalgar Theatre
Joe Locke, best known from Heartstopper, starred in the UK premiere of Clarkston, a tender three-hander about two lost souls working the night shift in a Costco warehouse.
Jake, newly employed in the warehouse, is tracing the route of his ancestor, the explorer William Clark, while facing a recent Huntington’s diagnosis; the other lost soul, Chris, is bound to his small-town life by a chaotic mother, Trisha.
It’s beautifully acted — Locke is excellent, but Ruaridh Mollica quietly steals the show with a performance full of tension. I must mention Chris’s mother, played by Sophie Melville, who is also magnificent, injecting unstable energy just as the plot might slow. Overall, a simple setup with quite powerful performances.
It clearly brought a good number of Heartstopper fans to Whitehall for a mid-week performance, which must be a good thing. The Guardian’s review, perhaps less enthusiastic than I would have been.
Still playing, until 22 November 2025.
The Bacchae — 13 October, National Theatre (Olivier)
Euripides reimagined for the modern age: loud, kinetic, and full of swagger. This Bacchae mixed rap, spoken word and pounding beats, transforming the ancient tragedy into something fast-paced and streetwise. King Pentheus branding Dionysus and his followers “terrorists” added a touch of contemporary relevance.
The set — unadorned movable platforms — opened with an unforgettable image: a blood-soaked white horse’s head looming over the stage. It was visceral, fast-moving and utterly gripping. One hundred minutes without an interval flew by.
Time Out gave this one fewer stars than I would have, questioning whether it even works as a tragedy. I would have definitely suggested you go to see this, but sadly, it ended last weekend.
Hamlet — 15 October, National Theatre (Lyttelton)
Two nights later, another National Theatre production — but a different energy entirely. Hiran Abeysekera’s Hamlet bounded across the stage in beanie hats and oversized jumpers, his performance full of humour and restless energy. The costume might have been modern, the setting aiming for some period between then and now, though the language stayed pure Shakespeare.
Francesca Mills’s Ophelia was brilliant, her descent into madness raw and unflinching. The production never quite found a political edge, and I christened it “bouncy”, which feels like the right word.
The Observer, who don’t seem to be giving out stars these days, said what a lot of the reviews have commented on, that soliloquies are gabbled and that rather spoils the effect. Despite the pace of this performance, I think it felt slow. But it was certainly worth watching.
This one is still running, also until 22 November 2025.
The Producers — 24 October, Garrick Theatre
After so much tragedy, The Producers was an amusing tonic. Mel Brooks’s gloriously tasteless musical, now revived from its Menier Chocolate Factory run, remains, IMHO, one of the funniest shows ever written.
Bialystock and Bloom’s plan to profit from the world’s worst musical — Springtime for Hitler — is still hilarious and, surprisingly, hasn’t been cancelled. It’s satire at its sharpest, making me wonder what today’s equivalent might be.
The Evening Standard gave this one five stars; “The line Bialystok quotes from a review of Springtime for Hitler also sums up The Producers: ‘It was shocking, outrageous and insulting – and I loved every minute of it.’”
Stereophonic — 27 October, Duke of York’s Theatre
Finally, Stereophonic: a fly-on-the-wall drama about a 1970s rock band recording an album. It’s definitely not Fleetwood Mac — though the parallels are obvious. The “play with music” cleverly blends dialogue and original songs by Will Butler of Arcade Fire, capturing both the tedium and the magic of studio life.
It’s long, occasionally exhausting, but the second half finds its rhythm. I wasn’t entirely convinced it merited its thirteen Tony nominations, but it’s smart, stylish and very well performed.
WhatsOnStage gave this five stars, as did a number of others, but I agree with The Times, a little editing (in my view of the first half) would have helped.
Another production that finishes on 22 November 2025. I wonder what’s happening after that?
I don’t know when I’ve seen so many shows in such a short time. That’s five shows in one month, showcasing the varied nature of London theatre. Yes, I enjoyed some more than others, but I’m glad I went to them all and would recommend you see any of them (just get into a comfortable position for Stereophonic). There’s so much talent out there, it’s amazing.