★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”

Quirk (/kwəːk/): 1. A peculiar aspect of a person’s character or behaviour (noun) 2. (with reference to a person’s mouth or eyebrow) to move or twist suddenly, especially to express amusement or surprise (verb). “Love Quirks” – a new musical with music and lyrics by Seth Bisen-Hersh and book by Mark Childers – incorporates both the noun and the verb in its title. Indeed, ‘love’ is very much a fifth character in this intimate four-hander, complete with all the quirks imaginable. However, despite some genuinely funny moments, there are few twists and fewer surprises in what is essentially a song cycle rather than a fully-fledged musical.

There are eighteen numbers, spread evenly across two acts, that attempt to cover all aspects of love as experienced by four flatmates. Unrequited love is the dominant theme, but we are also offered insights and anecdotes exploring the minefield of dating, marriage, divorce, rejection, one-night-stands, sexuality, sex, romance, peer pressure and expectations. A mix of solos, duets and ensemble pieces, they are delivered with vigour and virtuosity by the cast and there are some beautifully tender moments. There is a tendency, however, to belt out the numbers; a technique that overflows into the dialogue. Moments of high emotion too often come across as mere shouting.

Flatmates Stephanie (Clodagh Greene) and Lili (Ayesha Patel) share their rented accommodation with gay best friend Ryan (Lewis Bear Brown). Although for Lili, Ryan is more of a best friend – she has harboured an unrequited crush on him since her schooldays. Ryan announces he is moving out and sublets his room to Chris (Tom Newland). Chris and Stephanie have history. They dated long ago, and Stephanie holds a bit of a grudge. Meanwhile they are both on the rebound: Stephanie is going through a divorce, and Chris is fleeing a girlfriend who cheated on him. Not wanting to be upstaged, Ryan too has his share of heartbreak. Only Lili is fancy free, although her freedom confines her in self-doubt and longing which steer her towards some dubious, drunken decisions. Basically, they are all pining for what they can’t have.

“It Never Works” – the opening number – sums this up and sets up the premise. It takes a while to warm up, but the energy truly kicks in as the quartet come together with some powerful harmonies. “Let’s Just Be Friends” continues the theme. The banter between songs verges on the inconsequential, and the characterisation lacks any real dimension. Childers’ script comprises chit chat rather than any real narrative, much of which is predictable. We know where it is going, and there are clear signposts leading us to the next song.

The songs themselves are well crafted (except that nearly all of the numbers end on the same base-note, staccato button). “Darling, I Loved You” shows Greene at her most tender in a song that subtly segues into “Who Knows Why?” during which Patel picks up the lead melody. There is a well-balanced mix of quirky solo numbers and rousing duets and ensemble pieces. Act One closes with the titular “Love Quirks”, during which we can imagine the full sound of the composer’s dream, rather than the solo piano accompaniment. Pianist/Musical Director, Tom Noyes, adds dynamic character to certain songs that are in danger of sounding just like the last. “Just Get Over It” is a surprise tango that is a lyrical delight, although director Cecilie Fray could do more with the musical staging.

There is no denying that this is a fun musical. Innovative – not really. Shallow – perhaps. Cheesy – probably. “Love Quirks” has some fine musical moments that stand alone, which is just as well as the story line is too weak to support it by itself. The fine performances from a talented cast certainly keep it from falling in on itself. A more solid framework would make this a sure-fire, quirky hit.

A MIDSUMMER NIGHTMARE!

Keats House

★★★★

“a richly atmospheric experience that is at times unsettling, at times hilarious, and always captivating”

A Midsummer Nightmare!, presented by Midnight Circle Productions and helmed by visionary director Cecilie Fray, is a bold, genre-defying reimagining of Shakespeare’s classic. Produced by the Broadway World award-winning company, this hauntingly beautiful adaptation captures both the chaos and charm of the original while plunging it into darker, more dreamlike depths.

From the moment the audience enters the performance space, it’s clear this is not traditional theatre. Each venue on the company’s tour is transformed into an enchanted garden, drawing you into an immersive, almost interactive environment. With flickering lanterns, creeping fog, and a soft midsummer breeze, the setting evokes something between a dream and a gothic fairytale. If you look closely enough, or maybe just believe hard enough, you might catch a fairy slipping between the trees.

The production leans heavily into the surreal and eerie qualities of the play, amplifying the sense of mischief, confusion, and illusion that has always been at its heart. This isn’t just a “Midsummer Night’s Dream” with a twist, it’s a full-on nightmare, but one that retains the warmth and wit of Shakespeare’s writing. The result is a richly atmospheric experience that is at times unsettling, at times hilarious, and always captivating.

One of the most impressive elements of the production is the cast’s dual role as both performers and musicians. Every actor on stage contributes not just to the storytelling but also to the show’s live soundscape, through haunting harmonies, folk-inspired instrumentation, and ambient vocalizations. This creates a constantly shifting sonic world that mirrors the instability of the enchanted forest and the characters’ emotional turmoil.

Standout performances abound. Nadia Lamin brings a touching vulnerability and fierce comic energy to Helena, whose desperate love for Demetrius, played with arrogance and occasional softness by Charlie Macrae-Tod, anchors some of the play’s most painfully funny scenes. Their chemistry adds fresh depth to one of the play’s most turbulent love stories.

Sam Bird is a magnetic presence as Puck, or Robin Goodfellow, the mischievous fairy who gleefully causes much of the chaos. His physicality, timing, and voice work bring an unpredictable edge to the role, while Chloe Orrock’s regal and brooding Oberon offers a powerful counterbalance. The decision to gender-swap the fairy king adds further intrigue to their dynamic.

Meanwhile, Titania, portrayed by Kennedy Jopson, exudes grace and quiet power, while her scenes with Bottom, played by Jed McLoughlin, are some of the show’s most bizarre and oddly tender moments. Their vocal performances in particular, lyrical, eerie, and emotionally charged, elevate the production’s dreamlike tone.

Costume and set design deserve special mention. Cloaked in earth tones, shadowy veils, and delicate lights, the aesthetic of the production embraces both decay and beauty. The forest feels alive, filled with secrets and whispers, while the actors’ costumes suggest they’ve wandered out of a folk horror film. The visuals, heighten the sense that this is a space out of time, where love, identity, and reality blur.

Despite its dark tone, the production doesn’t lose the play’s original humor. In fact, the comedic moments shine more brightly against the gothic backdrop, and the clever use of physical comedy and timing ensures the audience is constantly engaged, sometimes laughing, sometimes holding their breath.

If there’s one critique, it’s that the immersive elements might not work equally well in all venues, depending on the audience’s proximity to the action. However, this feels like a small price to pay for such an ambitious and original reimagining of a well-known classic.

In the end, A Midsummer Nightmare! is exactly what its title promises, a dream turned on its head. This production does not aim to comfort; it aims to enchant, unsettle, and surprise. With its stunning performances, innovative staging, and gothic flair, it invites us to rediscover Shakespeare not as a museum piece, but as a living, breathing spell of theatre.

LOVE QUIRKS

The Other Palace

★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”

LOVE QUIRKS

The Other Palace

Reviewed on 28th September 2025

by Jonathan Evans

Photography by Anna Clare

Previously reviewed at this venue:

LOVE QUIRKS

LOVE QUIRKS

LOVE QUIRKS

A MIDSUMMER NIGHTMARE!

Keats House

★★★★

“a richly atmospheric experience that is at times unsettling, at times hilarious, and always captivating”