Tag Archives: Five Stars

SOPHIE’S SURPRISE PARTY

★★★★★

Underbelly Boulevard

SOPHIE’S SURPRISE PARTY

Underbelly Boulevard

★★★★★

“a dazzling, tongue in cheek triumph”

Think 90s surprise party – what comes to mind? If it’s awkward goths, velour tracksuits, blue WKD and a run of 90s and 00s bangers, ‘Sophie’s Surprise Party’ will be right up your street – a thrilling comedy circus cabaret bursting with stunning acts and delightfully cheeky flair.

At ‘Sophie’s Surprise Party’, you’re not a spectator – you’re part of the show! You’ll chat to cast, borrow glitter, grab party poppers and munch on onion rings all before the show starts! Then the celebration kicks off with a bang, launching into death defying acrobatics, British banter and unexpected audience participation, making this the kind of party you’ll wish would never end.

This sizzlingly slick cabaret of circus acts, set to 90s and 00s anthems, thrillingly fuses danger with skill. There’s no safety nets, no wires – just sheer technique and trust. From aerial acrobatics and lightning fast skating to fire batons and mesmerizing diabolo, almost every act has real risk – and not just to the cast! The front row is told to lean back for the skate routine, and fire batons shoot sparks over our heads. It’s a spectacle of technical mastery unlike any circus I’ve seen.

What’s truly exceptional is how smartly conceived and brilliantly executed the show is. It leans hard into the 90s/00s vibe, with familiar stereotypes becoming characters with mini arcs. The audience plays pass the parcel and beer pong, while each act plays out to the perfect throwback tune. Best of all, it’s self deprecatingly British throughout, making the outrageous routines all the more surprising. From a deliberately unsexy striptease in a giant Sports Direct mug, to the bloke in an England t-shirt whipping out a strip of condoms with his literal face on them, to everyone screaming Bon Jovi’s ‘Livin’ On A Prayer’ – it nails the target audience with tongue in cheek brilliance.

Three Legged Race Productions stages ‘Sophie’s Surprise Party’ in the round in a very tight space, creating plenty of close for comfort moments that heighten the thrill and make the skill on display all the more astonishing. There’s a cheeky, risqué tone from the outset – we are literally showered with crisps, encouraged to chuck ping pong balls at the cast, and cheerfully debate our favourite forms of contraception, perfectly setting the mood. Transitions are impressively slick and cleverly concealed despite being centre stage, whether it’s through misdirection, sharp lighting or sheer speed, creating a tight, polished feel. While the narrative is loose, the spectacular acts and seamless pacing create cohesion, building suspense with escalating feats of skill. Comic relief punctuates the danger through sharp dialogue and irreverent staging. Audience participation keeps us engaged and on our toes. It’s immersive, anarchic, and consistently inventive – an experience that feels both meticulously crafted and joyfully unpredictable.

The design instantly channels edgy party atmosphere, with candy coloured lighting, glittering tinsel curtains and a giant Christmas pudding complete with real fire. Costumes cleverly capture each performer’s 90s/00s persona, be they goth, nerd, Barbie or F*** Boi. If there’s one minor drawback, it’s the sound design which occasionally drowns out audience reactions – but then again, when are house parties ever quiet?

The entire cast – Katharine Arnold, Nathan Price, Cornelius Atkinson, Josie Jones, Emily McCarthy, Willem McGowan – astonishes the audience with their skill, strength, precision and comic timing. Standout moments include Price and McCarthy’s blistering skate routine (I’m still surprised nobody lost any teeth), McGowan’s gravity defying diabolo (who knew you only need one hand??), Jones’ pyrotechnic prowess (I see your fire and raise you FIRE-SPARKLERS!), and Price, McCarthy and Atkinson’s jaw dropping trio culminating in a terrifying final drop. The whole company keeps the party pumping and every act brings the house down.

‘Sophie’s Surprise Party’ distils all the best parts of a wild house party and while pushing the bounds of what’s humanly possible. It’s a dazzling, tongue in cheek triumph – catch it while you can!



SOPHIE’S SURPRISE PARTY

Underbelly Boulevard

Reviewed on 19th November 2025

by Hannah Bothelton

Photography by Roger Robinson


 

Previously reviewed at this venue:

JEEZUS! | ★★★½ | October 2025

 

 

SOPHIE’S SURPRISE PARTY

SOPHIE’S SURPRISE PARTY

SOPHIE’S SURPRISE PARTY

HOT MESS

★★★★★

Southwark Playhouse Elephant

HOT MESS

Southwark Playhouse Elephant

★★★★★

“continually manages to entertain and surprise”

How do you fit humanity’s 300,000-year existence on planet earth into an hour? Jack Godfrey and Ellie Coote somehow do just that in their new musical ‘Hot Mess’, transforming the messy relationship between people and the planet into a toxic romantic relationship between ‘Earth’ (Danielle Steers) and ‘Humanity’ (Tobias Turley). It shouldn’t work as well as it does.

Steers immediately sets the tone with her stellar vocals as her character laments her ongoing singledom, having not found a species of ‘apex predator’ to her liking since the sexy short-armed T-rexes of millions of years ago. This anthropomorphic iteration of our planet is no ‘Mother Earth’ or mythic ‘Gaia’ – she is a millennial in a satin green nightgown with an endless stream of geological puns up her sleeve. Earth dances confidently around her stylised living room, an effectively layered set by Shankho Chaudhuri, complete with blue floors, green furniture, and lots of plants. In bursts Humanity: a white guy in gold-rimmed glasses and a sheepskin jacket, of course. Turley matches Steers’ outstanding voice as they whirl through an impressive array of musical styles. Co-orchestrators Godfrey and Joe Beighton have done a particularly good job of capturing the epic scale of this relationship in their pleasing electronic compositions.

As Humanity, Turley also stands out for his portrayal of the self-centredness, short-sightedness, and greed that leads to the inevitable breakdown of their relationship.

Intelligent and ambitious, Humanity’s quick development from hunter-gatherer to farmer to self–appointed architect-of-the-world is only possible because he has no qualms about exploiting his girlfriend, his ‘only home’, for her many resources (cue silly drilling innuendos). His adulterous trip to the Moon and unwarranted introduction of planes and cars, cleverly incorporated into the soundscape (Paul Gatehouse & Charlie Smith), drive Earth further to the edge, resulting in literal stormy weather, cleverly represented in Ryan Joseph Stafford’s light(n)ing design.

Naturally, the audience can see where the relationship will go from a million miles away, but ‘Hot Mess’ continually manages to entertain and surprise regardless. It transforms the climate crisis into a narrative of romantic fall-out so familiar that it allows the viewer to easily grasp some of the underlying issues that have caused it, pointing to humans’ essential solipsism and carelessness. In the end, Earth realises it does not need Humanity and kicks him out of her home, after which he finds refuge with a much more toxic partner, Mars. Despite that bleak prospect, you’ll be walking out of this show with a smile on your face.

 



HOT MESS

Southwark Playhouse Elephant

Reviewed on 22nd October 2025

by Lola Stakenburg

Photography by Helen Murray


 

Previously reviewed at this venue:

LIFERS | ★★★ | October 2025
THE CHAOS THAT HAS BEEN AND WILL NO DOUBT RETURN | ★★★★★ | September 2025
THE ANIMATOR | ★★★ | August 2025
BRIXTON CALLING | ★★★★ | July 2025
THE WHITE CHIP | ★★★★ | July 2025
WHO IS CLAUDE CAHUN? | ★★ | June 2025
THIS IS MY FAMILY | ★★½ | May 2025
THE FROGS | ★★★ | May 2025
RADIANT BOY | ★★½ | May 2025
SUPERSONIC MAN | ★★★★ | April 2025

 

 

HOT MESS

HOT MESS

HOT MESS