Grace Pervades – Theatre Royal Haymarket – Saturday 30th May 2026

(Rated 4/5) For this theatre day out, my companion and I agreed to meet at an old haunt – “Dug Out Corner” as there used to be an eatery called ‘The Dug Out’ there many moons ago. It is now ‘Steak and Company’ - you choose your meat and are given it alongside a choice of salt, butter and sauce and a hot stone tablet to cook it on yourself. (So delicious as is their sticky toffee pudding!) I arrived pretty early and looked for somewhere to wait for my friend. I could see a bench behind a large statue of someone. I thought I better check who they are so I could message where I’d be sitting. It turned out to be Sir Henry Irving and ‘Steak and Company’ are on Irving Street!

David Hare’s ‘Grace Pervades’ is a highly ambitious play in the main about the contributions of Sir Henry Irving and Ellen Terry to theatre. Ralph Fiennes plays Irving and Miranda Raison is the Grace Pervading of the title within and emanating from Ellen Terry. I am fascinated by any history of the theatre and this felt so important – that and such a moving interview with Ralph Fiennes on ‘Lorraine’ in which he shone with enthusiasm about Victorian Theatre, the protagonists and intelligently extoled on Shakespeare and all we can learn from him about human nature. He won me over completely, so of course, I was going to give it a go if I could. Unfortunately, the tickets seemed very pricey indeed so I chose Royal Circle rather than stalls, and because I am struggling with my right knee, second row which gives more room, and I sat on an aisle seat so I could stick my leg out to the side. Rather amusingly there was a man in the front row who was doing the same with his left leg! Also, connected to that my companion noted Ralph has very skinny legs so a leg theme going on 😉 My companion also noted he would look good in Kinky Boots, and I also need to confess that part way through the performance I was wishing I was watching Kinky Boots again. Sadly, I didn’t feel the enthusiasm for it I had felt watching Ralph’s interview. My friend agreed something was missing emotionally for or failing to land with us.

In the play, David Hare has Ellen Terry’s children – Edward Gordon Craig (Jordan Metcalfe) and Edith Craig (Ruby Ashbourne Serkis) – narrate the events over the lifetimes of Henry and Ellen from their meeting up to her death (after his) – and within that jumping back and forth in time Ellen’s children’s contributions to theatre also. I felt it started beautifully with a montage of Ellen performing a wealth of Shakespearian roles alongside Henry and the ensemble, and I really felt her psychologically and highly expressively embodying each part. Yet it seemed to dip from there as soon as they were both themselves – or rather Miranda as Ellen and Raph as Henry. I felt I couldn’t connect with or really feel emotional expression from either of them. Having heard it has really impressive reviews, I felt we were missing/not getting something and had got it wrong! Thinking back, I now believe part of the problem to be that Hare was trying to include way too much to fit in all the history from all his sources. Not only that, it felt jam-packed with exposition – not just in the narration from the adult children – but also even between Henry and Ellen. Show not tell is the key, David! There was a large cast of characters too, feeling more like name-checking key people of the time including Isadora Duncan, Stanislavski and Vita Sackville-West, which again for me took away from the intimate creation of moving interaction, which I would assume Henry and Ellen achieved together in reality. It left me wanting to know more on their contributions to theatre as I felt I got too little! Hm. A real shame. Or could it also be that being so far from the stage you don’t feel absorbed into the world – you’re too detached?

I do think everyone performed well and the production was visually stunning with wonderful sets and glorious costumes of the time. I think I’ve seen David Hare’s work before and felt the same – or rather felt that I didn’t feel enough. So possibly he is just not to my taste. I’m in no doubt he worked very hard on the piece and paid a lot of attention to detail, so, in spite of all the above, a very admirable effort, and he certainly shouldn’t worry about this restricted reviewer when he has rave reviews from elsewhere! Grace Pervades – Review by TheRestrictedReviewer © 2026

Tori Amos – The Royal Albert Hall, London – Tuesday 21st April 2026

(Rated 10/5) I couldn’t help looking back at my Alanis review from last year, when thinking about writing my review of Tori Amos’ Tour ‘In Times of Dragons’. My companion for this one remembers having them on either side of a cassette tape. For me, they went hand in hand accompanying my counselling training journey – their lyrics resonating with so many of my life experiences. As I write this a Tori song that stands out is:- ‘Everybody Else’s Girl’; “She’s been everybody else’s girl, maybe one day she’ll be her own”… and that is exactly what I was attempting to do. And I think I succeeded during my self-development as ironically (no, Alanis lol) I now can’t remember how to be everybody else’s girl, except in the sense that I do my best to meet others where they are, but I no longer try to fit or match them or have the same opinions!

And then there’s individual lines from some of her other songs that resonate somehow… ‘Winter’; “When you gonna make up your mind, when you gonna love you as much as I do?” and getting to a place of self-love. ‘Tear in Your Hand’; “I think they’re pieces of me you’ve never seen, maybe she’s just pieces of me you’ve never seen”… the feeling is being seen is just so immensely powerful and transformative. ‘Crucify’; “Why do we crucify ourselves… nothing I do is good enough for you…” and getting to the feeling of freedom of knowing you are good enough and you don’t need to keep punishing yourself… Free Your Heart from those “Chaaaaaiiiins… Oh-oh”. More on that one later 😊

Or there’s songs of Tori’s that I just love for the feelings they give me whatever their deeper intended or perceived meaning. And, of course, songs, films, any art in fact, can have different meanings, or trigger different emotions and memories for those experiencing them other than the writer originally held within themselves as inspiration. I feel Alanis’ lyrics are more obvious, where Tori goes far more into metaphor and myth, fairy tale-like even. She’s so much a storyteller, but those stories all connect with our real lives so profoundly. So, I get different vibes from each of their music – both so good in their individual ways.

I do think Tori Amos is an exceptionally talented singer-songwriter, composer, arranger and she and pianos are absolutely made for each other. What feels like decades ago – and likely was – I went to a Tori concert and remember her bouncing around on her piano stool. I actually can’t now remember then, but certainly these days and on this tour, she plays two pianos – or rather a piano and a key board – individually and both at the same time! She still has the same strawberry blond (though not natural absolutely her trademark and beautiful) hair. She now wears glasses. She still has her drummer Ash Soan and bassist Jon Evans. Tori recognises her voice has changed – dropped a little – and so to be able to make all the arrangements and get all the harmonies she wishes, she now has her ‘backing’ vocalists – her Angels – Liv Gibson, Deni Hlavinka and Hadley Kennary.

Tori’s support act was singer-songwriter and guitarist Isaac Levi accompanied by cellist Meg Ella. It turned out to be Meg’s birthday. For me an excellent and appropriate warm up for Tori. Isaac was nervous and very grateful for the opportunity. They certainly deserve great success.

I believe Tori’s set was two hours long, but it seemed to fly by. I felt mesmerised by the new music and enjoyed hearing some of the old, including ‘Cornflake Girl’ and ‘Precious Things’. The entire set was stunning and gorgeous listening including incredible new arrangements for many of Tori’s songs and absolutely exquisite harmonies between Tori and her singers – her angels. But, OMG, the song that blew me away completely was ‘Crucify’. The whole 12-minute arrangement completely sublime. I’ve been fortunate to find a recording of it and played it since several times. She’s chosen her ‘Angels’ perfectly.

This experience so nearly didn’t happen for me. In part with a health issue, which I’ve mentioned before, but because tube drivers decided to strike on the day. I’d been concerned anyway about going being “too much” post-surgery, when I was supposed to be taking it easy. I had my Mum in my head saying that to go wouldn’t be “very sensible”. And, actually in many ways it really wasn’t! My companion did a stellar job navigating us to the RAH, and home again on various buses. With the volume of other people trying to get home, going directly, and using trains, on the way back, became impossible. We had to get a bus into town and then another all the way out again. I felt so safe with and confident in my friend, though, that in a way it was a big adventure. If only it hadn’t been so cold… making me “think of Winter”. But we had “a little warm in our hearts” thinking of the dear mutual friend who “introduced” us both to Tori Amos’ music.

Tori’s new album is apparently (not yet heard as not yet released) very much about the times and circumstances we now find ourselves in. It serves as a metaphorical, mythological story about the fight for democracy against rising tyranny. Sadly, we really are “In Times of Dragons”. In my own small way, I’m Slaying My Own Dragons of a more personal nature, with Tori accompanying me yet again on a therapeutic and healing journey!!!

Tori Amos – Review by TheRestrictedReviewer © 2026

Kinky Boots – Coliseum, London – Saturday 18th April & 16th May 2026

(Rated 7/5) 18th April: I’ve been sitting for some time now with laptop on my lap wondering how to write my West End 2026 ‘Kinky Boots’ review, because so much of the Tour 2025 ‘Kinky Boots’ review is completely relevant and to be honest, I’ve come to the conclusion it makes most sense to refer my dear RR readers to that to see what’s gone before, and I’ll just skip to my impressions and experience of the show at the Coliseum.

Booking this – back in July 2025 – felt huge. I – and I know other Johannes Radebe devotees – had a code for priority booking – and I sat poised again on this laptop at the appropriate time waiting for my code to come through, aware that I was not just booking for me this time, but for two very dear friends, who instead of chasing Jojo round the UK on tour, took a chance and waited for him – and this KB production – to get to the West End. The hour had come, but my code had not, so I went onto the website anyway, and found that simply putting in my name was enough to get me accessing tickets 😊 I know it’s technology working, but had me feeling special that was all I needed! I nabbed my middle front row stalls seats, told friends of my achievement, and then nabbed some more for another date too – yes, I know! And that was that – we were in!!! I posted my success on Jojo’s social media and got love reactions from him and his agent 😉

But who knows what will happen in months before the show-date finally comes round, and earlier this year, I had a health diagnosis, which put getting to the show in peril. I really don’t mean to sound overdramatic writing this, but I felt the weight of being the common connection – my two Jojo-bag Central Line friends had also booked the same date so we could all meet up – and also the huge disappointment I’d feel not to be able to experience the show with two of my absolute besties. I’d felt ever so excited about it happening. One of them, knowing what had happened, said it would feel a “hollow” experience without me, and my other bestie was reluctant too. However, it gave me a goal and a dream, which in itself gave me positive energy and hope to be able to get myself there. Both besties were also saying they’d do all they could to help me make it. Lots of active visualising of Jojo on stage right in front of me – me smiling up, him smiling down, and my besties beaming either side – manifesting as much as I could!

As fortune would have it – and this mentioned in my ‘Dracula’ review too – my op was brought forward and I was well enough to go! Still major anxiousness about what else might get in the way. And it sort of did with a bestie getting a throat infection! Hmph! But we got round that with him wearing a mask so as not to give to me and inhibit my recovery/treatments. Goodness! So kind and caring of him to tell me and to wear a mask, even though it would mean Jojo couldn’t see his face – then again that’d add to the mystery wouldn’t it 😉 “Who is that handsome man in the front row behind the mask?!”

Managed to meet up with Jojo-bag Central Line friends before too so all good. We’d made it!!!!! Slight heart missing a beat when we noticed that Liam Doyle would be playing Charlie Price, instead of Matt Cardle, but to be fair so long as Jojo was Lola all good for most of us!!! The Coliseum production is bigger and brighter than the tour in so many ways. They have more space on stage so more scope to move around and be more vibrant. The costumes for all characters are zhuzhed up too, and Lola has a great deal more wigs! (Also, Jojo seemed to be completely comfortable in all of them, unlike the one or two which seemed to bother him on tour.)

I thought Liam Doyle was a very good Charlie. (He normally plays Harry.) I have heard Matt Cardle’s voice is brilliant, so I am hoping I’ll see him next time, but it does seem he hasn’t been doing many of the shows?! Courtney Bowman reprises her role as Lauren and what a voice and presence she has. A wow of a woman! I also recognised a fair few others from the tour as well as new faces.

Though Lola first appears in big coat and almost hidden at the back of the stage – her key entrance at the Coliseum is to be rising up on a platform from below stage, as the Angels sing ‘Lola’ around her. The whoops and cheering as Jojo appeared could’ve raised the roof off the Coliseum!!! Glorious and shining like the brightest sun ever!!! And I know I said it in my tour review, but he has improved even more in his singing and acting. His singing voice now has more character to it and, I agree with Matt Cardle on this, a stunning hummingbird-esque vibrato added in too. Jojo singing ‘I Am Not My Father’s Son’ is beautiful beyond words. I would give anything to have a recording of that… please!!! He has settled so well into the acting it comes across as completely natural. Yes, others might be better at both those talents, but as one of my besties noted, his charisma is so off the charts that doesn’t matter. Again, as Matt says, though maybe not in these words he is super-fit and “ripped”, and his moving across the stage – especially in dance moves obviously – just sensational!!!

Only little funny thing that got in the way of my viewing experience. I was directly behind musical director Grant Walsh, and though he was cute (as masked bestie said), his head was in the way especially as Jojo started singing ‘I Am Not My Father’s Son’. Then, when his head wasn’t in the way, Lauren’s sewing-machine was! Oh well – a small Price to Pay – see what I did there?! 😉

My besties adored it!!! One of them already a Jojo-fan, the other now I think fast falling in love 😉 No need to say Jojo-bag Central Line friends still very much on board. I had the great pleasure of being accompanied by them back on the Central Line home too 😊 And all four of my fabulous friends looked after me exceptionally well too. Surrounded by them and with Jojo right in front of me on stage, I was certainly “Raised Up” and felt I could “Just Be Beautifully Me”!!!!!

16th May: And so we welcome the “Elusive” Mr Matt Cardle as Charlie Price and arguably a much better view for me and Bestie – though not the up-close-and-personal I love with front row stalls – from Box5 at stall level of the Coliseum – and previously masked Bestie “unmasked at last”!!! OMG I do love Boxes. You feel so special – and yes, ok, you’re paying more of a special price, but it’s comfortable and private (sort of) and like – well in the case of this particular Box – a big red warm hug with gorgeous décor. You’re separate from – yet together with the rest of the audience – and well, it just feels like treating yourself, which we all need to do now and then! Sadly Jojo-bag Central Line friend who loves Matt Cardle never got to see him, but I’ve now done that job for her 😉 I love his sensitive, gentle voice, the everyman-ness struggling to find himself he gives to Charlie, and his unassuming down-to-earth energy. His vocals are powerfully expressive and he is the gritty grounding to Jojo’s wowza of a Lola. For me their harmonising together on ‘I’m Not My Father’s Son’ was exquisitely goosebump inducing!

We had an Alternate Don for this performance and annoyingly I don’t know who he was! I didn’t think to note down his name from the board pre-show. But I thought he did a really good job, though perhaps was a little less ominous in the role than Billy Roberts.

I don’t think I’ve said enough about Courtney Bowman as Lauren in my KB reviews thus far, and I certainly haven’t said enough about Scott Paige as George. Both are my constants through this whole experience! I’ve seen different Lolas (5 Jojos and 1 Newtion) and definitely different Charlies (4 Dan Partridge, 1 Liam Doyle and 1 Matt Cardle), but Scott and Courtney have been there for all of my 6 KB performance-viewings and feel so solid and stable and comforting in that. Scott is absolutely excellent as George. He’s a gentle giant with so much warmth, loyalty, loves his traditions and conventional approaches and clothing yet embraces challenges and difference… and OMG when he appears on stage at the end for the Milan show well what a contrast in his appearance - raises a laugh every time he enters alongside Courtney’s Lauren. Courtney gives such delightful variety to Lauren. Every time I’ve seen her adding slightly different touches and nuances to her performance of ‘The History of Wrong Guys’. She’s fun and playful – I’d love her as a bestie. And Courtney is such a talent. Such a tour de force of a singing voice and speaking too. She’s so relatable, and yes, I can relate to her key song too!

Is there anything else I’ve missed out… well yes, lots, as I want more ‘Kinky Boots’ and sadly I really don’t think I’m going to get it! As I embark on a different kind of journey and experience that will likely mean my KB one is at an end. But what an absolutely fabulous and moving experience it has been. Such a pleasure to witness Jojo transform as a performer into the all-round superstar he now is. I’m aware how exceptionally nervous he was at the beginning and yet now how at ease in it all he seems to be – shining as gloriously as our brightest star in the universe. But the whole KB family have been so amazing too and the whole messaging of the show just makes you feel so blooming good and joyous!!!

So here’s to a number 7 Kinky Boots – my favourite number – even if it only happens in my imagination it’ll certainly have me “Celebrating Myself Triumphantly”!!!!!!! KinkyBoots – Review by TheRestrictedReviewer © 2026