Women, Beware the Devil,  Almeida Theatre Feb 2023

Women, Beware The Devil at the Almeida Theatre is a difficult play to pin down.

It starts in the modern day with the 'literal' devil (Nathan Armarkwei-Laryea) breaking the fourth wall to lament how he isn't evoked or blamed for anything anymore. He also cheekily spoils the plot of the play.

We are then catapulted to the 17th century to the home of Lady Elizabeth (Lydia Leonard) and her brother Edward (Leo Bill).

It's a castle, literally and figuratively. For Elizabeth, it's a place which represents family and tradition but also somewhere she has some agency as an unmarried woman.

However, the cost of repairs is crippling the family finances, and Edward has no inclination to marry the rich and beautiful Katherine (Ioanna Kimbook) that Elizabeth has lined up. Katherine comes from new money rather than the gentry and is too easy for Edward - he prefers the maids.

So Elizabeth turns to Agnes (Alison Oliver), about whom rumours of witchcraft swirl. While the house's maids live in fear of witches and don't trust Agnes, Elizabeth sees an opportunity to solve a problem.

Gemma Lawrence and Kathryn Bond in The Beach House, Park Theatre, Feb 2023. Photo: David Monteith-Hodge

They say moving is one of the most stressful things you can do. What happens when you move to your dream beachfront home that is 'in need of renovation', you have a baby on the way, and your relationship is evolving fast?

Add a flighty sister, and you've got the premise for Jo Harper's new play, The Beach House at the Park Theatre.

Couple Liv (Gemma Lawrence) and Kate (Kathryn Bond) have much to be excited about in this new chapter of their relationship. It's a shame then that Kate has a strained relationship with her younger sibling Jenny (Gemma Barnett).

The latter's life lacks the stability of her sister's. Jenny's chosen career is as a dancer, which means stints working away at a circus or on a cruise, and her relationship with her boyfriend is in choppy water.

Deep down, does Jenny want to be like her stable sister, or does she want what her sister has?

But Liv and Kate's relationship isn't as plain sailing as it might initially appear.

Kate is in a rush to return to work after their daughter is born, and Liv, when not looking after the baby, takes sanctuary in a glass or two of wine.

Jenny and Liv are increasingly pushed together as Kate doubles down on her work and career.

The stage contains little more than a wooden storage chest into which clothing and baby items are regularly tidied and occasionally a box, bucket or pouffe.

Do you ever watch a play and enjoy it enough while watching it but then at the end, as you leave the theatre, realise it won't leave a mark on you?

The blunt way of putting it is 'good but forgettable'. That's kind of how I felt about Trouble in Butetown at the Donmar Warehouse.

The characters are interesting enough and good enough company, but you don't quite get to know them sufficiently for them to get under your skin.

There are some interesting themes, but being a period and social history, I know little about it didn’t reveal enough to quite transport me there.

Helena Wilson and Maggie Bain in Linck & Mülhahn, Hampstead Theatre, Feb 2023. Photo: Helen Murray

Writer Ruby Thomas was in the British Library when she came across a reference Linck and Mulhahn, a same-sex couple in 18th Century Prussia who'd been living as husband and wife.

Using what information she could find as starting point and imagining the rest, Thomas has written a witty, effervescent and heartbreaking play about their relationship, secret life and the subsequent outing.

It starts with Linck (Maggie Bain) living as a man - Anastasius - so they can be a soldier and Catharina Mulhahn (Helena Wilson) fighting her mother's attempts to match her with a suitable husband.

Anastasius is a skilled soldier and well-respected. Catharina is rebellious, constantly pushing against the boundaries society places on her sex. A chance encounter at a dressmakers shop sees the two verbally sparring; they fizzle and spark in each other's company.

There is an honesty in their biting, yet playful, exchanges that ignites something. When Catharina, with typical forwardness, proposes marriage Anastasius has to reveal that they aren't all they seem.

But Catharina is undeterred, and the two marry and set up a home together. Anastasius, who has now left the army, works as a dressmaker's apprentice and encourages Catharina to write.

It is a blissful existence built on a foundation of love and equality until Catharina's bored mother starts to dig into her 'son'-in-law's past.

Phaedra, National Theatre, February 2023, starring Janet McTeer and Assaad Bouab

Phaedra at the National Theatre started with writer/director Simon Stone making a speech about this being the first run-through. He asked for our indulgence if things didn't quite go smoothly, blaming himself for any issues.

During the opening scene, there was nothing noticeable, the problems came when there were scene changes and subtitles later on - but I'll come back to that because, at its core, this version of the Phaedra story and the performances are superb.

All the action takes place in a glass cube, similar to Yerma at the Young Vic, which Stone also directed. The story is transferred to modern Britain; Phaedra becomes 'Helen' (Janet McTeer), a politician and Oxford graduate from an affluent background.

Her husband Hugo (Paul Chihadi) is a diplomat of Iranian descent - he chose the name Hugo because no one could pronounce his Iranian name.

Helen and Hugo have a grown-up married daughter Isolde (Mackenzie Davis), and a 14-year-old son Declan (Archie Barnes).

Family dynamics

We find the family at home, along with Isolde's husband Eric (John Macmillan), teasing and bickering while preparing for the arrival of a guest for dinner. They talk rapidly, interrupting each other or having several conversations at once. It feels relaxed and uninhibited.

When their guest Sofiane (Assaad Bouab), arrives, the atmosphere changes; there is excitement, awkwardness, and curiosity. Sofiane is the son of a Moroccan man Helen had an intense holiday romance with when travelling with Oxford chums as a student. 

Sofiane is the spit of his father, who died in a car crash while he was having his affair with Helen.

While not technically a stepson as in the original story, Stone instead has created a more complex dynamic.