Peter Barnett

Such a fun day at @thorpeparkofficial 🎢✨ Loved getting to do the VIP Influencer Day with @corymcclane , always a laugh and even better when there are no queues 🙌🎟️ It was also great seeing loads of friends around the park too, which made the whole day even better 🫶 Big thanks to @jjprexclusive and @popcornpr for having us 💙 Had the best time from start to finish and already looking forward to the next one and a few more thrill filled days out soon ⚡️ Official photos by @ameliamayphotos & @callumosmond.photography 📸 (PR invite) #ThorpePark #CoryMcLane #VIPDay #ThemeParkFun #PRInvite

🎭 SOUL by @diversity_official 📍 @thelondonpalladium 📈 99% • ★★★★★ • A+ “SOUL reminds us that the most powerful thing in any theatre is still human connection.” This review has taken me nearly three weeks to put together, because I genuinely had to see the show twice to fully process it. There is so much inside SOUL: dance, technology, memory, grief, family, humour, AI, nostalgia and the kind of storytelling that stays with you long after the lights come up. Created and led by @ashleybanjogram , this is far more than a dance show. It is a piece of theatre about what it means to be human. From Roger the Robot to George & Annie’s love story, Rosie’s joy-filled world, the blindfolded finale and the sheer trust between the full Diversity company, SOUL is spectacular without ever losing its heart. Huge credit to @realperrikiely , @steveythompson and @lukas_mcfarlane for the additional choreography, and to @tmhgram for the music, sound and laser work that gives the show such a powerful futuristic pulse. The whole company move with precision, instinct and trust, proving exactly why Diversity still feel so vital 17 years after Britain’s Got Talent. A huge thank you to @ashleybanjogram for having me along. 🎟️ PR invite 📝 All views my own SOUL concludes its UK tour this week at @southendtheatres , running at Cliffs Pavilion until Sunday 10 May. #Diversity #DiversitySoul #AshleyBanjo #TheatreReview #ThisIsAllThings

Had the best time last night at the world premiere of Netflix’s Wednesday Season 2 🖤🕷 Huge thanks to @netflixuk and @wednesdaynetflix for the invite — it was such a brilliant evening from start to finish. The purple carpet, the graveyard of ravens, the oversized “Thing”, the coffin chair, the whole Nevermore vibe… absolutely incredible. I got to watch the first episode inside Westminster Central Hall (which was transformed into Nevermore Academy), alongside my partner in crime @dylanduffield_ — and we loved every moment! One of the loveliest surprises of the night was bumping into my old friend @jakob_timothy_brooks , who I haven’t seen in nearly 20 years since we performed together as kids back in Sussex. He’s now the venue manager at Westminster Central Hall, and smashing it. Between @jennaortega taking the stage, digging a grave, and catching up with friends — it was a surreal, spooky, unforgettable night. 🎟️ #WednesdayNetflix #NetflixUK #WednesdaySeason2 #NetflixPremiere #WednesdayAddams #NevermoreAcademy #PurpleCarpet #ThisIsAllThings #NetflixEvent #LondonPremiere #jennaortega #timburton

🎭 Blood Brothers 📍 @richmondtheatre 📊 80% | ★★★★ | B “A theatrical relic with a heartbeat: familiar, sturdy and still capable of breaking your heart.” There’s a reason @bloodbrotherstour has lasted this long. Willy Russell’s story still grips, moving from childhood chaos into class divide, superstition and full theatrical heartbreak. This touring production feels preserved in its own era, but that is also part of its strange power. It may be ready for a bold new revival, but the emotional core still works. viviennecarlyle is completely believable as Mrs Johnstone, bringing warmth, grit and real motherly love to the role, while Joe Sleight was my personal highlight as Eddie. His innocence, openness and purity made the final tragedy hit even harder. @seanjones180 knows Mickey inside out, especially in the childhood scenes, where he captures exactly how children move, show off and spiral from one thought to the next. Strong support comes from @laura_harrison13 as Mrs Lyons, whose pain and fear are sharply drawn, @gemmabrodrick as Linda, who brings brightness and later sadness to the central trio, and @krisharding79 as the Narrator, always watching as if the ending is already waiting. At nearly three hours, it does feel long in places, and I’d love to see the material reimagined with a sharper, grittier staging for a new generation. But when Tell Me It’s Not True arrives, the room still listens. That ending still hurts. Its legacy is earned. 🎭 Running time: Approx. 2 hours 50 minutes including interval 🔞 Age guidance: 12+ 📍 Seen at Richmond Theatre on Tuesday 12 May 2026 🎟️ UK tour continues into 2026 and 2027 🎁 PR invite 📝 All views my own

🎭 Last week I was invited to the press launch for @darkofthemoonthemusical_uk , the new musical heading to @charingcrossthr . Here’s a first taste of the full company in action, giving us a glimpse into a world of folklore, witchcraft, superstition and outsiders, all wrapped in a score that blends country, bluegrass and rock. There’s already a strong atmosphere around this one, and it feels like something properly intriguing is brewing beneath the surface. 🎟️ Dark of the Moon plays at Charing Cross Theatre. 📩 PR invite via @anr.pr 📝 All views my own #DarkOfTheMoon #DarkOfTheMoonMusical #NewMusical #CharingCrossTheatre #MusicalTheatre

🎬 𝐕𝐢𝐜𝐭𝐨𝐫𝐢𝐚: 𝐀 𝐐𝐮𝐞𝐞𝐧 𝐔𝐧𝐛𝐨𝐮𝐧𝐝 📍 @watermilltheatre 📊 𝟗𝟎% | ★★★★½ | 𝐀- “𝐀 𝐬𝐡𝐚𝐫𝐩, 𝐞𝐥𝐞𝐠𝐚𝐧𝐭 𝐚𝐧𝐝 𝐪𝐮𝐢𝐞𝐭𝐥𝐲 𝐩𝐨𝐰𝐞𝐫𝐟𝐮𝐥 𝐫𝐞𝐜𝐥𝐚𝐦𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐐𝐮𝐞𝐞𝐧 𝐕𝐢𝐜𝐭𝐨𝐫𝐢𝐚’𝐬 𝐯𝐨𝐢𝐜𝐞.” Daisy Goodwin’s 𝘝𝘪𝘤𝘵𝘰𝘳𝘪𝘢: 𝘈 𝘘𝘶𝘦𝘦𝘯 𝘜𝘯𝘣𝘰𝘶𝘯𝘥 is not a cosy royal portrait. It is a gripping memory play about marriage, motherhood, power and legacy, asking who controls the story once a life becomes history. Amanda Boxer and Jessica Rhodes are superb as the two Victorias, one older, guarded and determined to preserve the myth, the other younger, urgent and desperate for the truth to be heard. Their scenes together give the production its heart, humour and emotional bite. Visually, Alex Berry’s slanted mirrored ceiling is one of the most striking design choices I have seen this year, reflecting the stage from above as Victoria’s memories are preserved, distorted and examined in real time. It turns the Watermill stage into a palace room, archive and psychological trap all at once. Rowan Polonski’s Albert is layered and increasingly unsettling, while Lydia Bakelmun, Stephen Fewell and Steve Chusak add texture to Victoria’s final reckoning. This is intelligent, intimate theatre that makes you look again at a monarch you thought you already understood. 🎭 Running at @watermilltheatre until 9 May ⏱️ Running time: 2 hours 🔞 Age guidance: 12+ ⚠️ Contains haze, brief blackouts, e-cigar use and mild sexual references 🎟️ Press night invite: @watermilltheatre 📝 All views my own #VictoriaAQueenUnbound #WatermillTheatre #TheatreReview #UKTheatre #ThisIsAllThin

🎭 𝓙𝓪𝓬𝓴 & 𝓢𝓪𝓻𝓪𝓱 📍 @millatsonning 📈 𝟗𝟓% • ★★★★★ • 𝓐 𝑨 𝒘𝒂𝒓𝒎, 𝒘𝒊𝒕𝒕𝒚 𝒂𝒏𝒅 𝒅𝒆𝒆𝒑𝒍𝒚 𝒎𝒐𝒗𝒊𝒏𝒈 𝒇𝒊𝒗𝒆-𝒔𝒕𝒂𝒓 𝒔𝒖𝒓𝒑𝒓𝒊𝒔𝒆, 𝒘𝒊𝒕𝒉 𝑮𝒆𝒐𝒓𝒈𝒆 𝑩𝒂𝒏𝒌𝒔 𝒈𝒊𝒗𝒊𝒏𝒈 𝒂 𝒃𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍𝒍𝒚 𝒏𝒂𝒕𝒖𝒓𝒂𝒍 𝒑𝒆𝒓𝒇𝒐𝒓𝒎𝒂𝒏𝒄𝒆 𝒂𝒕 𝒊𝒕𝒔 𝒉𝒆𝒂𝒓𝒕. Based on the much-loved 1995 British film, 𝓙𝓪𝓬𝓴 & 𝓢𝓪𝓻𝓪𝓱 arrives at The Mill at Sonning as a beautifully judged world stage premiere. I came to it almost completely fresh, with no real attachment to the film, and left completely won over by its warmth, humour and emotional honesty. Set inside a half-renovated London townhouse, the play follows Jack as grief, new parenthood and unexpected love collide in the messiest, most human way. Duncan Abel’s adaptation finds real theatrical life in the story, while Abigail Pickard Price’s direction lets the comedy and heartbreak breathe without overplaying either. 𝑮𝒆𝒐𝒓𝒈𝒆 𝑩𝒂𝒏𝒌𝒔 as Jack, gives a performance full of natural warmth, panic, grief and vulnerability. @dogfacedboi is a brilliant emotional surprise as William, funny but genuinely tender, while @anyadeville brings real charm and musical softness as Amy, especially through 𝑺𝒂𝒓𝒂𝒉’𝒔 𝑺𝒐𝒏𝒈. The Mill at Sonning adds so much to the experience, with its intimate space, two-course lunch and warm hospitality making the afternoon feel like a proper theatrical event. A gorgeous five-star surprise, and one that made me want to go straight home and watch the original film. 🎟️ PR invite: @kevinwilsonpr 📸 Production photography: Pamela Raith 📅 Playing at @millatsonning until 14 June 2026 ⚠️ Contains themes of grief, childbirth, bereavement, alcohol dependency and emotional distress All views my own #JackAndSarah #TheMillAtSonning #TheatreReview #BritishTheatre #thisisallthings

🎭 Double Double 📍 @thebarntheatrecirencester 📈 ★★★★ | B | 84% “My Fair Lady with murder in its tailoring: sleek, slippery and hiding one last trick up its perfectly pressed sleeve.” A stylish two-hander thriller from Rick Elice and Roger Rees, Double Double brings class, grief, seduction and deception into one beautifully dressed game of theatrical control. Set inside a sleek, reflective world of wealth and suspicion, the production plays with identity like a costume, asking who is lying, who is performing, and who has been five steps ahead all along. @faye_brookes is my star performance here, bringing clipped elegance, emotional fracture and sharp calculation to Philippa James, while @danielbrocklebank keeps Duncan McPhee mysterious, funny and unsettling. Together, they make this old-school thriller feel witty, intimate and genuinely twisty, with a final reveal that sends you back through everything you’ve just watched. 🎟️ Now playing at The Barn Theatre, Cirencester until 30 May 2026 ⏰ Approx. 2 hours including interval 🎭 Age guidance: 14+ 🎁 PR invite via @anr.pr All views my own. #DoubleDouble #BarnTheatre #Cirencester #TheatreReview #ThisIsAllThings

🎭 Heartsink 📍 @riversidestudioslondon 📈 ★★★½ A tender, funny and sharply observed medical comedy with a real pulse. Written by former GP Farine Clarke, Heartsink asks what happens when a doctor suddenly becomes the patient. At the centre of it all is Aden Gillett as Dr Jeffrey Longford, a kind, old school GP who finds himself pulled into the very system he once stood confidently inside. Gillett carries the show with real warmth, frustration and quiet vulnerability, capturing a man who is used to being in control, suddenly stripped of certainty, title and authority. The production takes a little while to fully find its rhythm, and the opening section could grip sooner, but once Megan Marszal’s Suzie enters the picture, the piece really starts to breathe. Her refusal to treat Jeffrey with the deference he expects, calling him “lovely” and “sweetheart” rather than Doctor, gives the play some of its best comic energy. Their scenes together are where the humour leaps most naturally off the page, with Suzie’s own story revealing far more beneath the surface than Jeffrey first assumes. Kathy Kiera Clarke brings instant comic presence as Cara, a regular patient armed with cake and complaints, though I did find myself wanting more of her earlier in the piece. When her story opens up, particularly around her son Finn, the humour gives way to something far more heartbreaking, and Clarke delivers it with lovely emotional detail. Vikash Bhai’s Dr Roofi has less space to land emotionally, but he fits neatly into the medical world the play builds. Heartsink works best when its characters begin to connect. The final stretch has a genuine tenderness to it, bringing together grief, kindness, illness and the strange intimacy of waiting rooms, surgeries and shared cups of tea. It is not quite fully stitched together yet, but there is a real gem here. Watchable, thoughtful and full of humanity. 🎟️ PR invite @anr.pr ⏱️ Running time: approx 85 minutes 📍 Playing at Riverside Studios until 10 May 2026 💬 All views my own #Heartsink #RiversideStudios #LondonTheatre #TheatreReview #ThisIsAllThing

🎭 @rockyhorror50th 📍 Dominion Theatre, London 📈 80% • ★★★★ • B A gloriously camp celebration of Rocky Horror history, made unforgettable by having members of the original film cast in the room. The evening began with a Q&A featuring Nell Campbell, Barry Bostwick and Patricia Quinn, reflecting on the film, its legacy and the fan culture that has kept it alive for five decades. Hearing those stories first hand gave the night a real sense of occasion before the film even began. Once the screening started, a live shadow cast recreated the film in front of the screen, bringing all the chaos, audience interaction and cult energy you would hope for from Rocky Horror. What made it extra special was seeing the original cast members appear throughout, adding little moments of magic that turned the night into more than a standard screening. The highlight was absolutely Nell Campbell recreating “Time Warp”. Seeing the original Columbia still stepping back into that number at around 80 years old was funny, moving and completely iconic. It may not have been the most polished theatrical experience, but as a celebration of cult cinema, queer history, audience participation and pure Rocky Horror madness, it absolutely delivered. 🎟️ PR gifted ticket. All views my own. #RockyHorror #RockyHorrorPictureShow #TimeWarp #DominionTheatre #ThisIsAllThings

🎭 Acosta Danza – Carmen 📍 @richmondtheatre 📊 82% ★★★★ B Carlos Acosta’s Carmen felt like a really accessible way into ballet, especially as someone who doesn’t watch it all the time. The biggest hook is the music. Bizet’s score is packed with moments you already recognise, especially Toreador, and it’s one of those soundtracks that’s lived through film, TV and culture for years. That familiarity helps you settle into the piece quickly. It’s also short, sharp and easy to follow. Act 1 (around 37 mins) focuses more on character and the relationship between Carmen and Don José, while Act 2 (around 47 mins) opens out into a much bigger ensemble-driven section, with more rhythm, energy and a stronger Latin influence. You really feel that shift from something intimate into something more expansive. Visually, there’s a lot going on in a good way. The red circular frame sits at the centre, almost like an arena, constantly framing the action. The screen and projections add scale without taking over, and moments like the cage and the barrel store tavern scene (with low hanging lights) give it a grounded feel. There are also some nice symbolic touches. The bull imagery, horned devil figure, and red ribbon work all hint at something bigger underneath, like fate and danger, without ever feeling overdone. The movement is fluid and full of energy, and everyone feels part of the same world. The costumes are bold and revealing across both men and women, which adds to that raw, physical feel. It felt like a slightly different crowd at Richmond too, more traditional, definitely more ballet regulars (even spotted opera glasses a few rows ahead), but the theatre really suits this kind of work. It doesn’t quite hit five stars for me, as some sections feel stylistically similar, but overall it’s a strong, visually clear and engaging take on Carmen. A great entry point into ballet that still feels stylish, dramatic and easy to connect with. ⏱️ Approx. 1hr 37 mins (incl. interval) 🎟️ PR invite @cacostaofficial @acostadanza_ @richmondtheatre #Carmen #AcostaDanza #CarlosAcosta #RichmondTheatre #Ballet

🎭 @choirofman 𝑻𝒉𝒆 𝑪𝒉𝒐𝒊𝒓 𝒐𝒇 𝑴𝒂𝒏 📍 @newwimbledontheatre 📈 𝟗𝟒% • ★★★★★ • 𝐀 𝑻𝒉𝒆 𝑪𝒉𝒐𝒊𝒓 𝒐𝒇 𝑴𝒂𝒏 knows exactly how to turn a theatre into a party, a pub and, for two glorious hours, a second home. Having first seen the show in its fringe life in a tent in Earl’s Court almost five years ago, it was such a joy to be back in 𝑻𝒉𝒆 𝑱𝒖𝒏𝒈𝒍𝒆 for the UK tour launch gala at New Wimbledon Theatre. The show feels bigger and more polished now, but the heart of it is still the same. From the moment you walk in, you feel invited into something shared, warm and gloriously unpretentious. The beer is flowing, the audience is wilder than ever, and the whole night feels alive. I even ended up on stage at the start of Act 2 joining in with 𝑳𝒊𝒗𝒊𝒏’ 𝒐𝒏 𝒂 𝑷𝒓𝒂𝒚𝒆𝒓, beer in hand, which honestly says everything about the spirit of this show. What makes it work so well is that it never feels like it’s trying too hard. It simply is a good time. @nimstagrammer , as the Poet, glues the whole evening together beautifully, bringing warmth, charm and a real storytelling thread through all the chaos and joy. The company feel less like traditional characters and more like extensions of themselves, each bringing their own personality and phenomenal musicality into the room. The a cappella work is sensational, the harmonies are incredibly tight, and the set list is packed with anthems. 𝑺𝒐𝒎𝒆 𝑵𝒊𝒈𝒉𝒕𝒔 was a huge highlight for me, and hearing numbers like 𝑯𝒆𝒍𝒍𝒐, 𝟓𝟎𝟎 𝑴𝒊𝒍𝒆𝒔 and 𝑺𝒐𝒎𝒆𝒃𝒐𝒅𝒚 𝒕𝒐 𝑳𝒐𝒗𝒆 only keeps lifting the night higher. The final 𝑪𝒉𝒂𝒏𝒅𝒆𝒍𝒊𝒆𝒓 moment with the two choirs was such a lovely touch too. My only real thought is that in a venue as big as Wimbledon, you do miss a little of the intimacy this format naturally thrives on. Even so, I had an absolutely brilliant time, and I will be returning to 𝑻𝒉𝒆 𝑱𝒖𝒏𝒈𝒍𝒆 again. I definitely won’t be leaving it another five years. ⚠️ Age guidance: 10+ ⏰ Running time: approx. 2 hours including interval 🎟️ Booking: via venue and tour listings 🍺 PR invite: @anr.pr ✨ All views my own #TheChoirOfMan #PressNight #TheatreReview #AllThingsTheatre