Eleanor Higgins is laying on stage, beneath a Christmas tree, as the audience takes their seats, covered in what resembles a white sheet until she rises as it becomes apparent she’s wearing a wedding dress and laying on a cardboard cut out of Sue Perkins. 

A shrine to Perkins is also on stage, yes this is a show about a woman’s obsession with Sue Perkins, a celebrity crush that has spiralled out of control. But that’s not the only issue here, at the core of this show, the woman’s (played by Higgins) drinking is the basis of the issue, leading to her making worrying decisions, and pretty much stalking Perkins. Higgins’ character is in denial, however, not recognising that her alcohol consumption is an issue, dismissing it as something everyone does and she’s fine. 

Progressively throughout the show, we see her create an intricate web of lies in each interaction with Perkins, digging herself holes she cannot climb out of, whilst vying for her crush’s attention. 

The audience can see she has a problem, and we follow as this slowly becomes apparent to her. The show ends with Higgins’ singing as she throws away her empty wine bottles, I do feel it would have packed a more emotional punch to have ended at the moment she finally admits she needs help. I also feel the tonal changes within the show could be smoother, which would improve the flow. 

InPurSUEt is inspired by a true story, it’s unique, with an important message at its core. As someone that works in healthcare, it’s often spoken about how dangerous alcohol can be, and it is the most accessible addictive substance – one that’s frequently underestimated by society. Higgins’ comedic timing and delivery are impeccable, ensuring every laugh possible is extracted from her audience, she also puts emotive power into the more raw and tender moments of the show – plus her Perkins impression is spot on. It’s easy to see why this show has been such a success in the past, it’s completely original, unlike anything you’ve seen before. 

Read all of Amy’s review here

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

2 Star Review 3 Star Review 4 Star Review 5 Star Review 2022 2023 Adaptation Almeida Cabaret Camden Fringe Cast Announcement Christmas Comedy Dance Drag Edinburgh Fringe Edinburgh Fringe Interviews Fringe Immersive Interviews Jukebox Musical LGBTQIA+ Lyric Hammersmith Manchester Musical New Musical News New Wimbledon Theatre North West Off West End Park Theatre Play Review Revival Richmond Theatre Round Up Royal Court Theatre Shakespeare Show Announcement Show Recommendations Soho Theatre Southwark Playhouse Touring Production VAULT Festival West End

• 
  A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
  by Amy Rye
  The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
• 
  A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
  by Ellie Preston
  Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
• 
  A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
  by Tom Carrao
  The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
• 
  PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
  by Amy Rye
  Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
• 
  GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
  by George Rennie
  Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE