It’s February, and while some people are busy planning their Valentine’s evenings (good luck with that, truly), the bee is far more excited about what the theatre gods are serving up. This month promises a lineup so varied, it’s practically a buffet: revenge tragedies, jazzy romps, climate conspiracies, and a side dish of posh girls being ripped to shreds. Without further ado, here’s the bee’s guide to the best—and most intriguingly questionable—London theatre this February.
What’s not to like about posh girls getting what’s coming to them? The bee won’t deny it: there’s something deeply satisfying about watching the entitled elite unravel. Posh Girls pits two former friends against each other in a therapist’s waiting room, dredging up old scandals, bullying, and the dark underbelly of those picture-perfect boarding schools. It’s like peeling back the glossy veneer of a prep school prospectus and finding rot underneath. The bee can’t resist that guilty pleasure of seeing privilege skewered—like reality TV, but with better writing (hopefully; wait for the bee's review).
Set against the backdrop of Harlem’s 1940s jazz scene, Play On! is a stylish retelling of Shakespeare’s Twelfth Night. The buzz around Play On! is all about the music: Harlem, 1940s, Duke Ellington-inspired tunes. But let’s be real, the bee is not here for jazz hands or fancy footwork. This is Twelfth Night with a fresh coat of paint, and the bee is here for the chaotic love triangles and mistaken identities. Plot over pizzazz, thank you very much. While the bee doesn’t need Shakespeare dressed up to enjoy it, this twist does sound like a lot of fun.
Brie Larson is headlining Elektra, but honestly, that’s not why the bee’s buzzing about this one. No, this is about that raw, soul-searching tragedy that grips you by the throat and drags you into the abyss of grief and vengeance. Anne Carson’s translation promises a spare, poetic elegance, and early critics are calling it devastatingly intense. The bee anticipates leaving the theatre haunted by Elektra’s fury, waking up at 3 a.m. in a cold sweat to reflect on the futility of revenge. If it doesn’t deliver that level of existential crisis, what’s even the point?
A religious cult member and a young climate scientist walk into a forest—sounds like the setup for a niche joke, right? Wrong. 855-FOR-TRUTH plunges into the collision of faith and science, offering an intimate yet expansive look at how we make sense of the world (and each other) when the stakes are apocalyptic. The bee loves a good fringe theatre gamble, and with its inventive premise, this one’s got “hidden gem” potential. Will it stick the landing? Time will tell, but even if it doesn’t, the premise alone is worth a trip to Islington.
Oh, Mary Lincoln. The bee has a soft spot for historical women painted unfairly as mad or manipulative (glares at Henry VIII’s ghost), and Mrs President promises a fascinating exploration of one such life. This is a small, intimate production centering on Mary’s relationship with photographer Mathew Brady, but it’s really about power, grief, and public perception. Heavy stuff. Still, the bee is intrigued—how could it not be? If the play can deliver even a fraction of the depth it promises, it’ll be a thought-provoking night.
This explosive one-woman musical comedy delves into the world of reality TV and the quest for perfection. One-woman shows are a gamble, to be honest, but Miss I-Doll has already proven its chops in previous runs, so the bee is cautiously optimistic. Satirical romps through society’s obsession with perfection are always a treat, especially when the sting lands close to home. The bee expects clever writing, sharp wit, and at least one moment that will make it squirm in uncomfortable self-recognition.
The bee can already feel its existential buttons being pushed. The Years dramatizes the life of a single woman through five actors and the sweeping changes of post-war Europe. It’s a sprawling, deeply reflective piece that critics are calling either breathtaking or frustratingly detached, depending on their patience level. For the bee, this sounds like the theatrical equivalent of a long, slow brew of existential tea—perfect for stewing in the meaning of life and the inexorable passage of time. (What could be more fun?)
Kyoto is a veritable smorgasbord of global diplomacy, environmental collapse, and tense backroom negotiations. What’s not to like?! The play dramatizes the 1997 climate treaty discussions, and while that might sound dry, early reports suggest it’s anything but. With the Royal Shakespeare Company and Good Chance Theatre at the helm, this is shaping up to be a political thriller with plenty of teeth. The bee is especially intrigued by the themes of compromise and moral ambiguity—two things it finds endlessly fascinating (and, let’s face it, utterly relevant).
February is a feast of sharp scripts, bold ideas, and haunting narratives. Whether you’re in the mood for Shakespearean chaos, ancient tragedy, or modern satire, there’s something here to sink your teeth into. So go forth, fellow theatre lovers, and let the buzzing commence!
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