Nick Hennegan's Bohemian Britain
Lifestyle tales from the city
In the final ‘Literary London’ show of 2025, Nick Hennegan presents two Christmas classics! Part of his OWN version of A Christmas Carol, preformed by Olivier Award Winner Guy Masterson, and the Welsh Wizard Dylan Thomas, reading his own ‘A Childs Christmas in Wales’
Happy Holidays!
On our last outing of 2025, here are 10 happy faces from around the world at the Newman Arms Pub, Fitzrovia, London W1. Shortly before the ‘lightweights’ started to fall by the wayside.
(Writer Richard was leading. He boasts he’s put the “Pub Crawl” back into the London Literary Pub Crawl!)
Happy holidays – and see you in 2026.
Cheers!
Nick, Richard and all at the Maverick Theatre Company.
The Railway Children. Photo: Matt Hunter
🍷🍷🍷🍷🍷 – 5 out of 5 glasses of fine Christmas Cheer!
Theatre At The Tabard
2 Bath Road
London
W4 1LW
The Tiny Tabard Theatre are deservedly building a reputation for presenting Christmas productions that are original, moving and suitable for children AND adults. Productions that over-deliver in their compact auditorium. And this production is no exception to that growing, golden reputation.
The classic Edwardian story from the book by E Nesbit, made famous by the 1970 feature film, is the story of three young children and their mother who, because their father has had to ‘go away’, find themselves in the countryside. And poor! But it’s a countryside that is crisscrossed with railway tracks – and their dwelling is near to the railway station run by an amicable station manager called Perks (Jay Olpin). There’s very fine acting from the whole company, but especially Christopher Laishley who multi-roles with a physicality and characterisation that is rare to see and a privilege to witness.
The children are charming and nuanced too. Peter (Max Pascoe) is a suitably boyish Edwardian boy, Bobbie (Emma Rowe) is the eldest of the siblings and we see a beautiful scene with her struggling between childhood and adult responsibility with her troubled and stoic mother – delicately played by Kirsten Shaw – a reflection completely of childhood breaching into adulthood. The youngest child, Phyllis (Anya Burlton) sweetly and charmingly supplies most of the comedy moments.
Louise Haddington has beautifully adapted a massive story into two hours running time. She actually might have been better with less story, but even if the first act felt occasionally a little frantic, the final combination of her writing and the very assured direction from Simon Reilly gives the show a massive pace and emotional impact.
It looks great too and chops must go to Rob Miles for set design, Nat Green for lighting, Nick Gilbert for sound and Alice McNicholas for Costume Design. Even the scene changes are slick and seamless and a credit to Stage Manager Jack Cleary and his team.
It’s an emotional and moving production – there was hardly a dry eye in the house, even on the Press Night! Perhaps even more importantly in our current political climate, this production is ultimately all about community and people being nice to each other. And who could ask for more than that, particularly at Christmas!
The Tabard Theatre won The London Pub Theatre of the Year for 2025. And this is another example of why it was such a deserved award.
The Railway children is a real treat. Get a ticket before it leaves the station.
How would Shakespeare have got on if he had the problems we modern-day writers have?
HOW long did I spend getting ready for a writing challenge! Which software To Use, or Not to Use. That is the Question.
OR… even to use a computer at all? What about writing longhand?
And then, if longhand, what book, paper, pen to use? Smart notebook? There’s a few around now.
As far as I am aware, Shakespeare just had the choice of a quill and parchment to write on.
I’m guessing he might have had a favourite nib or feather – or even a favourite TYPE of parchment. I doubt there was much choice with the colour of his ink.
And that was it –
Nowadays, if he decided to use a computer… even that throws up decisions to be made by the modern day writer! Tablet or laptop? Mac, PC or Chromebook?
Shakespeare would have had no knowledge of any of it and saved SO much time! SO easy, back in his day… What do you think the Bard may have used?
Join Nick Hennegan who celebrates the annual Westminster Abbey wreath-laying ceremony for Welsh Poet Dylan Thomas. He includes ‘A Child’s Christmas in Wales’ and music and poetry from Cerys Matthews.
Another lovely gang from around the world celebrating the genius (and bars!) of some of the greatest writers in the world! The London Literary Pub Crawl. Why not give the writer in your life A Literary Pub Crawl Gift Voucher this Christmas!
Yo-ho-hic!
Tanya from Boston, USofA, and Dave from High Wycombe, come to the end of a fine evenings perigrinations and refreshment, in The Toucan, Soho. With writer/guide Richard.
Photo: Chris Saunders.
Gwenda’s Garage roars into Southwark Playhouse with a vibrant, politically charged musical that blends activism, history, and heart. Inspired by the true story of a women-run garage in 1980s Sheffield, the show opens with a rapturous musical number that promises brilliance—and largely delivers.
The cast of six actors and a live band (with standout drummer Liz Kitchen doubling as comic relief) bring infectious energy and emotional depth. Lucy Mackay as Dipstick and Eva Scott as Carol are particularly magnetic, with nuanced performances that shine even when off-focus. Each actor is given space to showcase their vocal and dramatic talents, and the ensemble chemistry is palpable.
The music is catchy and well-performed, with tunes that linger long after curtain call. The set cleverly evolves throughout, with the gradual construction of a car mirroring the unfolding narrative.
At times, the script feels a little uneven. The first half could benefit from tighter pacing, as it occasionally drags despite the strong performances. While the show is rich in important themes—sexism, racism, LGBTQ+ rights, and political activism—it sometimes struggles to weave these threads seamlessly into the central story. The garage, which is based on a real and compelling historical premise, ends up feeling more like a symbolic setting than the driving force of the narrative. Although this may have been intended it wasn’t what we had anticipated.
Still, Gwenda’s Garage is a thought-provoking, relevant piece. It resonates deeply with audiences who lived through the 1980s, while offering younger viewers a glimpse into a turbulent era that echoes today’s challenges. It’s a joyful, reflective night out with West End-calibre performances from all six actors —and well worth seeing before it closes on 29 November.
Review by Joostar.
🍷🍷🍷🍷 – 4 out of 5 glasses of fine claret! (but don’t drink and drive!)
So an American women’s league Football player and Brentford and Wanderers supporters walk into a pub. No, not a joke, but a brilliant (and social) night with @londonliterarypubcrawl
Join us every Thursday and Saturday! Beer, 🍻 books 📚 and occasionally ⚽️! What’s not to like! Cheers! 🍻
