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‘Frankie Goes to Bollywood’ 2026 Review: A bold, Bollywood spectacle that is as entertaining as it is relevant to our times

Rifco Theatre’s hit musical ‘Frankie Goes to Bollywood’ is back for a 2026 UK Tour, and I caught the show last night at Theatre Royal Windsor. Following Huddersfield-born Frankie as she enters the world of Bollywood to follow her dreams, Frankie, and the audience, are asked – how far will she have to go to achieve stardom? Tackling the gargantuan themes of feminism, corruption and the pitfalls of the creative industries through a Bollywood lens, Rifco Theatre provides a show that is as entertaining as it is relevant to our times. With Bollywood-inspired dance numbers, glitzy costumes and more fan machines that you can shake a sugarcane at, Rifco delivers on its promise of a big, Bollywood night out.

Sarah Pearson as Frankie and Akshay Dutta as Prem

Pravesh Kumar’s book deftly handles some big conflicts. As well as taking the audience through the world of Bollywood, Kumar airs its pitfalls, discusses the idea of where we belong, Frankie finds conflict in her dual heritage, and does not shy away from the creative industries’ darker underbelly. With toxic masculinity, and racism on the rise, well referenced by the recent spate of flags we have seen popping up over the country, the show feels timely, and also timeless, ensuring that, despite the bold, Bollywood stamp, the story remains a relatable one for all.

It is the Bollywood in ‘Frankie Goes to Bollywood’ though that is the shows biggest seller, and undoubtedly what you will take away with you. Impressive dance numbers, complemented by well-crafted costumes and songs are abound – but at times the actors run risk of being drowned out by the orchestra. Although in the first half, some of the songs seem to be without explicit function – they are more there for the spectacle, musical numbers are better deployed in the second half, explicitly moving the plot forward or allowing character to soliloquize, helping the story to develop and breathe.

Holding the show together is undoubtedly Sarah Pearson’s Frankie. The role is a demanding one, but Pearson handles Frankie’s complexity and coming-of-age journey with equal amounts of fire and vulnerability. Although one could argue that Katie Stasi’s Goldy mainly provides comic relief, a solo song from her in the second half brings some great depth to the character, and the sisterhood bond between her and our heroine, which forms the core of the show.

The ensemble cast are incredibly impressive, standout performers being Tash Bacarese-Hamilton and Anna Maria Barber, who are well placed at the forefront. Dhruv Ravi, in a variety of roles, provides some sharp comic relief, and Kiran Kaanan’s switches from ensemble player to the spoiled Timmy are effortless.

As well as leaving with some empowering messages about reclaiming your story, finding yourself and fighting for your beliefs, you will leave with the best of Bollywood. The costumes, the dance, the songs – this is what you go to the theatre for.

4/5

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Photography by Richard Lakos

Tickets available here: https://www.rifcotheatre.com/live-shows/frankie-goes-to-bollywood-2

‘Beanbags’ at the Union Theatre 2026: A relatable story about moving on, conversations we wish we had and the anchoring power of beanbags

Yesterday I took my first trip to the Union Theatre to watch Kelly Thurston’s play ‘Beanbags.’ The production follows Em (Helen Louise Baird), who is helping her mum, and her sister move out of the family home. Produced by Off Main Stage, a festival that supports new writing, Thurston’s play touches on a variety of themes, including grief and trauma. Although the lighting at times does puncture the natural, candid performances, and the themes could do with slightly more time to develop, Thurston’s work holds some relatable, golden moments – particularly when it focusses on those conversations that we wish we got to have with our loved ones.

It is worth starting with the star of the show – the beanbag! The beanbag works as an anchor for the characters, moving with them through different stages of their lives. Although at times I did find the jumps a tad confusing, the use of the beanbag grounds the story, and allows for plenty of catharsis at the end of the play. Thurston understands the emotional difficulties of transience and moving on, and the beanbag serves this major theme really well. The staging is simplistic but works for the content of the show, although the use of flashing lights used to communicate scene changes do feel slightly disruptive to the naturalism of the piece. The cast communicate Thurston’s vision with honest, candid performances, a standout being Bryony Davies as Becs, who provides some sharp levity throughout the show.

The short run time inevitably means that some themes are brushed over quite lightly, and I assume the 45-minute runtime is more to do with restrictions from above, not artistic choices. I definitely feel that Thurston has the skill to expand the story if granted some more minutes, and these skills really shines in the last few scenes. An imagined conversation between Em and her father, and the family dealing with a dodgy Facebook Marketplace scammer, showcase a deft ability for handling tragedy with comedy, and definitely deepen the themes that have been touched on throughout.

3/5

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‘An Ideal Husband’ at the Lyric Hammersmith 2026: A sharp cast and bold aesthetic reimagine Oscar Wilde’s classic play of class, scandal and secrets

The Lyric Hammersmith’s latest production of ‘An Ideal Husband’ offers a reimagining of Oscar Wilde’s Victorian domestic drama. The show primarily focuses on Robert Chiltern, whose unassailable reputation is under threat from a past secret weaponised in the present by American socialite Mrs Cheveley. Wilde’s works, like Shakespeare’s, are often revisited because the themes that are discussed are deemed universal – in this instance, Wilde serves up a hefty dose of power, corruption and betrayal. Although Nicholai La Barrie directs a version that showcases some brilliant black talent with a bold new aesthetic, I could not help but feel that the promised twist never quite sprung.

Chike Okonkwo and Jamael Westman as Robert Chiltern and Lord Goring

What is undeniable, is that there is real talent on stage. Comedic timing across the board is sharp, and the cast do a brilliant job of finding the comedy and sarcasm in Wilde’s work. As well as Wilde’s words, the cast dig deeper to convey comedy through physicality, particularly Jamael Westman’s Lord Goring and Tiwa Lade’s Mabel Chiltern – both delivering their performances with a touch of camp and flair, almost reflective of today’s Gen Z. Tamara Lawrance also puts in a controlled, commanding turn as Lady Chiltern.

The overall aesthetic of the piece, particularly the costumes, also provide a freshness to Wilde’s work. Rajha Shakiry’s rails boast a wealth of colours, headwraps and bold prints, in reference to Black British culture. It is moments that explicitly reference Black British that provide some joy throughout the play, particularly the blasts of Afro Beats and Garage music. However, these moments are few and far between, at times leading to a bit of a disconnect between Wilde’s Victorian social mores and 21^st century modernisms.

Tiwa Lade and Tamara Lawrance as Mabel Chiltern and Lady Gertrude Chiltern

And although seeing a black cast star in a show typically focussing on the white middle class is refreshing – I am still unsure as to why this decision was made, as it is not explicitly referenced in the script. Does this adaptation tell me about what it is like to be a Black Briton today? Not particularly. It does feel like a missed opportunity. The plot of this adaptation also follows the original work pretty closely, so I am unsure what the aforementioned twist is, or was. For this reason the show does feel like it lacks some punch, and does not quite know who its audience is. It will satisfy the purists, the text and plot are broadly the same, but for those looking for that bold reimagining it might not be enough to cause a stir.

3/5

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Photography by Helen Murray

‘An Ideal Husband’ is playing at the Lyric Hammersmith until June 6^th!

Tickets here: https://lyric.co.uk/shows/an-ideal-husband/

‘Second Trimester’ at Battersea Arts Centre Review: A unique piece that deftly balances an affecting story with a bold, Bollywood aesthetic – with healing and heartwarming results

Last night I attended the press night of Krishna Istha’s ‘Second Trimester’ at the Battersea Arts Centre. The second in a planned trilogy, this show focuses on the relationship between Krishna Istha and their mother, Geetha Shankar, and stems from Geetha’s initial lack of understanding at Istha’s desire to get pregnant as a trans man. What follows is an intimate, truthful look at a parent and child relationship, that has plenty to say about gender, identity and generation divides – particularly within the South Asian community. What is unique about Istha’s work, is that, through the use of live cameras and green screens, it balances the deeply personal and affecting subject matter with Bollywood-inspired visuals. Director Milli Bhatia ensures that both aspects are equally honoured in this timely and poignant piece.

By using the fictional platform of ‘Notflix,’ Shankar’s story is divided into several chapters, which characterise major life moments and geographical movements. The use of projections, green screens and Bollywood-inspired aesthetics allow for some levity in amongst the deep subject matter, but also help to illustrate the more emotionally demanding aspects of Shankar’s life. This, plus the unscripted elements, make the piece feel especially immersive, and Shankar and Istha’s openness and vulnerability make it feel inviting – it’s almost like a shared experience, not your run of the mill show where you might expect to just ‘sit down and watch.’ The audience are engaged with by both performers from the off, and are welcomed into their world and their past, which is used to ask pertinent questions about the present.

For me personally, it speaks to a generation of South Asians who locked their past away to protect their children, and to that generation of children who are digging into their past to understand where, and why, they are today. This is something so universal, whether you are part of the South Asian community or not. In this way, the piece acts as a bridge between the two generations, and two different ways of thinking, established by Istha and Shankar’s clash about the former trying to get pregnant. In the process, Shankar is also given the chance to process her past and feel heard. Her lack of professional performance does not matter here – her authenticity and vulnerability are more than enough to win the audience’s undying support.

What is healing, is that by the end, that gap between the two generations seems to close. Istha and Shankar prove that, by opening up the conversation, and opening up the past in a safe and controlled way, progress can be made and we can reach an understanding that promises the hope of a more tolerant future.

Theatre that promotes openness, understanding and progress, especially in today’s world, is no bad thing.

4/5

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Photography by Ali Wright

‘Second Trimester’ is playing at the BAC until April 25^th!

Tickets here: https://bac.org.uk/whats-on/second-trimester/

‘Heart Wall’ at the Bush Theatre 2026: A relatable piece about how time changes family, friendships and grief

The Bush Theatre’s latest show, ‘Heart Wall,’ written by Kit Withington and directed by Katie Greenall has a lively start, as cast members invite the audience to belt out their favourite karaoke tunes. The opening inviting atmosphere takes some unexpected and surprising directions, delivering some thoughtful musings about how family, friends, relationships and grief changes over time. Although at times the dialogue could do with some shaving, as well as some sub plots, the cast performances and steady flow of revelations make for a relatable piece.

Much of the action takes place in local pub, ‘The Sun Inn,’ and Hazel Low’s set is detailed and familiar – I’m sure everyone in the audience has frequented that exact pub. As well as the pub, the show is anchored around Franky (Rowan Robinson) who returns home for the first time after a long absence. There is plenty of humour as characters highlight the north and south divide – something Franky feels keenly on this visit. This is something I found particularly relatable, as most people go away from home at some point, and find that when they return, they have changed, as well as the home that they left behind.

As a result, different characters remember the past differently, and it is these gaps that creates the many incidences of tension within the play, and several mini revelations that keep you intrigued and drive the play forward. All the characters feel complex and real, and the cast put in performances that are confident and engaging. The audience was very willing to go on the journey with them.

However, the dialogue could do with some trimming, and some plot threads don’t really go anywhere. Although the ending is poignant, the journey meanders at times, and for me, the plays initial focus on how worlds change over time had a stronger foundation than some of the later, smaller subplots. As a result, we never quite get to the bottom of things, until it’s too late, or see what Franky seems to be running from in London, which kind of undermines her persistence in wanting to stay before she realises anything is wrong at home.

That said, the casts performances, Low’s set and the use of karaoke make for an enjoyable evening.

3/5

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Photography by Harry Elletson

‘Heart Wall’ is playing at the Bush Theatre until May 16^th!

Tickets here: https://www.bushtheatre.co.uk/event/heart-wall/

‘Jaja’s African Hair Braiding’ at the Lyric Hammersmith 2026: A comedic and political exploration of the immigrant experience, brought to life by a standout ensemble cast

Jocelyn Bioh’s Tony Award-winning play ‘Jaja’s African Hair Braiding’ has hopped across the pond to the Lyric Hammersmith Theatre for its UK premiere, and I was lucky enough to attend last night as a guest. Set in a busy Harlem salon, the play takes place over the course of one day. It is rare to find a show that ticks so many boxes – I laughed out loud, applauded in agreement and was left shocked by an unexpected twist. The show is as comedic as it is political, and deftly handles humour with a timely dose of commentary about the immigrant experience.

Marie (Sewa Zamba) and Miriam (Jadesola Odunjo)

As mentioned, the play is anchored in the aforementioned salon, an intimate set designed by Paul Wills. Although I have not myself visited a braiding salon, the set looks familiar and lived in and includes photos of different styles plastered across the walls, which is universal to any hair-related establishment. What brings the shop to life is the dynamic women who inhabit it. Braiders Miriam (Jadesola Odunjo), Amanita (babirye bukilwa), Ndidi (Bola Akeju) and Bea (Dolapo Oni), and owner Jaja and daughter Marie (Zainab Jah and Sewa Zamba respectively). It is hard to pick a standout performance here – all characters get their moment. Whether it’s Bea ranting about Jaja, Miriam talking about her lost love, or Amanita dealing with a troublesome customer – all women get a chance to shine. All characters have a shared heritage and culture, but all of the actors ensure that their characters are uniquely vibrant and individual. Nobody fades away into the background. I feel sometimes that can be a danger with fly on the wall shows – they can drift too far into naturalism, losing a bit of theatrical flair. Not here – the actors, and Bioh’s writing, ensure enough is happening in the shop to keep you engaged and invested.

This early investment is important, especially considering the plays political themes. Whilst always there, simmering away, they come more to the fore with the appearance of Jaja, whose conversation frankly states that there are different rules for them as women, especially women of colour, compared to their Caucasian counterparts. It feels incredibly true, and what is so clever about it is that there is no risk of alienating the audience with this discourse, as Bioh has, as she explained in the following Q and A, showed us the ‘people behind the policies’ – the people who are trying to live honestly, and contribute to society, but are constrained by intolerant policies.

The cast of ‘Jaja’s African Hair Braiding’

Seeing these women, who have laughed and bickered with each other, band together to show solidarity and strength at the end of the play is incredibly powerful and is an ode to all of the women of colour who have made sacrifices for their children. It also allows the actors to showcase their range, as the play unexpectedly veers from comedy to impending tragedy. It is brilliant to see such a show on stage, with a packed audience, and Bioh was right in noting that, when it comes to the diversity debate, theatre feels ahead of television.

I will say, as a South Asian man born in the UK, some references probably did go over my head, but the play also left me with a better understanding of braiding, and the work that goes into it… especially micros. The show is not condescending, or preachy, it is welcoming, and it is through the characters that we can learn and appreciate their experiences, and as Bioh intended, see the ‘people behind the policies.’

5/5

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Photography by Manuel Harlan

‘Jaja’s African Hair Braiding’ is playing at the Lyric Hammersmith Theatre until the 25^th of April

Tickets here: https://lyric.co.uk/shows/jajas-african-hair-braiding/?gad_source=1&gad_campaignid=23502681555&gbraid=0AAAAADjn8lPnAW0sejYHIg2NBw7nwW6wG&gclid=Cj0KCQjw1ZjOBhCmARIsADDuFTANnY4C9_2cDCbKLROF_xAv2m5kEXwpCk4_4y924HYaiuJmJxx4SBIaAnlIEALw_wcB

‘Sweetmeats’ at the Bush Theatre Review 2026: A heartwarming and tender tale about two South Asian elders rediscovering connection and companionship

‘Sweetmeats,’ the Bush Theatre and Tara Theatre’s latest offering, had it’s press night last night, and I was lucky enough to be in attendance. The show, written by Karim Khan and directed by Natasha Kathi-Chandra, follows Hema (Shobu Kapoor) and Liaquat (Rehan Sheikh) – two South Asian elders who bump into each other at a diabetes course. Initially bonding over their love, and loss of sugar, the play follows them both as they discover a connection with each other that they thought they would not have again. It is a heartwarming and tender tale of a demographic that is not often seen on stage, and there is plenty of levity peppered throughout the piece. Although at times some of the deeper themes are brushed over quite lightly, leading to missed opportunities, and the two hander can at times feel like it needs some tightening, Kapoor and Sheikh bring to life two authentic and believable characters.

Shobu Kapoor as Hema and Rehan Sheikh as Liaquat

The piece leans very heavily into naturalistic one, as signposted by Aldo Vásquez set. It is very much one of two halves, each side showing Hema’s and Liaquat’s living rooms, but also leaving space for their diabetes course and also the bus stop… a garden also manages to sneak in. It does place you in the characters’ world, and when you see them so close, but yet so separate, it does heighten the loneliness and isolation of their situation. Essentially it is a story about elder South Asians, a demographic that is often forgotten about – so it should be praised that the show gives them space, and I think, brings those people to life in a meaningful way. I can see Hema and Liaquat in people in my everyday life, and the cultural flourishes, specifically the productions’ use of language and music adds to the authenticity of their portrayals. There is a lot to get through, and Kapoor and Reihan handle it well, and are both extremely likeable.

The play does move with broad strokes though, and some ideas could have been interrogated more closely. The India and Pakistan relationship is highlighted, but that shared history and trauma never deeply explored, and whilst the two meet due to their relationship with sugar, their love and loss of it never feels fully mined in to, leaving me wondering whether the title of the play needs some tweaking. Perhaps it needs a bit more theatrical, or Bollywood-esque, flourish to heighten these burgeoning feelings – something that at times Simeon Miller’s lighting highlights in relation to Liaquat’s health.

I understand that the show is a naturalistic, slow burn, and to an extent, this works for the characters – they are not the type that we would expect to have an Emerald Fennel ‘Wuthering Heights’ love affair, but, I do think the narrative could do with some shaving, especially in the first half. It comes to a sweet enough conclusion though, where we also get a touch more explicit discussion about loss, especially from Liaquat, which feels earned. It was clear from the audience’s reaction that people were more than willing to go on this journey, and ultimately it is a well performed, inviting and touching piece of theatre.

3.5/5

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Photography by Craig Fuller

‘Sweetmeats’ is playing at the Bush Theatre until the 21^st of March!

Tickets here: https://www.bushtheatre.co.uk/event/sweetmeats/#book

‘The Undying’ at Soho Theatre Review 2026: A twisty South Asian tale that poses some big questions in its examination of gender, age and trauma

What would you do if you could do it all again? This is the question Rea Dennhardt Patel’s play, ‘The Undying,’ poses. When Amba (Vaishnavi Survaprakash) brings home some TwiceLife pills to her husband Prav (Akaash Dev Shemar) the two become embroiled in a twisty tale that examines gender, age and trauma all through the South Asian lens. Despite the heaviness, there is plenty of levity, more so at the start of the play, which does help to endear the characters to the audience, willing you to go on this journey with them. The play is multi-hyphenated – it tackles many themes, and also could slot into a multitude of genres. Although this does mean that sometimes the play feels overstuffed, there is plenty in there to praise.

What struck me first is Sammy Dowson’s set. Although the space is small, the furnishings, particular the chair and the rug, are instantly recognisable – they are the quintessential Asian home. This is buoyed by the music of Ansuman Biswas – something which elevates the show, bringing extra drama and intensity to some of the shows biggest moments. Behind is a wall of photo frames, each referencing important parts of Amba and Prav’s life.

Amba and Prav’s age is well communicated in the physicality of the actors, and their discussions reveal that Amba is recovering from chemo, and Prav is suffering from Alzeimers. This is the impetus for Amba to bring TwiceLife home, and immediately paints a backdrop of missed opportunity. The two characters are an ode to older generations who undertook life changing journeys, and who sacrificed things for their future children. I feel like the audience, particularly those of South Asian descent, know these people. Even though the play speaks to many different themes – bildungsroman, sci fi, comedy, I did always think that it felt real. The events feel true to these two characters, a tribute to Dennhardt Patel’s writing and the performances of Survaprakash and Shemar. As you may have guessed, Amba takes a pill, finding herself instantly younger, and ready to take on the new world.

Akaash Dev Premar as Prav and Vaishnavi Survaprakash as Amba

Amba’s newfound lease of life, and learning of the freedoms that women now have speaks to wider ideas of gender politics and the role of women in Indian culture. Survaprakash is given a lot to do, and handles it with real depth – especially when the couple recount the death of their young daughter. Themes of feminism and gender peak early on, but run throughout the play. It is at this point that Prav follows suit and takes a pill.

Whilst Amba enjoys the challenges in her newfound youth, Prav’s story draws inspiration from masculinity and male fragility. He struggles to find independence and his place in the world, without Amba. Although it could be argued that Prav is exhibiting sexist behaviour, Dennhardt Patel is sympathetic, and tries to explain the root cause of his dependency by delving into his childhood trauma. The ending is an ironic one, as both Prav and Amba’s lives take them in different directions, but in many ways they end up in similar places that they were in at the beginning… which I guess speaks to the cyclical nature of birth, life and death.

There are a lot of ideas within this play. I have been ruminating on it for most of the day. Part of me thinks it could benefit from a slightly longer run time as there’s plenty to unpack. Sometimes it can feel like three plays in one. The middle of the play is pacey, and does encompass all the messiness, love and meaning of marriage. The start and denouement do feel slower, and perhaps some of this time should have been given to the middle section, allowing certain plot points to have more breathing time. In the sparring between Amba and Prav, I did miss the important note that as your body-age halves, you lose the memories associated with those years.

Something I will question though, is why both characters, as they get younger, lose their Indian accents. Perhaps it would’ve made more sense to show then with British accents in their old age, and as they get younger, they get closer to the Indian accents that they were born with? Something to think about, but not a dealbreaker.

‘The Undying’ is a twisty multi-genre show that poses some interesting questions -all bolstered by a talented team and cast.

4/5

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Photography by Tobi Ejrele

‘Maggots’ at the Bush Theatre Review 2026: An impressive cast vividly bring to life a thought-provoking piece that is as witty as it is tragic

I was back at the Bush Theatre this week to see their latest show, ‘Maggots.’ Written by Farah Najib, this three hander recounts the story of the residents of Laurel House, and their discovery of Shirley, whose rotting body went undiscovered for a year, breeding a foul stench and a host of maggots. Actors Marcia Lecky, Sam Baker Jones and Safiyya Ingar, rise to the task of uniquely bring to life the multiple residents of Laurel House. The play is witty, tragic and hopeful, and paints a vivid portrait of a group of people who are unsure what to do in these mysterious circumstances, all against the backdrop of a failing system.

The set does well to communicate one of the core themes of the piece – decay. Caitlin Mawhinney hangs dried, dead flowers from the ceiling of the studio which seem to represent the ever presence of decay and death for the audience, just as the smell does for the inhabitants of Laurel House. Peter Small’s lighting is also effectively used to communicate shifts in space and tone, a notable moment being the casts’ description of the housing associations WhatsApp group chat. The lighting also mirrors the increasing tension in the run up to the discovery of Shirley’s body towards the end of the play. Although this revelation is not a massive surprise, early on in the play several residents wonder if Shirley might have died, the journey there is an enjoyable one.

Despite the heavy themes, there is plenty of room for levity, with Ingar in particular drawing laughs with her witty one liners. The cast exhibit an impressive range, fully inhabiting each resident and giving them a distinct voice, the foundations being laid deftly by Najib’s writing. We do not quite get the traditional happy ending for the residents that we would want, but Najib offers a truthful one. Things do change for the better, but are not perfect, something that acutely reflects real life. Examining this microcosm of a fairly unordinary area of London provides the perfect space for talking about wider issues of housing, neglect and human connectedness. This show does feel unique, and markedly different to other shows that I have reviewed.

Although the closing revelations are not quite the shocking punch that you might have wished for, the talented cast, wit and thought-provoking themes definitely leave a better impression than the unpleasant smell that haunts Laurel House’s residents.

4/5

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‘Maggots’ is playing at the Bush Theatre until the 28^th of December!

Tickets here: https://www.bushtheatre.co.uk/event/maggots/#book

Christmas Trees: A Brief History

As soon as November hits, I’m sure that everybody begins seeing Christmas trees popping up all over the place! And then, before we know it, we are taking them all down again come January! Christmas trees are typically evergreen conifer, spruce or pine and are typically decorated with baubles, lights and tinsel. But where did this festive staple come from?

Before we get to the modern Christmas trees that we all know and love, lets cast our minds back a few hundred centuries. It was Pagan tradition to worship trees, a common practice for the Vikings and Saxons. They would decorate the house with evergreen at New Year to ward off evil spirits.

Jumping forward, Christmas trees popped up in the Medieval era. In Biblical terms, the tree that springs to mind is the Tree of Knowledge from Genesis, which is closely connected to Adam and Eve. Eve was tricked by Satan to eat from the Tree of Knowledge which constituted the Fall of Man, bringing sin into the world. However, the Tree of Knowledge was not the only tree around, there was the Tree of Life. This tree is representative of personal growth and interconnectedness.

It was this tree that was referenced in the Medieval Plays historically staged on Christmas Eve, the name day of Adam and Eve. In these plays, the tree was decorated with apples, a reference to the Forbidden Fruit, and white wafers, a reference to the Eucharist. The tree then found its way into people’s homes, like the Nativity scene, with the apples being replaced by baubles.

Modern Christmas trees can be traced back to Central Europe, including Estonia and Latvia. It seems that we have the Protestant Reformers to thank for the evolution of the Christmas tree, as records indicate that a Christmas tree was present in the Cathedral of Strasbourg in 1539. Protestant Reformer Martin Luther is credited as the first person to have had added lights to an evergreen tree, and this early Renaissance time period matches the first dated illustration of a Christmas tree in 1576.

Fast forwarding to the Victorian era, the idea of decorating homes and churches WITH evergreens was common practice, the idea of decorating an individual, small tree did not really come to fruition until 1800, where Queen Charlotte introduced a decorated Christmas tree at a party for her children. Most people associate the decorated Christmas trees with Queen Victoria and her husband Prince Albert. Before their marriage in 1841, Christmas trees were more of a royal family tradition, but following various advertisements in magazines, they were adopted by wealthier middle-class families and the tradition widely spread. Coupled with Charles Dickens, the Victorians are typically credited with creating the Christmas that we know today.

I hope you all had a good Christmas, and a Happy New Year 2026!

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