wed 19/02/2025

theatre reviews, news & interviews

East Is South, Hampstead Theatre review - bewildering and unconvincing

Aleks Sierz

Our humanity is defined not only by our use of language, but also by our sense of the spiritual. Whether you are a believer or not, it’s hard to deny the attractions of religion for billions around the world. Sounds portentous? Yeah. Okay, you’re now in the zone for Beau Willimon’s new play East Is South, currently at the Hampstead Theatre, a work which suggests that the digital world can also be mystical place. 

Unicorn, Garrick Theatre review - wordy and emotionless desire

Aleks Sierz

Since when has new writing become so passionless? Mike Bartlett is one of the country’s premiere playwrights and his new play, Unicorn, is about radical sexuality and desire. It’s already made a big splash by being put straight on in the West End, yet the experience of watching it feels like a real turn off. It’s a masterclass of bad writing and unemotional acting.

More Life, Royal Court review - posthuman tragedy...

Aleks Sierz

I always advocate in favour of more sci-fi plays, and over the past decade there have been a gratifying number of them. But one essential element of...

Three Sisters, Sam Wanamaker Playhouse review -...

Gary Naylor

Russia.It’s impossible to be ambivalent towards that word, that country, indeed that idea, one so very similar to our own, yet so very different. You...

Churchill in Moscow, Orange Tree Theatre review...

Aleks Sierz

Playwrights who work for decades often acquire a moniker. In the case of Howard Brenton, who began his career as a left-winger in the turbulent 1970s...

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The Years, Harold Pinter Theatre review - a bravura, joyous feat of storytelling

Demetrios Matheou

The Almeida’s all-women hit transfers to the West End

Elektra, Duke of York's Theatre review - Brie Larson's London stage debut is angry but inert

Matt Wolf

Brie Larson makes a brave West End debut that, alas, misfires

First Person: writer Lauren Mooney on bringing bodies together in the new Royal Court play, 'More Life'

Lauren Mooney

Kandinsky Theatre co-creator on a new play tethering technology to existence

Oedipus, Old Vic review - disappointing leads in a production of two halves

Helen Hawkins

Is it a dance piece with added text, or a stripped down play with excess choreography?

Second Best, Riverside Studios review - Asa Butterfield brings the magic

Gary Naylor

Martin is not Harry Potter in the movies, then might be in real life, but proves to be the boy who survived

Mrs President, Charing Cross Theatre review - Mary Todd Lincoln on her life alone

Gary Naylor

Curious play that fails to mobilise theatre's unique ability to tell a story

… Blackbird Hour, Bush Theatre review - an unrelentingly tough watch

Aleks Sierz

New play about mental breakdown is a mix of acute distress and poetic writing

Play On!, Lyric Hammersmith review - and give me excess of it!

Gary Naylor

Super performances deliver magnificent entertainment

Inside No 9: Stage Fright, Wyndham’s review - uneven fright-night from the fêted duo

Helen Hawkins

Still inventive and fun but short on sharp shocks

Cymbeline, Sam Wanamaker Playhouse review - pagan women fight the good fight

Gary Naylor

A new, if not as radical as once it were, take on Shakespeare's cross-dressing call to arms

An Interrogation, Hampstead Theatre review - police procedural based on true crime tale fails to ring true

Gary Naylor

Rosie Sheehy and Jamie Ballard shine in Edinburgh Festival import

The Lonely Londoners, Kiln Theatre review - Windrush Generation arrive in a London full of opportunities, but not for them

Gary Naylor

Memories, frustrations and hopes in a city emerging from post-war austerity

Kyoto, Soho Place Theatre - blistering, darkly witty play raises more questions than it answers

Rachel Halliburton

The script turns dry-as-dust diplomatic detail into nothing less than an adrenaline sport

A Good House, Royal Court review - provocative, but imperfect

Aleks Sierz

South African satire about racism, sexism, home ownership and community politics

Oliver!, Gielgud Theatre review - Lionel Bart's 1960 masterpiece is Bourne again

Helen Hawkins

An intimate staging and superb casting make this a superior West End production

The Maids, Jermyn Street Theatre review - new broom sweeps clean in fierce revival

Gary Naylor

Class, in its 21st century manifestation, colours much performed play

Titanique, Criterion Theatre review - musical parody sinks despite super singing

Gary Naylor

Affectionate piss-take set for cult status at best

Best of 2024: Theatre

Matt Wolf

The classics were reclaimed afresh, and the acting more often than not astonished

Twelfth Night, Royal Shakespeare Theatre review - comic energy dissipates in too large a space

Gary Naylor

Too much thinking; not enough laughing

You Me Bum Bum Train, secret location review - a joyful multiverse of anarchic creativity

Rachel Halliburton

This latest incarnation of the show is a wild, spinning ride through different forms of reality

The Tempest, Theatre Royal, Drury Lane review - Sigourney Weaver's impassive Prospero inhabits an atmospheric, desolate world

Heather Neill

Magic is minimised in Jamie Lloyd's pared-back version

Natasha, Pierre & the Great Comet of 1812, Donmar Warehouse review - a blazingly original musical flashes into the West End

Gary Naylor

War and Peace - but not as you know it

The Invention of Love, Hampstead Theatre review - beautiful wit, awkward staging

Aleks Sierz

Tom Stoppard’s evocation of Victorian golden age Oxford stars Simon Russell Beale

Matthew Bourne's Swan Lake, New Adventures, Sadler's Wells review - 30 years on, as bold and brilliant as ever

Helen Hawkins

A masterly reinvention has become a classic itself

Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

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East Is South, Hampstead Theatre review - bewildering and un...

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Blu-ray: Golem

In Jewish folklore, a golem is an inanimate clay figure, brought to life when a magic word is placed inside its mouth....

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Unicorn, Garrick Theatre review - wordy and emotionless desi...

Since when has new writing become so passionless? Mike Bartlett is one of the country’s premiere playwrights and his new play, Unicorn,...