sun 24/11/2024

theatre reviews, news & interviews

Wicked review - overly busy if beautifully sung cliffhanger

Matt Wolf

"No one mourns the wicked," we're told during the immediately arresting beginning to Wicked, which concludes two hours 40 minutes later with the words, "to be continued" flashed up on the screen. Will filmgoers mourn that they have to wait an entire year to see the second part of this supercharged screen adaptation of the stage musical blockbuster that London and New York audiences can currently absorb in a single sitting?

King James, Hampstead Theatre review - UK premiere drains a three-pointer

Gary Naylor

Cleveland is probably the American city most like the one in which I grew up. Early into the icy embrace of post-industrialisation, not really on the way to anywhere, but not a destination either and obsessed with popular music and sports, it's very Scouse. Okay, the Mersey did not catch fire as the Cuyahoga River did in 1969, but it would not have surprised anyone in Liverpool had it done so.

A Christmas Carol, Old Vic review - tidings of...

Aleks Sierz

This Dickens classic is an annual treat, or a Christmas trial – depending on your point of view. At the Old Vic, it was adapted by Jack Thorne...

[title of show], Southwark Playhouse review - two...

Gary Naylor

Not just a backstage musical, a backroom musical!In the 70s, Follies and A Chorus Line took us into the rehearsal room giving us a chance to look...

ARK: United States V by Laurie Anderson, Aviva...

Sarah Kent

Picture this: framing the stage are two pearlescent clouds which, throughout the performance, gently pulsate with flickering light. Behind them on a...

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Wolves on Road, Bush Theatre review - exciting dialogue, but flawed plotting

Aleks Sierz

New play about young black men and cryptocurrency is sadly predictable

Burnt Up Love, Finborough Theatre review - scorching new play

Gary Naylor

Super writing and acting jolts us out of complacency

L’Addition, BAC review - top billing for physical comedy duo

Aleks Sierz

The latest in Forced Entertainment’s 40 years of experiment is a thought-tickling farce

Barcelona, Duke of York's Theatre review - Lily Collins migrates from France to Spain

Matt Wolf

The 'Emily in Paris' star surrenders to cliche - or does she?

Guards at the Taj, Orange Tree Theatre review - miniature marvel with rich resonances

Helen Hawkins

Rajiv Joseph’s play pitting beauty against duty gets an impressive staging

The Buddha of Suburbia, Barbican Theatre review - farcical fun, but what about the issues?

Aleks Sierz

Hanif Kureishi classic gets a compulsively comic makeover from Emma Rice

How To Survive Your Mother, King's Head Theatre review - mummy issues drive autobiographical dramedy

Gary Naylor

Lots of heartache, but a strange void where the heart of the play should be

Dr Strangelove, Noël Coward Theatre review - an evening of different parts

Rachel Halliburton

Kubrick’s humour doesn't always detonate as it should in Armando Iannucci's version

Reykjavik, Hampstead Theatre review - drama frozen by waves of detail

Aleks Sierz

Richard Bean’s new play revisits the Hull fishing industry of the 1970s

The Forsyte Saga Parts 1 and 2, Park Theatre review - if Chekhov did soap operas

Gary Naylor

Joseph Millson leads a super cast in a classy production from Troupe Theatre Company

The Wild Duck, The Norwegian Ibsen Company, Coronet Theatre review - slow burn, devastating climax

David Nice

Ibsen's pitiless take on the 'life lie' is another triumph for Norwegians in Notting Hill

Autumn, Park Theatre review - on stage as in politics, Brexit drama promises much, but loses its way

Gary Naylor

Promising production, beautifully acted, slides into side plots and confusion

The Fear of 13, Donmar Warehouse review - powerful analysis of a gross injustice

Helen Hawkins

A magnificent Adrien Brody leads a moving production by Justin Martin

The Duchess [of Malfi], Trafalgar Theatre review - actors imprisoned by confused time travelling

Helen Hawkins

Zinnie Harris's modern take robs the play of its tragic potential

What We Talk About When We Talk About Anne Frank, Marylebone Theatre review - explosive play for today

Helen Hawkins

Nathan Englander probes a divide in modern Jewish identity; Patrick Marber directs

Land of the Free, Southwark Playhouse review - John Wilkes Booth portrayed in play that resonates across 160 years

Gary Naylor

A president shot, as a divided country seeks political solutions

Oedipus, Wyndham's Theatre review - careful what you wish for

Demetrios Matheou

Mark Strong and Lesley Manville are the powerhouse heart of Robert Icke's adaptation

Knife on the Table, Cockpit Theatre review - gangsters grim, not glamorous

Gary Naylor

This is exactly the kind of play that should be staged in 2024

A Raisin in the Sun, Lyric Hammersmith review - of race and men

Aleks Sierz

Lorraine Hansberry classic is both a historical gem and a play for today

First Person: Lindsey Ferrentino on the play that has led Adrien Brody to the London stage

Lindsey Ferrentino

The American dramatist on bringing 'The Fear of 13', and its Oscar-winning lead, to the Donmar

The Lehman Trilogy, Gillian Lynne Theatre review - three brothers, two crashes, one American Dream

Gary Naylor

Sensational stagecraft elevates familiar tale of immigrant success in the USA

Filumena, Theatre Royal Windsor review - Mozartian marriage comedy with pasta sauce

Ismene Brown

Dazzling Felicity Kendal conquers time in a tour de force of comedic playing

Brace Brace, Royal Court review - too slender to satisfy

Aleks Sierz

New play about the consequences of a plane hijack is energetic but unconvincing

First Person: Tim Etchells on 40 years of making a noise with Forced Entertainment

Tim Etchells

The experimental theatre company marks four decades with its new production 'Signal to Noise'

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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