Theatre Reviews
King James, Hampstead Theatre review - UK premiere drains a three-pointerSaturday, 23 November 2024
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. Read more... |
A Christmas Carol, Old Vic review - tidings of discomfort and noiseFriday, 22 November 2024
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 in 2017, and like the holly and the ivy has been a hardy perennial ever since. Here Scrooge has been played by stars such as Rhys Ifans, Paterson Joseph, Stephen Mangan and Christopher Eccleston. This time it’s the turn of John Simm. Read more... |
[title of show], Southwark Playhouse review - two guys and two girls write about writing, delightfullyWednesday, 20 November 2024
Not just a backstage musical, a backroom musical! Read more... |
ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetimeSaturday, 16 November 2024
Picture this: framing the stage are two pearlescent clouds which, throughout the performance, gently pulsate with flickering light. Behind them on a giant screen is a spinning globe, its seas twinkling like a million stars. Read more... |
Wolves on Road, Bush Theatre review - exciting dialogue, but flawed plottingSaturday, 16 November 2024
Cryptocurrency is like the myth of El Dorado – a promised land made of fool’s gold. Despite its liberatory potential, it frequently attracts sharks or, as the title of Beru Tessema’s new play indicates, hungry wolves that gobble up defenceless sheep. Read more... |
Burnt Up Love, Finborough Theatre review - scorching new playMonday, 11 November 2024
Mac is in prison for a long stretch. He is calm, contemplative almost, understands how to do his time and has only one rule – nobody, cellmate or guard, can touch the photo of his daughter, then three years old, attached to his wall. Though he is a man who gets through the days with few problems, he solves them through violence. Read more... |
L’Addition, BAC review - top billing for physical comedy duoFriday, 08 November 2024
Can experimental theatre survive the decades? This year marks the 40th anniversary of the Forced Entertainment theatre company, whose mission is summarised (by themselves) as “tearing up the rulebook”. Read more... |
Barcelona, Duke of York's Theatre review - Lily Collins migrates from France to SpainWednesday, 06 November 2024
The Catalan capital has given its name to a famous number in the Stephen Sondheim musical, Company. And here it is lending geographical specificity to the second two-hander, following the far-superior Camp Siegfried, from American writer Bess Wohl to reach London in recent years. Read more... |
Guards at the Taj, Orange Tree Theatre review - miniature marvel with rich resonancesSaturday, 02 November 2024
It’s 1648 in Agra, and an excitable young guardsman has come up with an idea: a giant flying platform that he calls an “aeroplat”. As he might slide off it in transit, for good measure he gives it a belt to tie him down. It would be a “seat belt”, he suggests triumphantly. Read more... |
The Buddha of Suburbia, Barbican Theatre review - farcical fun, but what about the issues?Friday, 01 November 2024
Hanif Kureishi’s 1990 novel The Buddha of Suburbia begins like this: “My name is Karim Amir, and I am an Englishman born and bred, almost”. Almost. Yes, that's good. We are in 1970s south-east London, and this immediately introduces, despite its tentative tone, the protagonist as a young man trying to define his identity. Read more... |
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★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway
Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.
Book by 30 September and get tickets from £15*
with no booking fee.
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