Theatre Reviews
Trouble in Mind, National Theatre review - race, rage and relevanceSaturday, 11 December 2021
The National Theatre has a good record in staging classic American drama by black playwrights. James Baldwin's The Amen Corner, August Wilson's Ma Rainey's Black Bottom and Lorraine Hansberry’s Les Blancs have all had terrific new stagings. Read more...
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The Strange Undoing of Prudencia Hart, Royal Exchange, Manchester review - a spooky study in balladryFriday, 10 December 2021
This is a story of an innocent who finds herself unexpectedly in a strange, unknown world. The same could be true for those in its audience. Read more... |
The Book of Dust, Bridge Theatre review – as much intelligence and provocation as fleet-footed funThursday, 09 December 2021
It’s been seventeen years since Nicholas Hytner first directed Philip Pullman’s His Dark Materials at the National Theatre, ambitiously whirling audiences into Pullman’s universe of daemons, damnable clerics and parallel worlds. Read more... |
Measure for Measure, Sam Wanamaker Theatre review - this problem play is a delightMonday, 06 December 2021
Measure for Measure may be the quintessential Shakespeare “problem” play, but just what has earned it that epithet remains a puzzle. Each generation approaches the matter from its own perspective. The developments of recent years, #MeToo most of all, have given new resonance to one of its central themes, the imbalance of law over nature and the quality of justice, but the play’s “resolution”, if it can even be called that, leaves the questions open. Read more... |
Life of Pi, Wyndham's Theatre review - visually ravishing show uplifted by astonishing puppetryFriday, 03 December 2021
When the Canadian Yann Martel went to India as a young adult backpacker he fell in love – not with one person but with the rich imaginative landscape opened up by its religions and its animals. A struggling writer at the time, he channelled this new love into a dazzling idiosyncratic narrative about a shipwrecked Indian boy who survives 227 days at sea with a zebra, a hyena, an orangutan and a Bengal tiger called Richard Parker. Read more... |
The Good Life, Richmond Theatre review - popular sitcom gets its own origin storyMonday, 29 November 2021
"Off-grid" wasn't a thing in the mid-'70s. Sure, people planted a few potatoes in the garden and pottered about a bit in an allotment, but nobody went the whole hog. The rat race was certainly a thing though, a fertile seam for comedies like The Fall and Rise of Reginald Perrin. Read more... |
Four Quartets, Harold Pinter Theatre review - brilliant Fiennes breathes air and physicality into Eliot's workFriday, 26 November 2021
Words flow like water in TS Eliot’s Four Quartets, shimmering with allusion, swirling and eddying with the ideas and fractured philosophies of a poet at the height of his powers. Read more... |
A Christmas Carol, The Old Vic review - not quite a festive-season crackerFriday, 26 November 2021
Four years and a Broadway run on from its Old Vic debut, director Matthew Warchus and writer,Jack Thorne are still throwing everything they can at one of the most familiar stories, and characters, in English literature. Read more... |
Manor, National Theatre review – ambitious, but unconvincingThursday, 25 November 2021
After all the tides of monologue plays have ebbed, British new writing is now paddling in the pools of state-of-the-nation drama. Read more... |
The Comedy of Errors, RSC, Barbican review - Shakespearean Christmas pantoThursday, 25 November 2021
“Am I myself?” At the tangled centre of Shakespeare’s comedy of two pairs of identical twins, servant Dromio asks the question on which everything else hangs. The delivery is exasperated, the context bantering, but the words are the flimsy door onto an existential void this early play constantly threatens to tumble into. How can we know ourselves if others do not? Is it enough to be ourselves, or must we also enact and perform those roles? What if society casts us in another? 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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