Theatre Reviews
Faustus: That Damned Woman, Lyric Hammersmith review - gender swap yields muddled resultsWednesday, 29 January 2020
Changing the gender of the title character “highlights the way in which women still operate in a world designed by and for men,” argues Chris Bush, whose reimagining of Marlowe’s play premieres at the Lyric ahead of a UK tour. Read more... |
Uncle Vanya, Harold Pinter Theatre review - a superlative company achievementFriday, 24 January 2020
Uncle Vanya must surely be the closest, the most essential of Chekhov’s plays, its cast – just four main players who are caught up in the drama's fraught emotional action, and four who are essentially supporting – a concentrated unit even by the playwright's lean standards. Read more... |
The Sunset Limited, Boulevard Theatre review - all talk, no theatreFriday, 24 January 2020
Cormac McCarthy’s two-hander, premiered at Chicago's mighty Steppenwolf Theatre in 2006, has by this point been everything short of an ice ballet: a self-described “novel in dramatic form”, as one might expect from the American author of such titles as All the Pretty Horses and The Road, followed by a film made for TV directed by, and starring, Tommy Lee Jones, opposite Samuel L Jackson. Read more... |
The Welkin, National Theatre review - women's labour is a painThursday, 23 January 2020
History plays should perform a delicate balancing act: they have to tell us something worth knowing about the past, that foreign country where they do things differently, and also something about our current preoccupations. Otherwise, what's the point? Read more... |
Scenes with Girls, Royal Court review - feminist separatism 2.0Wednesday, 22 January 2020
Last night, I discovered the gasp index. Or maybe just re-discovered. The what? The gasp index. It's when you see a show that keeps making you exhale, sometimes audibly, sometimes quietly. Tonight I gasped about five times, then I stopped counting – I was hooked. Read more... |
You Stupid Darkness!, Southwark Playhouse review - an intriguing muddleTuesday, 21 January 2020
Armageddon would appear to be at the gates in Sam Steiner’s intriguing if ramshackle play, a co-production between Paines Plough and Theatre Royal, Plymouth, that has reached London while still seeming a draft or so away from achieving its full potential. Read more... |
Rags: The Musical, Park Theatre review - a timely, if predictable, immigrant taleMonday, 20 January 2020
“Take our country back!” is the rallying cry of the self-identified “real” Americans gathered to protest the arrival of immigrants. Read more... |
Les Misérables, Sondheim Theatre review - join in our crusadeFriday, 17 January 2020
Do you hear the people sing? In recent months, you're more likely to have heard news stories about the longest running West End musical than the actual music. Read more... |
Scrounger, Finborough Theatre review - uncomfortable play tackles disability discriminationTuesday, 14 January 2020
Scrounger is no comfortable evening in the theatre, for reasons both intentional and inadvertent. Athena Stevens’ new play recounts her 2016 battle with British Airways and London City Airport, who subjected her to the humiliation of being taken off a flight to Edinburgh because they couldn’t fit her c Read more... |
Magic Goes Wrong, Vaudeville Theatre review - entertaining spoofFriday, 10 January 2020
Mischief Theatre's “Goes Wrong” oeuvre is now well established: broad humour combined with physical comedy and slapstick mishaps. Read more... |
Pages
Advertising feature
★★★★★
‘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.
latest in today
Help to give theartsdesk a future!
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Farewell Mister Haffmann, Park Theatre review - French hit o...
When Yasmina Reza’s cerebral play Art arrived in London in 1996, we applauded it as a comedy. Now another French hit,...
Album: Coheed and Cambria - The Father of Make Believe
The Father of Make Believe is the latest instalment in the cinematic fantasy world that Coheed and Cambria have meticulously crafted over...
theartsdesk Q&A: Raoul Peck, director of the documentary...
With his furious docu-essay I Am Not Your Negro, Raoul Peck caused a stir in 2016. The film...
Jonathan Buckley: One Boat review - a shore thing
One Boat, Jonathan Buckley’s 13th novel, captures a series of...
Blu-ray: The Barnabáš Kos Case
One of The Barnabáš Kos Case’s incidental pleasures lies in its relatively accurate depiction of orchestral life. Much of the action in...
A Form of Exile: Edward Said and Late Style, CLS, Wood, QEH...
You could plan an entire concert season around the theme of “late style”, its paradoxes and variations. For this one-off, many of us expected a...
Edward II, RSC, Swan Theatre, Stratford review - monarchs, m...
“Don’t put your co-artistic director on the stage, Mrs Harvey,” as Noel Coward once (almost) sang.
Tamara...
BBC Philharmonic, Bihlmaier, Bridgewater Hall, Manchester re...
Anja Bihlmaier returned to the BBC Philharmonic – for the first time in the Bridgewater Hall as principal guest conductor – with a programme to...
Album: Reg Meuross, Fire & Dust: A Woody Guthrie Story
I come to this album from a week or so spent among the denizens of the New York and Boston...