Theatre Reviews
White Christmas, Dominion Theatre review - breezy but blandThursday, 28 November 2019
Nostalgia for things that probably never were is an animating theme in politics these days. |
My Brilliant Friend, National Theatre review - sleek spectacle almost eats its charactersWednesday, 27 November 2019
It took no time for Elena Ferrante's two Neapolitan friends to join the ranks of great literary creations: Lenù as successful writer-narrator, critical of her past ambivalence; Lila the unknowable fascinator, her brilliance often diverted into poisoned channels. Read more... |
The Arrival, Bush Theatre review - boys will definitely be boysWednesday, 27 November 2019
Family dramas are a staple of British new writing, but as well as talking about our nearest and dearest, can they also say something about the wider society? The Arrival, by director turned playwright Bijan Sheibani, who won an Olivier award for Bola Agbaje's Gone Too Far! in 2008, has ambitions to be a study of masculinity in crisis. Read more... |
The Lion, The Witch and The Wardrobe, Bridge Theatre review – spellbinding narrative of parallel worldsTuesday, 26 November 2019
We all remember that moment when we walked through the back of the wardrobe: the heaviness of the fur coats, that first crunch of the snow underfoot. It’s an extraordinary moment of childhood that has also become too normal because shared memory has made it so. What does it really mean to walk through a door and emerge in another world entirely? Read more... |
Henry VI, Sam Wanamaker Playhouse review - a lively vortexFriday, 22 November 2019
No Joan of Arc means no Henry VI Part One. France, where we left the victorious Henry V - the superb Sarah Amankwah, a shining light of this company - in the Globe's summer history plays, only figures briefly in the last act of a candelelit, intimate stepping-back to the more problematic saga. Read more... |
& Juliet, Shaftesbury Theatre review - the Bard with dancefloor bangersThursday, 21 November 2019
It’s bright, it’s brash, it’s a gazillion times camper than Christmas: but is it such stuff as theatrical hits are made on? If that misquotation is already making you cringe, then this glittery pop juggernaut probably isn’t for you – but it is, unashamedly, Shakespeare for the generation that grew up on TV talent shows. Read more... |
Dear Evan Hansen, Noël Coward Theatre review - this social outcast will steal your heartWednesday, 20 November 2019
Steven Levenson, Benj Pasek and Justin Paul’s Tony and Grammy Award-winning musical Dear Evan Hansen is an institution in the States, running on Broadway since 2016 and currently on its second year of a national tour. Read more... |
Measure for Measure, RSC, Barbican review - behind the timesTuesday, 19 November 2019
Because he dramatised power, Shakespeare never really goes out of fashion. Treatments of his plays do though, and the RSC’s Measure for Measure, a transfer from Stratford set in turn-of-the-century Vienna, feels distinctly slack. Read more... |
Stray Dogs, Park Theatre review – no fire in this historic encounterMonday, 18 November 2019
How do you begin to dramatise one of the most extraordinary conversations of the 20th century between two of its most charismatic and complex intellectuals? Read more... |
Touching the Void, Duke of York's Theatre review - not quite high enoughFriday, 15 November 2019
Theatre can touch thousands of lives. But can it compete with the success of a bestselling book? First published in 1988, mountaineer Joe Simpson's Touching the Void has apparently sold more than a million copies, and it's been translated into some 20 languages. It tells the adventure story of how he, and Simon Yates, climbed the Siula Grande peak in the Peruvian Andes in 1985. 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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