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aleks sierz

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Aleks is author of In-Yer-Face Theatre and Rewriting the Nation, co-editor of theatreVOICE website, and works as a journalist, broadcaster and theatre critic at large.

Articles By Aleks Sierz

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

Friday, 08 November 2024 Read more...

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

Friday, 01 November 2024 Read more...

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

Monday, 28 October 2024 Read more...

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

Sunday, 13 October 2024 Read more...

Brace Brace, Royal Court review - too slender to satisfy

Thursday, 10 October 2024 Read more...

Angry and Young, Almeida Theatre review - vigorous and illuminating double bill

Monday, 07 October 2024 Read more...

A Tupperware of Ashes, National Theatre review - family and food, love and loss

Friday, 04 October 2024 Read more...

Waiting for Godot, Theatre Royal Haymarket review - humanity in high definition

Tuesday, 24 September 2024 Read more...

The Lightest Element, Hampstead Theatre review - engrossing, but fragmentary

Thursday, 19 September 2024 Read more...

The Real Ones, Bush Theatre review - engrossing, enjoyable and quietly inspiring

Saturday, 14 September 2024 Read more...

G, Royal Court review - everyday realism blitzed by urban myth

Monday, 02 September 2024 Read more...

Peanut Butter & Blueberries, Kiln Theatre review - rom-com in a time of Islamophobia

Friday, 16 August 2024 Read more...

The Marilyn Conspiracy, Park Theatre review - intriguing murder mystery

Monday, 01 July 2024 Read more...

My Father's Fable, Bush Theatre review - hilarious and haunting family drama

Tuesday, 25 June 2024 Read more...

The Bounds, Royal Court review - soccer play scores badly

Friday, 21 June 2024 Read more...

Lie Low, Royal Court review - short sharp sliver of pain

Friday, 31 May 2024 Read more...

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'We are bowled over!' Thank you for your messages... ...
Troilus and Cressida, Globe Theatre review - a 'problem...

The Globe’s authenticity is its USP, so don’t expect the air-conditioning, the plush seats and the expectant hush of the National...

Album: Mobb Deep - Infinite

Eight years after Prodigy’s untimely passing, Mobb Deep are gracing our sound systems once again with unreleased vocals and brand new music. With...

London Film Festival 2025 - crime, punishment, pop stars and...

Wake Up Dead Man: A Knives Out Mystery

The third of Rian Johnson’s Knives Out...

I Swear review - taking stock of Tourette's

People sometimes go to the movies for the violence and maybe even for the sex. Until recently they didn’t particularly buy a ticket for...

Clarkston, Trafalgar Theatre review - two lads on a road to...

If you’re a Gen Zer, you’ve probably heard of Heartstopper’s Joe Locke. I’m pretty sure ATG’s Gen Xers in...

Album: Boz Scaggs - Detour

Boz Scaggs rarely does a less than wonderful album. His latest is an exemplary collection of smooth and soulful standard and a few other choice...

Carmen, English National Opera review - not quite dangerous

“Safe” is a word used far too often in ENO’s bizarre new version of a programme, full of uncredited articles, at least two of which look as if...

Ghost Stories, Peacock Theatre review - spirited staging but...

In the framing device, a professor (Jonathan Guy Lewis) stands at a lectern and asks if anyone has had a supernatural experience....

Emily A. Sprague realises a Japanese dream on 'Cloud Ti...

The history of experimental musicians from Europe and North America adopting Japanese aesthetics is … patchy. It got especially dodgy in the 1990s...