sat 02/08/2025

theatre reviews, news & interviews

Top Hat, Chichester Festival Theatre review - top spectacle but book tails off

Gary Naylor

After 76 years, you’d have thought they could’ve come up with a better story! Okay, that’s a cheap jibe and, given the elusive nature of really strong books in stage musicals, not quite as straightforward as meets the eye.

Edinburgh Fringe 2025 reviews: Alright Sunshine / K Mak at the Planetarium / PAINKILLERS

David Kettle

Alright Sunshine, Pleasance Dome ★★★★★

The Daughter of Time, Charing Cross Theatre...

Helen Hawkins

Following confirmation that he was the owner of the bones found in a Leicester car park in 2012, Richard III has never been a hotter, or cooler,...

Evita, London Palladium review - even more...

Matt Wolf

Would Jamie Lloyd's mind-bending revival of Evita win through twice in four weeks, I wondered to myself, paraphrasing a Tim Rice lyric from his 1978...

Maiden Voyage, Southwark Playhouse review - new...

Gary Naylor

As the nation basks in the reflected glory of The Lionesses' Euro25 victory, it could hardly be more timely for the Southwark Playhouse to launch a...

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The Winter's Tale, RSC, Stratford review - problem play proves problematic

Gary Naylor

Strong women have the last laugh, but the play's bizarre structure overwhelms everything

Brixton Calling, Southwark Playhouse review - life-affirming entertainment, both then and now

Gary Naylor

Nostalgic, but the message is bang up to date

Inter Alia, National Theatre review - dazzling performance, questionable writing

Aleks Sierz

Suzie Miller’s follow up to her massive hit 'Prima Facie' stars Rosamund Pike

A Moon for the Misbegotten, Almeida Theatre review - Michael Shannon sears the night sky

Matt Wolf

Rebecca Frecknall shifts American gears to largely satisfying effect

Burlesque, Savoy Theatre review - exhaustingly vapid

Matt Wolf

Adaptation of 2010 film is busy, bustling - and bad

Don't Rock the Boat, The Mill at Sonning review - all aboard for some old-school comedy mishaps

Gary Naylor

Great fun, if more 20th century than 21st

The Estate, National Theatre review - hugely entertaining, but also unconvincing

Aleks Sierz

Comedy debut stars Adeel Akhtar, but is an awkward mix of the personal and the political

Poor Clare, Orange Tree Theatre review - saints cajole us sinners

Gary Naylor

Funny and clever show illuminated by a dazzling debut from Arsema Thomas

That Bastard, Puccini!, Park Theatre review - inventive comic staging of the battle of the Bohèmes

Helen Hawkins

James Inverne enjoyably reconstructs the rivalry between Puccini and Leoncavallo

Till the Stars Come Down, Theatre Royal Haymarket review - a family hilariously and tragically at war

Helen Hawkins

Beth Steel makes a stirring West End debut with her poignant play for today

Nye, National Theatre review - Michael Sheen's full-blooded Bevan returns to the Olivier

Heather Neill

Revisiting Tim Price's dream-set account of the founder of the health service

theartsdesk at the Ravenna Festival 2025 - Cervantes, Beethoven and Byron transfigured

David Nice

Muti revitalised by young musicians, and a three-year theatre project reaches completion

Girl From The North Country, Old Vic review - Dylan's songs fail to lift the mood

Gary Naylor

Fragmented, cliched story rescued by tremendous acting, singing and music

The Merry Wives of Windsor, Shakespeare's Globe review - hedonistic fizz for a summer's evening

Rachel Halliburton

Emma Pallant and Katherine Pearce are formidable opponents to Falstaff's buffoonery

Run Sister Run, Arcola Theatre review - emphatic emotions, overwrought production

Aleks Sierz

Chloë Moss’s latest play about the different lives of two sisters is deeply felt

Intimate Apparel, Donmar Warehouse review - stirring story of Black survival in 1905 New York

Helen Hawkins

An early Lynn Nottage work gets a superb cast and production

Hercules, Theatre Royal Drury Lane review - new Disney stage musical is no 'Lion King'

Gary Naylor

Big West End crowdpleaser lacks punch and poignancy with join-the-dots plotting and cookie-cutter characters

Showmanism, Hampstead Theatre review - lip-synced investigation of words, theatricality and performance

Gary Naylor

Technically accomplished production with Dickie Beau never settles into a coherent whole

4.48 Psychosis, Royal Court review - powerful but déjà vu

Aleks Sierz

Sarah Kane’s groundbreaking play gets a nostalgic anniversary reboot

Joyceana around Bloomsday, Dublin review - flawless adaptations of great dramatic writing

David Nice

Chapters and scenes from 'Ulysses', 'Dubliners' and a children’s story vividly done

Stereophonic, Duke of York's Theatre review - rich slice of creative life delivered by a 1970s rock band

Helen Hawkins

David Adjmi's clever and compelling hit play gets a crack London cast

North by Northwest, Alexandra Palace review - Hitchcock adaptation fails to fly

Gary Naylor

Emma Rice's storytelling at fault in misconceived production

Hamlet Hail to the Thief, RSC, Stratford review - Radiohead mark the Bard's card

Gary Naylor

An innovative take on a familiar play succeeds far more often than it fails

The King of Pangea, King's Head Theatre review - grief and hope, but no connection

Gary Naylor

Heart and soul proves insufficient in world premiere of therapeutic show

Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

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