Theatre Reviews
Cat on a Hot Tin Roof, Apollo Theatre review - Sienna Miller lets ripTuesday, 25 July 2017
"Maggie the cat is alive: I am alive," or so remarks the feline, eternally frustrated heroine of Tennessee Williams's Cat on a Hot Tin Roof. Read more... |
Much Ado About Nothing, Shakespeare's Globe review - swaggering Shakespeare with a comic Spanish accentFriday, 21 July 2017
When I say that Matthew Dunster’s Much Ado is revolutionary I’m not talking about the many textual updatings and rewritings, not the lashings of PJ Harvey, nor even the gunfire – weaponised punchlines that cut through the colour and noise of the production. Read more... |
Dessert, Southwark Playhouse review - undercooked and overwroughtWednesday, 19 July 2017
"What is this, Saving Private Ryan?" a character randomly queries well into the actor Oliver Cotton's new play, Dessert. Well, more like a modern-day An Inspector Calls on steroids, with the volume turned up so high in Trevor Nunn's production that you don't half believe the questioner's wife when she talks about a state of affairs that could be heard all the way to France. Read more... |
A Tale of Two Cities, Regent’s Park Open Air Theatre review - it was the longest of timesMonday, 17 July 2017
Much loved, yes. But Dickens’s novel is probably little read by modern audiences and so a chance to see a new adaptation of this tale of discontent, riot and general mayhem set in the French revolution and spread across London and Paris in the late 1700s should be a genuine treat for theatregoers. Read more... |
Bodies, Royal Court review – pregnant with meaningWednesday, 12 July 2017
Surrogacy is an emotionally fraught subject. The arrangement by which one woman gives birth to another’s baby challenges traditional notions of motherhood, and pitches the anguish of the woman who can’t have children herself against the agony of another woman who gives up her child. Read more... |
Queen Anne, Theatre Royal Haymarket review - slow, long and dullTuesday, 11 July 2017
How well do you know your British history? Fancy explaining the causes and origins of the Glorious Revolution or listing the members of the Grand Alliance? What about the terms of the 1701 Act of Settlement or the Occasional Confirmity Bill of 1702? I ask not because Helen Edmundson’s Queen Anne will require you to know any of this, but rather precisely because it won’t. Read more... |
The Tempest, Barbican Theatre review - sound and fury at the expense of senseFriday, 07 July 2017
Can The Tempest open on stage without a tempest – of crashing, shrieking and torment – and thus without what can become five minutes-plus of inaudibility? In Gregory Doran’s 2016 Stratford production for the RSC, revived at the Barbican Theatre, the answer is, as so often, no. Read more... |
The Mentor, Vaudeville Theatre review - having fun with artistic integrityWednesday, 05 July 2017
German writer Daniel Kehlmann’s light-touch 90-minute comedy is a chic satire on the slippery business of making art – and especially on the difficulty of assessing it. Whose judgement matters, after all? Read more... |
Committee review - we're all on trial in new Kids Company musicalTuesday, 04 July 2017
A memorable 2015 parliamentary select committee hearing asked Kids Company CEO Camila Batmanghelidjh and chair of trustees Alan Yentob whether the organisation was ever fit for purpose. Read more... |
The Wind in the Willows, London Palladium review - an effortful slogFriday, 30 June 2017
An enormous amount rides on a musical's opening number. Without explicitly expressing it, a good opener sets tone, mood and style. Take The Lion King, where "Circle of Life" so thrillingly unites music, design and direction that nothing that follows equals it. "Spring", the opener of The Wind in the Willows, repeatedly announces the warmth of the season, and precious little else. 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*
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