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aleks sierz

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Bio
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

The Invention of Love, Hampstead Theatre review - beautiful wit, awkward staging

Tuesday, 17 December 2024 Read more...

The Legends of Them, Royal Court review - reaching out for serenity

Friday, 13 December 2024 Read more...

Expendable, Royal Court review - intensely felt family drama

Friday, 29 November 2024 Read more...

A Christmas Carol, Old Vic review - tidings of discomfort and noise

Friday, 22 November 2024 Read more...

Wolves on Road, Bush Theatre review - exciting dialogue, but flawed plotting

Saturday, 16 November 2024 Read more...

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...

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'We are bowled over!' Thank you for your messages... ...
The Midnight Bell, Sadler's Wells review - A first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...

Ithell Colquhoun, Tate Britain review - revelations of a wei...

Tate Britain is currently offering two exhibitions...