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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

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...

The Harmony Test, Hampstead Theatre review - pregnancy and parenthood

Wednesday, 29 May 2024 Read more...

Bluets, Royal Court review - more grey than ultramarine

Tuesday, 28 May 2024 Read more...

Between Riverside and Crazy, Hampstead Theatre review - race, religion and rough justice

Thursday, 23 May 2024 Read more...

London Tide, National Theatre review - haunting moody river blues

Saturday, 20 April 2024 Read more...

The Comeuppance, Almeida Theatre review - remembering high-school high jinks

Tuesday, 16 April 2024 Read more...

Out of Season, Hampstead Theatre review - banter as bullying

Wednesday, 28 February 2024 Read more...

Shifters, Bush Theatre review - love will tear us apart again

Tuesday, 27 February 2024 Read more...

Metamorphosis, Lyric Hammersmith review - vivid images, but where's the drama?

Wednesday, 07 February 2024 Read more...

Till the Stars Come Down, National Theatre review - exuberant comedy with a dark edge

Saturday, 03 February 2024 Read more...

Cowbois, Royal Court review - fabulously queer extravaganza

Saturday, 20 January 2024 Read more...

Don't Destroy Me, Arcola Theatre review - a theatre history curio

Wednesday, 17 January 2024 Read more...

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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...

Sarah Silverman, Netflix Special review - finding the funny...

Death can be a powerful driver for comedy...

Blu-ray: Darling

A look at Darling on its 60th anniversary offers a sobering reality check on the "...