aleks.sierz | The Arts Desk

wed 18/06/2025

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

Two Billion Beats, Orange Tree Theatre review - lively, but overly idealistic Wednesday, 01 February 2023 Read more...	Sound of the Underground, Royal Court review - loud and triumphantly proud Monday, 30 January 2023 Read more...
Sons of the Prophet, Hampstead Theatre review - perfect mix of pain and comedy Thursday, 15 December 2022 Read more...	Kerry Jackson, National Theatre review - new writing nadir Monday, 12 December 2022 Read more...
Baghdaddy, Royal Court review - Middle-Eastern magic realism Monday, 28 November 2022 Read more...	The Sex Party, Menier Chocolate Factory review - disappointing detumescence Friday, 18 November 2022 Read more...
Super High Resolution, Soho Theatre review - the NHS at breaking point Monday, 14 November 2022 Read more...	Mary, Hampstead Theatre review - compelling study of power politics Wednesday, 02 November 2022 Read more...
‘Stripping naked the process of making theatre’: Martin Crimp talks about his latest play Monday, 31 October 2022 Read more...	Marvellous, @sohoplace review - silly, singular and sentimental Monday, 24 October 2022 Read more...
Ravenscourt, Hampstead Theatre review - strong, but slender Saturday, 08 October 2022 Read more...	Jews. In Their Own Words, Royal Court review - calling out ancient prejudice Thursday, 29 September 2022 Read more...
The P Word, Bush Theatre review - persecution and pride Saturday, 17 September 2022 Read more...	Silence, Donmar Warehouse review - documenting disaster Thursday, 08 September 2022 Read more...
The Trials, Donmar Warehouse review - chillingly compelling Thursday, 18 August 2022 Read more...	All of Us, National Theatre review - revelatory, but problematic Wednesday, 10 August 2022 Read more...

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'We are bowled over!' Thank you for your messages... ...

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 "...