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

Trouble in Mind, National Theatre review - race, rage and relevance Saturday, 11 December 2021 Read more...	Manor, National Theatre review – ambitious, but unconvincing Thursday, 25 November 2021 Read more...
Death of England: Face to Face, National Theatre at Home review - anti-racist trilogy ends with a bang Tuesday, 23 November 2021 Read more...	Rare Earth Mettle, Royal Court review - one long unsatisfying slog Friday, 19 November 2021 Read more...
Sessions, Soho Theatre review – intense, but inconclusive Saturday, 13 November 2021 Read more...	Old Bridge, Bush Theatre review - powerful, poetic and profound Wednesday, 03 November 2021 Read more...
A Place for We, Park Theatre review - perceptive, but rather flabby Wednesday, 27 October 2021 Read more...	Macbeth, Almeida Theatre review – vivid, but much too long Friday, 15 October 2021 Read more...
The Normal Heart, National Theatre review - Ben Daniels triumphant Monday, 04 October 2021 Read more...	Is God Is, Royal Court review – blister, flare and burn, baby, burn Thursday, 16 September 2021 Read more...
The Memory of Water, Hampstead Theatre review – uneasy tragi-comedy Monday, 13 September 2021 Read more...	Rockets and Blue Lights, National Theatre review - strong, but inconclusive Friday, 03 September 2021 Read more...
Changing Destiny, Young Vic review – an epic literary discovery Monday, 02 August 2021 Read more...	Oleanna, Arts Theatre review - Mamet on power and tragedy Thursday, 29 July 2021 Read more...
Out West, Lyric Hammersmith review – not quite a hat trick Monday, 28 June 2021 Read more...	Walden, Harold Pinter Theatre review – where’s the emotion? Monday, 31 May 2021 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 "...