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aleks sierz

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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

Queens of Sheba, Soho Theatre review – energy, entertainment and rage

Monday, 14 February 2022 Read more...

Purple Snowflakes and Titty Wanks, Royal Court review – fearless, frank and feminist

Monday, 07 February 2022 Read more...

The Glow, Royal Court review – bizarre, beautiful and breathtaking

Monday, 31 January 2022 Read more...

The 4th Country, Park Theatre review – sympathetic and intriguing

Monday, 17 January 2022 Read more...

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...

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'We are bowled over!' Thank you for your messages... ...
Weilerstein, NYO2, Payare / Dueñas, Malofeev, Edinburgh Inte...

NYO2 is a group of dazzlingly talented (and terrifyingly young-looking) 14-17 year olds from the USA, one of Carnegie Hall’s three national youth...

Edinburgh Fringe 2025 reviews - Monstering the Rocketman by...

Monstering the Rocketman by Henry Naylor, Pleasance Dome ★★...

theartsdesk Q&A: filmmaker Dag Johan Haugerud on sex, lo...

"First love is always both terrible and wonderful at the same time", says the 60-year-Norwegian dramatist-novelist-director...

Oslo Stories Trilogy: Dreams review - love lessons

Rising temperatures, prickling skin, longing’s all-consuming ache: first love’s swooning symptoms overtake 17-year-old Johanne (Ella Øverbye) in...

Album: Black Honey - Soak

The default setting for Brighton indie quartet Black Honey...

Káťa Kabanová, Glyndebourne review - emotional concentration...

Even more perhaps than straight theatre, opera seems to draw attention to the meaning behind what may on the face of it appear a simple story....

The Count of Monte Cristo, U&Drama review - silly telly...

Alexandre Dumas’ novel has been filmed an immeasurable number of times (there was a new French version only last year) and...

Edinburgh Fringe 2025 reviews: Lost Lear / Consumed

Lost Lear, Traverse Theatre ★★★...

Edinburgh Fringe 2025 reviews - Alison Spittle / Christopher...

Alison Spittle, Monkey Barrel ★★★

Alison Spittle is fat, she tells us at the top of the show. But not as...