sat 21/10/2017

Theatre Reviews

Of Kith and Kin, Bush Theatre, review - comic but confused gay surrogacy drama

aleks Sierz

A new baby is like an alien invasion: it blows your mind and it colonises your world. For any couple, parenthood can be both exalting and devastating, with the stress hugging the relationship so tightly that eventually all its lies pop out.

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The Lady from the Sea, Donmar Warehouse review - Nikki Amuka-Bird luminous in a sympathetic ensemble

david Nice

What a profoundly beautiful play is Ibsen's The Lady from the Sea. It stands in relation to the earlier, relatively confined A Doll’s House, Ghosts and Rosmersholm as Shakespeare's late romances do to the more claustrophobic tragedies. And with what apparent ease, art concealing art, do director Kwame Kwei-Armah, the Young Vic’s next Artistic Director, and the diamantine new...

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The End of Hope, Soho Theatre review - initially bold but not quite enough

Katherine Waters

In David Ireland's new hour-long two-hander  a co-production between Soho Theatre and west London's Orange Tree  two strangers, Janet and Dermot, meet for a casual hook-up arranged over the internet.

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Venus in Fur, Theatre Royal Haymarket review - pain and pleasure in a starry two-hander

Marianka Swain

A hit on Broadway, David Ives’s steamy two-hander now boasts Natalie Dormer and David Oakes, well-known for their screen work, in its West End cast, with Patrick Marber on directing duties.

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Albion, Almeida Theatre, review – Victoria Hamilton’s epic performance

aleks Sierz

Prolific writer Mike Bartlett is the most impressive penman to have emerged in British theatre in the past decade. The trouble is that his work is so uneven.

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A Woman of No Importance, Vaudeville - Eve Best is superb as a woman scorned

veronica Lee

In a rather clever wheeze, Dominic Dromgoole, former artistic director of Shakespeare's Globe – who therefore knows a thing or two about historically accurate stagings – has established Classic Spring, a new company dedicated to celebrating work by “proscenium playwrights” and staging their plays in the...

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Beginning, National Theatre review - assured, intimate, but short of surprises

Sam Marlowe

Loneliness: in the age of the digital hook-up and the flaunting narcissism of social media, it’s become a strange sort of taboo – a secret shame, the unsexy side of singledom. So it’s good to see playwright David Eldridge putting it centre-stage in this tender, pleasingly unsentimental two-hander.

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The Seagull, Lyric Hammersmith review – is Lesley Sharp's Irina a sex addict?

ismene Brown

The awful mother, the celebrity-obsessed teenager, the mediocre old writer who wants some young sex in his life – there are motifs in Chekhov’s The Seagull that fly merrily from one century to another, and Simon Stephens and...

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The Busy World Is Hushed, Finborough Theatre review - new play puts the G-word centre stage

Jenny Gilbert

God makes few appearances at the modern playhouse – so few that the Finborough Theatre saw fit to print a glossary in the programme for its latest production.

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Young Frankenstein review - Mel Brooks musical is blissfully bonkers

matt Wolf

What a difference an ocean and a change of scale can make. When I saw the Mel Brooks musical Young Frankenstein on Broadway a decade ago, the show seemed to take its cue from the lumbering monster contained within it, who stutters and sputters before eventually being kickstarted into something resembling life.

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