thu 24/10/2024

theatre reviews, news & interviews

Autumn, Park Theatre review - on stage as in politics, Brexit drama promises much, but loses its way

Gary Naylor

Theatre is a strange dish. A recipe can be stacked with delicious ingredients, cooked to exacting standards, taste-test beautifully at the halfway mark, yet leave you not quite full, not exactly satisfied, disappointed that it didn’t come out quite as expected when plated up. 

The Fear of 13, Donmar Warehouse review - powerful analysis of a gross injustice

Helen Hawkins

There is star casting, and there is casting the right star – not the same thing. The Donmar’s new production, The Fear of 13, succeeds in the latter category, in spades. 

The Duchess [of Malfi], Trafalgar Theatre review...

Helen Hawkins

John Webster’s sour, bloody tale of brotherly greed and vice has been updated by the playwright Zinnie Harris, who also directs her own text at the...

What We Talk About When We Talk About Anne Frank...

Helen Hawkins

An incendiary play has opened at the Marylebone, the adventurous venue just off Baker Street. Bigger houses were apparently unwilling to stage it,...

Land of the Free, Southwark Playhouse review -...

Gary Naylor

Straddling the USA Presidential elections, Simple8’s run of Land of the Free could not be better timed, teaching us an old lesson that wants...

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Oedipus, Wyndham's Theatre review - careful what you wish for

Demetrios Matheou

Mark Strong and Lesley Manville are the powerhouse heart of Robert Icke's adaptation

Knife on the Table, Cockpit Theatre review - gangsters grim, not glamorous

Gary Naylor

This is exactly the kind of play that should be staged in 2024

A Raisin in the Sun, Lyric Hammersmith review - of race and men

Aleks Sierz

Lorraine Hansberry classic is both a historical gem and a play for today

First Person: Lindsey Ferrentino on the play that has led Adrien Brody to the London stage

Lindsey Ferrentino

The American dramatist on bringing 'The Fear of 13', and its Oscar-winning lead, to the Donmar

The Lehman Trilogy, Gillian Lynne Theatre review - three brothers, two crashes, one American Dream

Gary Naylor

Sensational stagecraft elevates familiar tale of immigrant success in the USA

Filumena, Theatre Royal Windsor review - Mozartian marriage comedy with pasta sauce

Ismene Brown

Dazzling Felicity Kendal conquers time in a tour de force of comedic playing

Brace Brace, Royal Court review - too slender to satisfy

Aleks Sierz

New play about the consequences of a plane hijack is energetic but unconvincing

First Person: Tim Etchells on 40 years of making a noise with Forced Entertainment

Tim Etchells

The experimental theatre company marks four decades with its new production 'Signal to Noise'

Gigi and Dar, Arcola Theatre review - a war-game of two halves

Helen Hawkins

Josh Azouz and Kathryn Hunter concoct an uneasy mix of comedy and tragedy

The Other Place, National Theatre review - searing family tragedy

Demetrios Matheou

Emma D’Arcy and Tobias Menzies lock horns in twisted and triumphant take on ‘Antigone’

Bellringers, Hampstead Theatre review - mordant comedy about the end of the world

Helen Hawkins

Daisy Hall's astonishing debut is both darkly funny and deadly serious

French Toast, Riverside Studios review - Racine-inspired satire finds its laughs once up-and-running

Gary Naylor

Comedy gains momentum when characters are rounded out

Juno and the Paycock, Gielgud Theatre review - a shockingly original centenary revival of O'Casey's tragi-comedy

Heather Neill

J Smith-Cameron and Mark Rylance bring the classic characters to life

Angry and Young, Almeida Theatre review - vigorous and illuminating double bill

Aleks Sierz

Two all-time 1950s classics, 'Look Back in Anger' and 'Roots', get super revivals by young directors

Lear, Barbican Theatre review - a very stormy saga, Korean-style

Helen Hawkins

Changgeuk Company bring an epic poem quality to the familiar tale

A Tupperware of Ashes, National Theatre review - family and food, love and loss

Aleks Sierz

Tanika Gupta’s new play is a beautifully heartfelt mix of comedy and tragedy

The Cabinet Minister, Menier Chocolate Factory review - sparkling tour de force of a farce

Helen Hawkins

Pinero's play emerges fresh-minted in an exquisite production

A Face in the Crowd, Young Vic review - lame rehash of a 1950s film satire

Helen Hawkins

Spirited performances of Elvis Costello’s bland songs can’t save this new musical

Coriolanus, Olivier/National Theatre review - ambitious staging but the tragedy goes missing

Helen Hawkins

Lyndsey Turner's fast-paced production doesn't let the audience engage with its hero

Here in America, Orange Tree Theatre review - Elia Kazan and Arthur Miller lock horns in McCarthyite America

Gary Naylor

When political expediency intervenes in a personal and professional friendship, what should one do?

Waiting for Godot, Theatre Royal Haymarket review - humanity in high definition

Aleks Sierz

Brilliant revival of this key absurdist play stars Lucian Msamati and Ben Whishaw

The Truth About Harry Beck, London Transport Museum Cubic Theatre review - mapping the life of the London Underground map's creator

Gary Naylor

An English eccentric quietly re-invents our view of the capital

The Lightest Element, Hampstead Theatre review - engrossing, but fragmentary

Aleks Sierz

Slender new play about political and gender prejudice in 1950s American science

The Band Back Together, Arcola Theatre review - three is a dangerous number

Gary Naylor

The second album is still tough, even if you never recorded the first

Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

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