Theatre Reviews
Superhoe, Royal Court review - smart, sassy, and full of feelingTuesday, 05 February 2019
Titles matter: they send out messages. So, in the current #MeToo climate, isn't it a bit provocative that there's a rash of plays with titles which might be seen to offend: The Hoes, Superhoe and, coming soon, Inside Bitch? Not to mention the suggestive Hole. All strong titles, tough and spiky. But maybe not offensive at all. These plays are, after all, all written by women, and nowadays it's not what you say, but who says it that really matters. Read more... |
Cost of Living, Hampstead Theatre review - tough but tenderFriday, 01 February 2019
The Off Broadway production of Cost of Living two years ago brought Martyna Majok the 2018 Pulitzer Prize for Drama, the height of acclaim of which most new writers – Majok, with four... Read more... |
Counting Sheep, The Vaults review - visceral recreation of an uprisingThursday, 31 January 2019
Is there a connection between revolution and theatre? The answer has to be yes – a visceral one. The supremacy of symbols, the collective strength of a crowd, a sense that some kind of pressure valve is being released to challenge the dominant social narrative. The Ancient Greeks understood this – it was from such impulses that theatre had its birth. Read more... |
Kes, Leeds Playhouse review - seminal Yorkshire story soarsWednesday, 30 January 2019
Robert Alan Evans’ adaptation of Kes is a dark, expressionist reworking of Barry Hines’ novella. It pays lip service to Ken Loach’s iconic film version, and most of the memorable bits are present and correct here: the wince-inducing rant from head teacher Mr Gryce is a highlight, as is the PE teacher’s sadistic insistence that poor Billy has to take a shower. Read more... |
When We Have Sufficiently Tortured Each Other, Dorfman Theatre review - Cate Blanchett's underwhelming debut at the NationalThursday, 24 January 2019
When it was announced that Cate Blanchett was making her National Theatre debut with Martin's Crimp's new play, When We have Sufficiently Tortured Each Other, its website exploded with people wishing to buy tickets. To those many thousands disappointed, I say: “Well done, you!” Read more... |
Violet, Charing Cross Theatre review - Jeanine Tesori's faith musical is a gentle pleasureTuesday, 22 January 2019
Following Caroline, or Change and Fun Home, the UK is blessed with another work from American composer Jeanine Tesori; this is the British premiere of her 1997 musical Violet, which had a Sutton Foster-starring Broadway production in 2014. Read more... |
The Unreturning, Theatre Royal Stratford East review - hymn to homeFriday, 18 January 2019
Nadia Fall is a good thing. Her appointment as the artistic director of this venue, with her first season having begun in September last year, has been widely seen as part of a new wave of cultural leaders who are expected to shake up the country's theatre. Already, her building has enjoyed a hipster-inspired cool facelift. Read more... |
The Daughter-in-Law, Arcola Theatre review - searing simplicityThursday, 17 January 2019
There’s a stark power to Jack Gamble’s production of DH Lawrence’s The Daughter-in-Law, which has transferred to the Arcola’smain stage after an acclaimed opening run in the venue’s downstairs studio last May. Read more... |
Stop and Search, Arcola Theatre review - a murky view of modern-day BritainWednesday, 16 January 2019
A road tunnel through the Alps, stretching underneath Mont Blanc: Tel (Shaun Mason) is ploughing home to London in a borrowed Merc, strung out and sleepless and having been to see his other girl in Monte Carlo. The Arcola Theatre premiere of Stop and Search finds this white van man incarnate returning to his trouble and strife with a bizarre cargo of beaver hats in the back. Read more... |
Rosenbaum's Rescue, Park Theatre review - curiously solid Jewish dramaWednesday, 16 January 2019
Theatrical alchemy is eternally slippery. Read more... |
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★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway
Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.
Book by 30 September and get tickets from £15*
with no booking fee.
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