sat 21/12/2024

Theatre Reviews

Jerry’s Girls, Menier Chocolate Factory review - just a parade that passes by

David Nice

Catchy even when the lyrics are at their cheesiest, the Jerry Herman Songbook serves up a string of memorable tunes: you’ll probably find that, like me, you recognize about 80 per cent of the material in Jerry’s Girls. But is it enough when you (read I) have fallen in love with productions of Dear World and La Cage aux Folles but haven’t yet seen Hello, Dolly! or Mame on stage? The appetite still needs gratifying.

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Richard III, Shakespeare's Globe review - Michelle Terry riffs with punk bravado

Tom Birchenough

There’s a fierce, dark energy to the Globe’s new Richard III that I don’t recall at that venue for a fair while. The drilled cast dances seemed more frenzied, and there are more of them, and for once let’s start with a shout-out for James Maloney’s musical score. It’s a thing of some wonder, ranging from jazz palpitations and wiry strings to the throbbing beats of intrigue that riff on the rapid action of the “troublous world” unfolding beneath the musicians’ balcony.

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Between Riverside and Crazy, Hampstead Theatre review - race, religion and rough justice

aleks Sierz

It’s often said that contemporary American playwrights are too polite, too afraid of giving offence. But this accusation can’t be levelled at Stephen Adly Guirgis, whose dramas – from Jesus Hopped the ‘A’ Train in 2002 to The Motherfucker in the Hat in 2011 – are dirty-tongued and often fiercely emotional.

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Passing Strange, Young Vic review - exuberant pocket musical with a thoughtful core

Helen Hawkins

From New York’s Public Theater, the venue that nurtured Hamilton, comes another estimable pocket musical, Passing Strange. It was first staged in 2008, to Tony-nominated acclaim, and it shows. Its forthright cheek and irreverence are refreshing and welcome.

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Fawlty Towers: The Play, Apollo Theatre review - lightning strikes twice

Adam Sweeting

There are many definitions of bravery, and taking on the challenge of embodying John Cleese as Basil Fawlty in Cleese’s own stage adaptation of Fawlty Towers would undoubtedly be one of them. But Adam Jackson-Smith pulls it off with aplomb, deftly nailing Basil’s every acidic aside, outburst of impotent rage or episode of manic terror. Or, indeed, silly walk.

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People, Places and Things, Trafalgar Theatre review - a scintillating shot in the arm

Demetrios Matheou

It’s unusual for a play to be revived with its original director and star, let alone a decade after they premiered the piece. But here we are, with Jeremy Herrin again steering Denise Gough through Duncan MacMillan’s thorny, provocative, exhilarating account of addiction, rehab and a kind of redemption.

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Withnail and I, Birmingham Rep review - Bruce Robinson’s 1987 film makes for a theatrical hit

Guy Oddy

Let’s put our cards firmly on the table here. I am a big fan of Bruce Robinson’s cinematic masterpiece about two out-of-work actors who live in Camden Town in 1969 and escape to the countryside for some rejuvenation, and must have seen it multiple times since it was released onto the big screen 37 years or so ago.

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Sappho, Southwark Playhouse Elephant review - a glitzy celebration of sapphic love

Jane Edwardes

Who is Sappho? What is she? Not much is known about the influential Greek poet who was born some 2500 years ago. Her poetry was celebrated during her lifetime, but very little has survived. Those fragments that do exist speak of love, passion and longing.

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Twelfth Night, Regent's Park Open Air Theatre review - burlesque overwhelms the darker notes in this mixed revival

Heather Neill

In Shakespeare's day theatre was regarded as "wanton" by those of a Puritan disposition who feared boys dressed as girls could engender wicked thoughts of same-sex love in players and audience. But such ideas are, of course, part of the story, especially in comedies such as As You Like It and Twelfth Night. Director Owen Horsley here celebrates the queerness rather than leaving it to the perception of the audience.

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Multiple Casualty Incident, The Yard Theatre review - NGO medics in training have problems of their own

Gary Naylor

We open on one of those grim, grim training rooms that all offices have – the apologetic sofa, the single electric kettle, the instant coffee. The lighting is too harsh, the chairs too hard, the atmosphere already post-lunch on Wednesday and it’s only 10am on Monday. We’ve all been there – designer, Rosie Elnile certainly has. 

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Advertising feature

★★★★★

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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