Theatre Reviews
The Lie, Menier Chocolate Factory review - fake news, real feelingMonday, 09 October 2017
A year after premiering acclaimed French playwright Florian Zeller’s The Truth, the Menier Chocolate Factory now hosts The Lie – which, as the name suggests, acts as a companion piece of sorts. Read more... |
Labour of Love, Noël Coward Theatre, review - Martin Freeman and Tamsin Greig labour in vainWednesday, 04 October 2017
Prolific playwright James Graham aspires to be nothing if not timely. Read more... |
B, Royal Court review - intriguing, ironical, but flawedTuesday, 03 October 2017
In the 1960s, we had the theatre of commitment; today we have an attitude of non-committal. Once, political playwrights could be guaranteed to tell you what to think, to describe what was wrong with society – and what to do about it. Read more... |
After the Rehearsal/Persona, Toneelgroep Amsterdam, Barbican - van Hove reconfigures BergmanSaturday, 30 September 2017
Three tall orders must be met in any successful transfer of an Ingmar Bergman text from screen to stage. First, take a company of actors as good as the various ones that the master himself assembled over the years, both in his films and in the theatre; Ivo van Hove’s Toneelgroep is one of the few in the world today up to the mark, working just as intensively. Read more... |
Jane Eyre, National Theatre review - a dynamic treatment that just missesFriday, 29 September 2017
Sometimes you go to the theatre and in the first 10 minutes are convinced that the production is going to smash it, only to find by half time that it’s not. Initial delight gives way to mild irritation, and as a member of the ticket-buying public you draw a line under it and hope for better luck next time. A critic, however, must identify what didn’t work and why. Read more... |
Wings, Young Vic review - Juliet Stevenson goes high and lowSaturday, 23 September 2017
Now look here, Giles Coren: immersion in a great play well acted can send you out of the theatre feeling very different from when you entered it – and I don’t mean stressed-out. In this case, light as air and sad as hell, simultaneously. You may still find it funny or contrived. Read more... |
Ramona Tells Jim, Bush Theatre, review – kooky, teenage heartbreakSaturday, 23 September 2017
Location, location, location. Jim thinks he lives in the “shittiest” small town in Scotland. It’s Mallaig, on the west coast, and he’s a deeply troubled 32-year-old, working for a fish merchant and as a nature guide, but having no friends. His flat is tiny and messy, and it smells bad. Still, he enjoys his own company, and has a great collection of crustaceans in formaldehyde. It’s his hobby. Read more... |
Trouble in Mind, The Print Room review - Tanya Moodie is a treat to watchFriday, 22 September 2017
Truth is pursued in different ways in Alice Childress’s groundbreaking 1955 Trouble in Mind, and its play-within-a-play story of rehearsals for a Broadway show fully mines the range of theatrical opportunities, for much comic as well as rather more serious purpose. Read more... |
We're Still Here, National Theatre Wales review - powerful protest and heartfelt theatre-makingWednesday, 20 September 2017
Port Talbot (population 38,000) is a town on the south Wales coast famous for two things: steel and actors. The birthplace of Richard Burton, Anthony Hopkins and Michael Sheen made a rare foray into the national consciousness at the beginning of last year when Tata Steel threatened to close the plant that employs 10% of the town. |
Oslo, National Theatre review - informative, gripping and movingTuesday, 19 September 2017
Documentary theatre has a poor reputation. It’s boring in form, boring to look at (all those middle-aged men in suits), and usually only tells you what you already know. It’s journalism without the immediacy of the news. But there are other ways of writing contemporary history. 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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