Theatre Reviews
Best of 2017: TheatreSaturday, 30 December 2017
Year-end wrap-ups function as both remembrances of things past and time capsules, attempts to preserve an experience to which audiences, for the most part, have said farewell. Read more... |
Hamilton, Victoria Palace review - rich, radical and ridiculously excitingSaturday, 23 December 2017
“Are you aware that we’re making history?” demands Alexander Hamilton in the show that has finally made the lesser-known Founding Father an international household name. And whether its creator, Lin-Manuel Miranda, knew it when he wrote that line or not, making history is, indeed, what Hamilton is doing. Read more... |
Titus Andronicus, RSC, Barbican review - blood will outWednesday, 20 December 2017
Live theatre, eh? It had to happen. On press night a sound of what seemed to be snoring (the production’s really not dull) revealed, in the Barbican stalls, a collapse. About an hour in, a huge amount of blood is smeared over Titus Andronicus’s raped and mutilated daughter Lavinia (Hannah Morrish, pictured below with Sean Hart as Demetrius): hands lopped off, tongue cut out. Read more... |
The Grinning Man, Trafalgar Studios review - cool puppets but too convoluted by halfTuesday, 19 December 2017
These are challenging times for new British musicals. Following quickly on from a Pinocchio that ought to be way more joyful than it is, along comes The Grinning Man, a Victor Hugo-inspired musical first seen in autumn 2016 in Bristol. Read more... |
Aladdin, Richmond Theatre review - great Dame, weak scriptMonday, 18 December 2017
It's always good news when Christopher Biggins announces he's going to don false bosoms again to play a panto Dame, and Aladdin offers lots of frock action in the role of Widow Twankey, Aladdin's washer-woman mum. So hopes were high for this show, which also stars Count Arthur Strong as Emperor Ming. Read more... |
The Jungle, Young Vic review - physically and emotionally challengingSaturday, 16 December 2017
Refugees, it is said, have no nationality – they are all individuals. This new docu-drama, deftly put together by theatre-makers Joe Murphy and Joe Robertson, is a sombre account of a couple of recent years of the great European migration crisis, and acts as a testament to the individuality and complexity of the refugee experience. Read more... |
Pinocchio, National Theatre review - boy puppet lifts off, eventuallyFriday, 15 December 2017
From Nicholas Hytner and Alan Bennett’s wonderfully nostalgic version of The Wind in the Willows through Coram Boy, the international smash hit War Horse and beyond, the National Theatre has a startling track record in turning what used to be patronisingly regarded as “family... Read more... |
Belleville, Donmar Warehouse review - prickly and unnervingFriday, 15 December 2017
The city of love provides a backdrop for marital discord and worse in Belleville, Amy Herzog's celebrated Off Broadway play now receiving a riveting British premiere at the Donmar. Read more... |
Jack and the Beanstalk, New Wimbledon Theatre review - Al Murray's panto debutFriday, 15 December 2017
It raised some eyebrows when Al Murray announced he was to make his pantomime debut – top comics rarely make that crossover these days – but, considering his alter ego The Pub Landlord is already an over-the-top creation, the character fits right into this production. Read more... |
Julius Caesar, RSC, Barbican review - Roman bromance plays straightThursday, 14 December 2017
Even more than some of Shakespeare’s other histories, Julius Caesar inevitably offers itself to “topical interpretation”, a Rorschach test of a play which directors short of an original idea can extrapolate to project their own political aperçus upon. 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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