Theatre Reviews
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... |
Thebes Land, Arcola Theatre - meta-theatre at its most thrillingMonday, 18 September 2017![]()
Thebes Land returns to the Arcola Theatre as part of the wider CASA Latin American Theatre Festival, following a short 2016 run that resulted in an Off West End Award, or Offie, for Best Production. Read more... |
Prism, Hampstead Theatre review - a life through the lensFriday, 15 September 2017![]()
Jack Cardiff was one of the all-time greats of cinematography, the man who shot such Powell and Pressburger classics as The Red Shoes and A Matter of Life and Death, worked on John Huston’s The African Queen with Humphrey Bogart and Katharine Hepburn, and lensed Marilyn Monroe in The Prince and the Showgirl. Read more... |
Boudica, Shakespeare's Globe review - ancient history made compellingly contemporaryThursday, 14 September 2017![]()
History comes to the stage of the Globe only rarely – at least if you compare the frequency of productions there from that segment of the Shakespearean canon against the tragedies and comedies – which is certainly one reason to welcome Boudica. Read more... |
What Shadows, Royal Lyceum Theatre, Edinburgh review - compelling, urgent, unashamedly provocativeThursday, 14 September 2017![]()
You’ve got to hand it to David Greig. The artistic director of Edinburgh’s Lyceum Theatre has shown quite a knack for surfing the zeitgeist with his programming – and more importantly, tackling urgent political issues in a properly theatrical way. Read more... |
The March on Russia, Orange Tree Theatre review – vividly funny amid the bleaknessWednesday, 13 September 2017![]()
The late David Storey spoke movingly, elsewhere on The Arts Desk, of his sense of overwhelming powerlessness at the challenge of accepting his father’s death. “I was quite racked by his death, and what death had become as an abstraction - in other words, what's my death, what's death itself?” he said. Read more... |
The Blinding Light, Jermyn Street Theatre, review – Jasper Britton is fascinatingly febrileWednesday, 13 September 2017![]()
Anyone who likes playing “Spot the weirdo” will find themselves instantly at home in Howard Brenton’s new play, which has its world premiere in this West End fringe venue, a stone’s throw from Piccadilly Circus. Its subject is Swedish playwright and writer August Strindberg, and the psychological crisis which he suffered while he was living in Paris in 1896. Read more... |
Follies, National Theatre review - Imelda Staunton equal first in stunning companyThursday, 07 September 2017![]()
Of Sondheim’s half-dozen masterpieces, Follies is the one which sets the bar impossibly high, both for its four principals and in its typically unorthodox dramatic structure. Read more... |
Richard III review - Temple Church venue is the star of the showThursday, 31 August 2017![]()
Temple Church gained worldwide fame when Dan Brown included a major plot point there in his mega-selling novel The Da Vinci Code in 2003, but it has been standing, minding its own business, since the late 12th century. Read more... |
Late Company, Trafalgar Studios review - visceral production of Jordan Tannahill's lean, pained dramaTuesday, 29 August 2017![]()
Canadian playwright Jordan Tannahill wrote Late Company when he was only 23. It would be an impressive achievement at any age, but it seems all the more remarkable that so stark a dissection of the consequences of a tragedy should have come from so young a writer. Written in 2013, it was his fifth play. Read more... |
Pages
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.
latest in today

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...

It’s a greater accolade than a Nobel Prize for Literature – one’s very own adjective. There’s a select few: Shakespearean;...

Pigsx7 have hardly got a reputation for penning tender and soulful ballads, but Death Hilarious is a particularly aggressive and...

That friend you have who hates musicals – probably male, probably straight, probably not seen one since The Sound of...

“Be careful what you wish for, you might get it.” The Aesop-ian maxim roughly applies to Jérémie Pastor (Félix Kysyl) in Alain Guiraudie's...

It’s quite ironic that the Royal Northern College of Music should have invited, as director of this,...
Motherhood is a high stress job. Ask any woman and they will tell you the same: sleepless nights, feeding problems and worry. Lots of worry. Lots...

Spring may have sprung, but there’s little in life to truly raise the sprits, so this week’s release of Who Believes in Angels? ...

Is the Royal Ballet a “Balanchine company”? The question was posed at a recent Insight evening to Patricia Neary, the tireless dancer...

Joshua Oppenheimer made his name directing two disturbing documentaries, The Act of Killing (2012) and The Look of Silence (2014...