thu 03/04/2025

Theatre Reviews

Oslo, National Theatre review - informative, gripping and moving

aleks Sierz

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.

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Thebes Land, Arcola Theatre - meta-theatre at its most thrilling

Will Rathbone

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.

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Prism, Hampstead Theatre review - a life through the lens

Adam Sweeting

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.

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Boudica, Shakespeare's Globe review - ancient history made compellingly contemporary

Tom Birchenough

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.

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What Shadows, Royal Lyceum Theatre, Edinburgh review - compelling, urgent, unashamedly provocative

David Kettle

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.

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The March on Russia, Orange Tree Theatre review – vividly funny amid the bleakness

Ismene Brown

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.

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The Blinding Light, Jermyn Street Theatre, review – Jasper Britton is fascinatingly febrile

aleks Sierz

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.

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Follies, National Theatre review - Imelda Staunton equal first in stunning company

David Nice

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.

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Richard III review - Temple Church venue is the star of the show

Veronica Lee

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.

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Late Company, Trafalgar Studios review - visceral production of Jordan Tannahill's lean, pained drama

Tom Birchenough

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.

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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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