wed 02/04/2025

Theatre Reviews

Buried Child, Trafalgar Studios

Jenny Gilbert

What stroke of prescience brought two Sam Shepard plays to London in the very month America voted for Trump? The kind of people we’re learning to call the disenfranchised have been Shepard’s focus for the last 40 years, and now they’re global news. In Fool for Love (which there’s still time to catch at the pop-up venue Found III) he exposed the grubby truth behind the working-class alpha-male ideal.

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This House, Garrick Theatre

Ismene Brown

This House arrives in the West End with magic timing - a comedy about the farcical horrors of being a government with a wafer-thin majority, frantically wheeling out dying, suicidal and breastfeeding MPs to vote, horsetrading with "odds and sods" to keep their nails on power.  

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The Little Matchgirl, Sam Wanamaker Playhouse

Tom Birchenough

For anyone disposed to treat the Sam Wanamaker Playhouse as hallowed ground – and such issues have gained much currency at the Globe recently following the announced early departure of artistic director Emma Rice – The Little Matchgirl may seem like a wanton deconstruction of its space, which is cheeked into a knowing update that comes close to Edwardian music hall, and with aperçus stingingly relevant to the venue’s recent backstory (“Candles are much more atmospheric than...

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Nice Fish, Harold Pinter Theatre

Marianka Swain

Mark Rylance was once renowned for skipping thank yous to agents, friends and everyone he’s ever met in award speeches and instead giving us a blast of Minnesotan prose poet Louis Jenkins. Now the two men have co-created an oddball meditation, first seen in New York earlier this year, in which comedy meets soul-searching on an untethered frozen lake.

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The Children, Royal Court Theatre

aleks Sierz

Over the past decade, one new theme in particular has emerged in contemporary British new writing: generational conflict. In several bright new offerings – such as James Graham’s The Whisky Taster (2010) and Mike Bartlett’s Love, Love, Love (2012) – the baby boomers are condemned for having a cushy lifestyle while their kids, the millennials, are having a hard time (indebted, homeless and underemployed).

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Shakespeare Trilogy, Donmar at King's Cross

james Woodall

If you are new to the Donmar Warehouse all-female stagings of Shakespeare’s Julius Caesar and Henry IV – 2012 and 2014 respectively – the biggest surprise is not so much that these highly masculine dramas are performed entirely by women. It is their being set in a prison.

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King Lear, RSC, Barbican

Tom Birchenough

At the conclusion of a year in which Britishness has come so resoundingly to the fore of the national debate – and with a play that at the time of its writing, 1605-6, was engaging with that concept no less urgently – the first impression made by Gregory Doran’s King Lear is how far removed it looks from any traditional sense of "British".

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Half A Sixpence, Noel Coward Theatre

Matt Wolf

That old saw about a star being born really is on view at the Noel Coward Theatre, where newcomer Charlie Stemp justifies and then some, the fuss being made about him in this "revisal" of the onetime Tommy Steele vehicle Half A Sixpence. Whether you'll respond as warmly to the show itself may depend on your appetite for nostalgia and the implicit message of a piece at considerable odds with an aspirational climate that long ago left the attitudes on view here in the dust.

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An Inspector Calls, Playhouse Theatre

Jenny Gilbert

So, the Inspector has come calling yet again. Twenty-four years have passed since Stephen Daldry’s graphic revision of JB Priestley’s moral tub-thumper opened at the National, followed by a tour of duty in the West End that seemed to go on forever. The Birling family house collapsed eight times a week at the Aldwych, the Garrick, the Novello and then Wyndhams, and set builders never had it so good.

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The Sewing Group, Royal Court Theatre

aleks Sierz

The beauty of the past is that it’s a foreign country, and you don’t need a visa to visit it. With the free movement of the imagination you can conjure up life as it might have once been experienced. You can even join a re-enactment society. In the theatre, the evocation of a pre-industrial landscape has a noble lineage, with outstanding examples such as Sue Glover’s lyrical Bondagers (1991) or David Harrower’s haunting Knives in Hens (1995) always on the far horizon.

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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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