Theatre Reviews
My Mother Said I Never Should, St James TheatreTuesday, 19 April 2016
Charlotte Keatley’s 1987 feminist classic is one of the most often performed plays by a woman writer. It is typical of its time in that this story of four generations of women in one family not only explores the theme of mothers and daughters, but does so with an innovative and experimental approach to theatre form. Read more... |
All's Well That Ends Well, Tobacco Factory, BristolMonday, 18 April 2016
Andrew Hilton’s new production of All’s Well That Ends Well makes the most of the complexities of a "problem play", neither comedy nor tragedy, and navigates this startling mix of emotional depth and light farce with great deftness. Read more... |
The Sugar-Coated Bullets of the Bourgeoisie, Arcola TheatreSunday, 17 April 2016
The playwright Anders Lustgarten has spent a considerable chunk of his life reading and writing and thinking about China, and clearly wants to set a few points straight. Read more... |
Another World: Losing Our Children to Islamic State, National TheatreSaturday, 16 April 2016
Why do young British Muslims go to join the so-called Islamic State? Since the entire media has been grappling with this question for ages now, it is a bit puzzling to see our flagship National Theatre giving the subject an airing, especially as this is a verbatim drama, which uses the actual words of interviewees, and is thus not so very different from ordinary journalism. Read more... |
Guys and Dolls, Phoenix TheatreFriday, 15 April 2016
It’s all change once more for Gordon Greenberg’s slick, protean revival, which began life at Chichester back in 2014, as three new leads join the show’s transfer from the Savoy to the Phoenix. If not a revelatory version of this 1950 masterwork, it’s certainly proved its staying power, and should continue ticking along nicely (nicely) both here and in its parallel touring production. Read more... |
In the Bar of a Tokyo Hotel, Charing Cross TheatreThursday, 14 April 2016
Was Tennessee Williams breaking rules, or breaking apart when he wrote this 1969 play? A bit of both, probably, and the two main characters of the rarely performed In the Bar of a Tokyo Hotel face the same choices. Read more... |
Boy, Almeida TheatreWednesday, 13 April 2016
Contemporary London life in all its forbidding, faceless swirl makes for a visually busy evening at Boy, the Leo Butler play that finally isn't as fully arresting as one keeps wanting it to be. Read more... |
The Brink, Orange Tree TheatreTuesday, 12 April 2016
Generation Y are worriers. There’s certainly plenty to fuel that angst, from mounting debts, employment uncertainty and the ever-worsening housing crisis to international conflict and terrorism – as explored by a slew of recent articles (and the occasional “How anxious are you, doomed millennial?” quiz). Read more... |
The Caretaker, Old VicThursday, 07 April 2016
It’s raining. Well, of course – it’s April in London. But it’s also pouring down on the Old Vic stage, hammering an already battered slate roof. When it lifts to reveal the semi-derelict attic, site of Harold Pinter’s groundbreaking 1960 play, the rain stays in your mind: an outside world that can be merciless towards the weak. And in Matthew Warchus’s revival, the trapped trio are very much victims – of one another, of society, and of their own failings. Read more... |
X, Royal Court TheatreWednesday, 06 April 2016
In 2014, Pomona stormed the Orange Tree, turning the previously staid venue into a place of both lauded theatre revolution and disgruntled walkouts. Could Alistair McDowall repeat the feat at the more progressive Royal Court? 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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