Theatre Reviews

Next Fall, Southwark Playhouse

Marianka Swain Wednesday, 01 October 2014

Britain has entered a “post-Christian” era, declared former Archbishop of Canterbury Rowan Williams earlier this year: we acknowledge its cultural presence, but Christianity is no longer an habitual practice for the majority of the population.

The Edge of Our Bodies, Gate Theatre

Heather Neill Tuesday, 30 September 2014

Sixteen-year-old Bernadette is determined to write short stories. She's a promising writer, describing her own feelings, the strangers and friends who cross her path in telling detail.

Dangerous Corner, Richmond Theatre

Marianka Swain Tuesday, 30 September 2014

In his otherwise unremarkable 1932 debut play Dangerous Corner, JB Priestley employs a promising framing device that hints at the kind of metafictional experimentation found in works like Stoppard’s The Real Thing or Pirandello’s Six Characters in Search of an Author.

Rudy's Rare Records, Hackney Empire

Naima Khan Sunday, 28 September 2014

This stage adaptation of Danny Robins' Radio 4 drama is a feel-good show packed with snappy one-liners from a gaggle of intelligently drawn characters. Its roots in radio are evident, to be sure: the action develops significantly at 30-minute intervals with as many jokes crammed in as possible. On the upside, the story of a failing record store and its feckless owner comes with a host of infectious tunes and a seductively atmospheric score.

The James Plays, National Theatre

Demetrios Matheou Saturday, 27 September 2014

Rona Munro’s trilogy of plays about Scotland’s Stuart kings premiered at the Edinburgh Festival when Scottish independence was, for many, still a cherished possibility; it transfers to London – within a clarion call of Westminster – just as the promise has been dashed. As timely as the National’s recent Great Britain, the trilogy is more than merely opportune, resonating with the anger and frustration of centuries.

Flowers of the Forest, Jermyn Street Theatre

Caroline Crampton Saturday, 27 September 2014

As we arrive at the last few months of 2014, the temptation to say “Enough! No more!” to representations of the First World War creeps in. The centenary of 1914 has been so comprehensively commemorated on our stages and screens that you could be forgiven for feeling as if you had little left to understand about what went on. But don’t put it all behind you quite yet – this rediscovery from the 1930s still has something to offer in an overcrowded space.

The Vertical Hour, Park Theatre

aleks Sierz Friday, 26 September 2014

In the context of recent events in Iraq and Syria, the spectre of the ill-fated Iraq War of 2003 looms large once more. What better time for a revival of master-playwright David Hare’s story about conflict and personal relationships?

Kingmaker, St James Theatre

Marianka Swain Thursday, 25 September 2014

The news cycle waits for no man. When Robert Khan and Tom Salinsky’s thinly veiled Boris Johnson satire premiered in Edinburgh at the beginning of August, it seemed remarkably timely, coinciding as it did with BoJo announcing his intention to return to Parliament. Now, it’s at best reactive, and competing with a sea of far more penetrating editorials about the likelihood and reality of everyone’s favourite accident-prone chap actually running the country.

Was it right to censor Exhibit B?

Fisun Güner Wednesday, 24 September 2014

So, Exhibit B, the controversial “human zoo” using black actors to re-enact the role of ethnographic exhibits – semi-naked, chained, silenced by metal masks and degraded in metal collars – has been cancelled, due to the presence of protesters.

Teh Internet Is Serious Business, Royal Court Theatre

aleks Sierz Wednesday, 24 September 2014

Currently, the Royal Court is exploring the theme of revolution and resistance. In its studio space it is staging The Wolf from the Door, Rory Mullarkey’s excellent absurdist fantasy of a very English uprising. And now on its main stage is Tim Price’s fictional account of how Anonymous and LulzSec, a collective swarm of hacktivists, took on some of the most powerful capitalists in the world without even leaving their bedrooms.

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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.