thu 17/07/2025

Theatre Reviews

The Importance of Being Oscar, Jermyn Street Theatre review - Wilde, still burning bright

Gary Naylor

It’s a greater accolade than a Nobel Prize for Literature – one’s very own adjective. There’s a select few: Shakespearean; Dickensian and Pinteresque. Add to that list, Wildean. 

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Stiletto, Charing Cross Theatre review - new musical excess

Gary Naylor

That friend you have who hates musicals – probably male, probably straight, probably not seen one since The Sound of Music on BBC 1 after the Queen’s Speech in 1978 – well, don’t send them to Charing Cross Theatre for this show. But that other friend you have – enjoyed Hamilton, likes a bit of Sondheim, seen a couple of operas – do send them.

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Apex Predator, Hampstead Theatre review - poor writing turns horror into silliness

aleks Sierz

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 and lots. Writer John Donnelly, who has also experienced the stresses of parenthood, devotes his new play, Apex Predator, to turning this everyday event into a vampire story.

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Alfred Hitchcock Presents: The Musical, Theatre Royal Bath review - not a screaming success

Gary Naylor

In Italy, they did it differently. Their pulp fiction tales of suburban transgression appeared between yellow covers on new stands and spawned the influential Giallo movies of the Sixties and Seventies, gory exercises in an offbeat, highly stylised film language – cult movies indeed.

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Wilko: Love and Death and Rock'n'Roll, Southwark Playhouse review - charismatic reincarnation of a rock legend

Helen Hawkins

Resurrecting the origins of old rock stars is becoming quite the thing, After cinema’s Elton John, Freddie Mercury, Bob Dylan and upcoming Bruce Springsteen films, theatreland has staged Tina, A Night with Janis Joplin and MJ, and the Kinks musical Sunny Afternoon is touring again soon.

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Playhouse Creatures, Orange Tree Theatre review - jokes, shiny costumes and quarrels, but little drama

aleks Sierz

Creatives – or creatures? In the 1660s, women – having been banned from working as actors in previously more puritanical decades – finally arrived on the stage in London theatres. Although they were sometimes scorned as “playhouse creatures”, often condemned as monsters and whores, they were also seen as demi-goddesses, capable of enchanting their audiences.

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Dear England, National Theatre review - extra time for stirring soccer classic

Demetrios Matheou

With qualifying about to begin for the soccer World Cup, and England sporting a brand new manager, it’s fitting that James Graham’s Olivier-winning celebration of the previous boss returns to the National

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Weather Girl, Soho Theatre review - the apocalypse as surreal black comedy

Helen Hawkins

Can Francesca Moody do it again? Fleabag’s producer has brought Weather Girl to London, after a successful run at last year’s Edinburgh Fringe, mirroring the path taken by Phoebe Waller-Bridge’s creation. But the new show is a much tougher assault on modern mores.

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Clueless: The Musical, Trafalgar Studios review - a perfectly manicured update

Rachel Halliburton

Before there was Barbie: The Movie, before there was Legally Blonde, there was Clueless, the Valley Girl movie that measured out life in designer handbags at the same time as signalling the grit behind the glitter.

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The Habits, Hampstead Theatre review - who knows what adventures await?

aleks Sierz

“The exercise of fantasy is to imagine other ways of life,” says one of the role-players during a Dungeons & Dragons marathon, because “without understanding how others might live, I ask you, how will we ever understand ourselves?” It’s a good question, and writer and director Jack Bradfield, in his enchanting new play The Habits, has a good stab at answering it.

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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.


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