Theatre Reviews
Favour, Bush Theatre review - Ambreen Razia's punchy new tug-of-love dramaMonday, 04 July 2022
Where should Leila live — Ilford or Kent? It doesn’t sound like an earth-shattering decision for a 15-year-old to make, but the stakes are higher than they look in Ambreen Razia’s latest play, Favour. Read more... |
The Making of Pinocchio, LIFT 2022, Battersea Arts Centre review - witty, ingenious exploration of gender transitionSaturday, 02 July 2022
Pinocchio is one of our most irreverent metamorphosis stories, and in this visually ingenious blend of film and stage performance it’s given a particularly modern twist. Read more... |
The White Card, Soho Theatre review - expelling the audience from its comfort zoneFriday, 01 July 2022
We’re in New York City, in an upscale loft apartment, with that absence of stuff that speaks of a power to acquire anything. There are paintings on the walls, but we see only their descriptions: we learn that the owner (curator, in his word) really only sees the descriptions, too, and that the aesthetic and artistic elements barely register. Read more... |
The Fellowship, Hampstead Theatre review - strong clashes, too little dramaWednesday, 29 June 2022
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted events which celebrated the contribution of the Windrush Generation and their descendants. Read more... |
Mad House, Ambassadors Theatre review - David Harbour is magnificent in Theresa Rebeck's family dramaMonday, 27 June 2022
For sheer extremes of family dysfunction Theresa Rebeck’s Mad House must be aiming to set new records in American drama. The latest in a line that stretches back to Eugene O’Neill, the plentiful other contenders that have appeared over the decades mean that it’s become a crowded field but, on the cantankerous patriarch front at least, Bill Pullman’s performance as Daniel, Rebeck’s cussed paterfamilias, trumps most of its predecessors for sheer malevolence. Read more... |
A Doll's House, Part 2, Donmar Warehouse review - Noma Dumezweni nails itWednesday, 22 June 2022
Slamming the door on experience comes with repercussions in A Doll's House, Part 2, the thrilling Broadway entry from American writer Lucas Hnath that has arrived at the Donmar as part of an America-friendly season at that address including Marys Seacole (already finished) and The Band's Visit (still to come). Read more... |
Bangers, Soho Theatre review - sizzling gig theatreWednesday, 22 June 2022
Is gig theatre the latest sugar rush? Okay, it ups the brain’s serotonin levels and charges around your body like a crazy electric current, but amid the joyous nerve reactions does the music speak louder than the words? Read more... |
King Lear, Shakespeare's Globe review - eviscerates emotionally while illuminating a society rotten with liesMonday, 20 June 2022
Kathryn Hunter’s performance as Lear forges its heat from contradictions. She is as frail as she is strong, as detestable as she is loveable, as powerfully charismatic as she is physically diminutive. That she is a woman playing a man is the least extraordinary aspect of what she achieves in this production. Read more... |
That Is Not Who I Am, Royal Court review – gimmicky post-truth spoofMonday, 20 June 2022
What is the shelf life of a theatre gimmick? In April, the Royal Court announced that they were going to stage a debut play by an unknown writer, Dave Davidson, who has worked for decades in the security industry. His drama was hyped up, helped by Time Out magazine, and by fellow playwrights Simon Stephens and Dennis Kelly. Read more... |
Jitney, Old Vic review - a directorial delightSaturday, 18 June 2022
It’s great to see August Wilson’s early play – the first of his “Century Cycle”, that remarkable decalogy that explored a century of Black American experience through the prism of the playwright’s native Pittsburgh – back on the London stage. It’s been two decades since it premiered at the National Theatre, winning the 2002 Olivier Best New Play award. 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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