Theatre Reviews
Grenfell: Value Engineering, The Tabernacle review - bruising, necessary theatreWednesday, 20 October 2021
Grenfell: Value Engineering isn’t actually a play. It’s an edited version of the testimony heard by the Grenfell Tower Inquiry, particularly Phase 2, from January 2020 to July 2021. Along with director/producer Nicolas Kent, Richard Norton-Taylor has distilled the Inquiry’s proceedings into two-and-three-quarter hours of devastation. They show that tens, maybe even hundreds of people are responsible for the fire that killed 72 and injured almost as many. Read more... |
Love and Other Acts of Violence, Donmar Warehouse review - snappy and tightly intelligent but flawedTuesday, 19 October 2021
This is simultaneously a love story and an archaeology of hate, a sparky, spiky encounter between two individuals whose chemistry proves as destructive as it is explosive. Read more... |
Rice, Orange Tree Theatre review - whip-smart, but unsure where it standsTuesday, 19 October 2021
“Careful, there’s a hole in the floor.” The warning’s an unusual one, passed along conscientiously by the stewards at the door of the tiny Orange Tree Theatre. Read more... |
The Beauty Queen of Leenane, Lyric Hammersmith review - matchless revival of a contemporary classicMonday, 18 October 2021
“You can’t kick a cow in Leenane without some bastard holding a grudge for 20 years,” sighs Pato Dooley (Adam Best) prophetically; he has already started making his escape from that particular Galway village, doing lonely stints on London building sites. Read more... |
The Cherry Orchard, Windsor Theatre Royal review - Tolstoy meets Mrs Two SoupsSaturday, 16 October 2021
The cherry orchard in Anton Chekhov’s eponymous play is a classic MacGuffin, its existence a reason to stir the sorts of resentments, fancies and identity causes that start wars and revolutions. Read more... |
Macbeth, Almeida Theatre review – vivid, but much too longFriday, 15 October 2021
Remembering the months of lockdown, I can’t be the only person to thrill to this play’s opening lines, “When shall we three meet again?”, a phrase evocative enough to be borrowed as the first line of this year’s Wolf Alice album, Blue Weekend. Read more... |
White Noise, Bridge Theatre review - provocative if not always plausibleFriday, 15 October 2021
"I can't sleep": So goes the fateful opening line of White Noise, the Suzan-Lori Parks play disturbing enough to spark many a restless night in playgoers who are prepared to take its numerous provocations on board. Read more... |
The Mirror and the Light, Gielgud Theatre review - nobody expects the Spanish InquisitionFriday, 08 October 2021
The first two stage adaptations of Hilary Mantel’s Thomas Cromwell trilogy, Wolf Hall and Bring Up the Bodies – written by Mike Poulton, way back in 2014 - were a very different beast from the novels, but they were at least eyecatching plastinations of her unruly human characters, made attractive to those who had not read the novels. Read more... |
Metamorphoses, Sam Wanamaker Playhouse review - punchy, cleverly reworked classicThursday, 07 October 2021
Ovid was exiled – or to put it in twenty-first century terms, "no-platformed" – by an indignant Emperor Augustus for the scandal caused by his three-book elegy on love, Ars Amatoria. Read more... |
Hamlet, Young Vic review - Cush Jumbo flares in a low-key productionWednesday, 06 October 2021
It is a truism that every Hamlet is different, depending more than any other play on the casting of the lead. Each production moulds itself around the personality of the actor playing the prince. 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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