Theatre Reviews
albatross., Playground Theatre review - interconnected intimaciesWednesday, 27 October 2021
"You need to get better at communicating", says one character to another in Isley Lynn’s albatross. Indeed, the same advice would fare well with many of those in the Anglo-American Lynn’s new play, where miscommunication plagues a range of relationships and chance encounters Read more... |
A Place for We, Park Theatre review - perceptive, but rather flabbyWednesday, 27 October 2021
I’ve lived in Brixton, south London, for about 40 years now, so any play that looks at the gentrification of the area is, for me, definitely a must. Read more... |
Vanara, Hackney Empire review - fine singing, but a plodding book and one-pitch score in this new musicalTuesday, 26 October 2021
Two tribes, both alike in dignity in fair Vanara, trade goods and insults in a post-apocalyptic world in which fire is known to The Kogallisk but not to The Pana. When The Oroznah, a shaman respected by both feuding factions, foretells a long winter to come, The Pana must do all they can to steal the fire from The Kogallisk in order to survive the long nights. Read more... |
The Shark Is Broken, New Ambassadors Theatre review - how Spielberg's first blockbuster almost didn't happenSaturday, 23 October 2021
Jaws was the Moby Dick of late 20th century capitalism, a fantasy about fear and the unknown for a society that had rarely felt more secure and powerful. Read more... |
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... |
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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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