sun 12/10/2025

London

Ghost Stories, Peacock Theatre review - spirited staging but short on scares

In the framing device, a professor (Jonathan Guy Lewis) stands at a lectern and asks if anyone has had a supernatural experience. Somewhat to my suprise, up went my hand. In the cold winter of 1981/82, I lived in a house in Finchley. One...

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Echo Vocal Ensemble, Latto, Union Chapel review - eclectic choral programme garlanded with dance

Echo Vocal Ensemble have their genesis in Genesis. Sarah Latto’s group were initially formed by a cohort of the Genesis Sixteen young artists’ programme – and she has turned them into one of the most innovative vocal groups around. The programme at...

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Lee Miller, Tate Britain review - an extraordinary career that remains an enigma

Tate Britain’s Lee Miller retrospective begins with a soft focus picture of her by New York photographer Arnold Genthe dated 1927, when she was working as a fashion model. The image is so hazy that she appears as dreamlike and insubstantial as a...

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Troilus and Cressida, Globe Theatre review - a 'problem play' with added problems

The Globe’s authenticity is its USP, so don’t expect the air-conditioning, the plush seats and the expectant hush of the National Theatre some 20 minutes walk away along the Thames. There’s not quite Elizabethan levels of discomfort to endure, so no...

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Clarkston, Trafalgar Theatre review - two lads on a road to nowhere

If you’re a Gen Zer, you’ve probably heard of Heartstopper’s Joe Locke. I’m pretty sure ATG’s Gen Xers in the back office had also heard of him, as tickets are priced up to and beyond £100 for a 100 minutes all-through, 10-years-old three-hander...

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Urchin review - superb homeless drama

Urchin feels like a genuine moment in British cinema. Thematically, it offers a highly original, thoughtful, affecting account of the endless cycle of misfortune and institutional ineptness that can trap someone in homelessness. At the same time, it...

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The Importance of Being Earnest, Noël Coward Theatre review - dazzling and delightful queer fest

Star casting has, since the pandemic, done much to restore the fortunes of commercial theatre. And, when they can pull off a similar deal, the same applies to subsidised venues. If the downside is that many smaller institutions get left behind, the...

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Cinderella/La Cenerentola, English National Opera review - the truth behind the tinsel

When you go to the prince’s ball, would you prefer a night of sobriety or excess? Julia Burbach’s new production of Rossini’s Cinderella (La Cenerentola) for English National Opera frankly errs on the side of theatrical over-indulgence. The stage-...

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Goldscheider, Brother Tree Sound, Kings Place review - music of hope from a young composer

Last night’s concert at Kings Place was a programme of contemporary pieces – including several premieres – by horn superstar Ben Goldscheider and string quartet Brother Tree Sound, “curated”, as the current lingo has it, by young composer Ben Nobuto...

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Entertaining Mr Sloane, Young Vic review - funny, flawed but welcome nonetheless

Playwright Joe Orton was a merry prankster. His main work – such as Loot (1965) and What the Butler Saw (1969) – was provocative, taboo-tickling and often wildly hilarious. Now the Young Vic is staging a revival of his debut...

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50 First Dates: The Musical, The Other Palace review - romcom turned musical

About halfway through this world premiere, I realised what was missing. Where is the sinister lift, where are the long corridors and, most of all, WHERE IS MR. MILCHICK? 50 First Dates: The Musical may indeed be the sunnier cousin of Severance, but...

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Slow Horses, Series 5, Apple TV+ review - terror, trauma and impeccable comic timing

Fifth time around, Slow Horses continues to show the rest of the field a clean pair of heels. Or hooves. The adventures of Jackson Lamb (Gary Oldman) and his peculiar little band of secret service misfits have come to exert a fierce stranglehold on...

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