West End
Gary Naylor
Vanya and Sonia and Masha and Spike has taken eight years to reach the London stage, which is surprisingly long for the Tony Award winner for Best Play of 2013: the pandemic, unsurprisingly, didn't help. But in a burst of somewhat un-Chekhovian confidence, here it now is re-cast from a previous run in Bath, and the wait has been worth it. Vanya and Sonia live in a rural Pennsylvania idyll with nothing to do except bicker about morning coffee and wait for the blue heron to land at their pond and demonstrate the urgent purpose that they have long abandoned. Their idle lifestyles are Read more ...
Matt Wolf
Can we turn off the script and simply leave the music to do its soul-stirring bit? That's likely to be a not uncommon response to Get Up Stand Up!, which gives Bob Marley much the same biomusical treatment currently on view in Tina across town (and in New York). The difference, of course, is that Tina Turner is soon to be 82, whereas Marley died 40 years ago, at the preposterously premature age of 36. All the more reason to be reminded of both the music, and the message, of the Jamaican legend whose work comes with an inbuilt call and response, as was movingly evident on press Read more ...
Ismene Brown
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. But by now, the audience is well acquainted with Mantel’s luxuriously textured, dazzlingly nuanced and psychologically acute conjurings, and The Mirror and the Light feels different in all the wrong ways – less plastinated than eviscerated.It’s Read more ...
Gary Naylor
Much has happened in the five years since your reviewer braved the steep rake at The Other Palace and saw The Last Five Years (not least my now getting its “Nobody needs to know” nod in Hamilton – worth a fistful of Tonys in prestige, I guess) so it’s timely to revisit Jason Robert Brown’s musical. Jonathan O’Boyle’s 2020 production transfers from Southwark Playhouse to the Garrick Theatre, with some of the show's flaws remaining, but others addressed. The common ground is that a relatively young audience (some not much older than the work itself, now past its teenage years) loved it and that Read more ...
Veronica Lee
Anuvab Pal may be a new name to some UK audiences (although many will know him from the global satirical podcast The Bugle), but he is well known in his native India. And it is with a wry look at Indian history – and the British role within it – that he begins his show Democracy and Disco Dancing, a version of which he previously brought to the Edinburgh Fringe in 2019.Pal introduces himself, saying he looks like “I work for HSBC in risk management” but in reality he's has some thought-provoking and funny gags about the India-Great Britain relationship. He takes us through Partition (“the Read more ...
Veronica Lee
Olga Koch – born in Russia to ethnic German parents, multilingual and now living in London – might fit into the group that Theresa May once dismissed as “citizens of nowhere”, whatever that phrase means. But Koch turns that on its head in her new show as she examines nationality and belonging, and Homecoming is a terrific 60 minutes of personal storytelling and playful sexual politics, delivered with swagger.The show was prompted by Koch recently getting her UK passport – surely a German one would be more useful? – and thereby taking the Life in the UK test, which erroneously suggests that Read more ...
Marianka Swain
Let it snow! The Broadway musical adaptation of the Disney film behemoth Frozen premiered back in 2018 and now, following Covid delays, a rejigged version finally makes its home in the West End – to the delight of the army of miniature Elsas in attendance. The good news is that there’s plenty here to keep grown-ups entertained as well.The show faithfully adheres to the film plot – as, indeed, it must to avoid a riot – but Jennifer Lee’s book adds more psychological depth to Elsa and Anna (Samantha Barks and Stephanie McKeon), and addresses, if doesn’t quite solve, the dramaturgical issue of Read more ...
Gary Naylor
Danny Robins tells us what we’re in for with his title, so we’re warned. And it’s not long before we get the “things that go bump in the night”, the creaking floorboards, the “I know this sounds crazy, but…” because they’re the essential components of the genre. Reviewing a ghost story and complaining about that stuff really isn’t on – like critiquing a pantomime for its audience participation. That’s not to say that any genre piece is easy to write or to stage. Since the structure is so tight, the expectations set and the narrative arc visible from curtain-up to curtain call, chiselling Read more ...
Tom Teodorczuk
Opposite the playhouse where the sometimes-wild royal comedy The Windsors: Endgame has just opened is the Bubba Gump Shrimp Company seafood restaurant. The eatery is of course inspired by Robert Zemeckis's hit 1994 film Forrest Gump, and watching The Windsors brought to mind the autistic savant's celebrated aphorism derived from his mother: "Life is like a box of chocolates. You never know what you're gonna get.”The Windsors is based on the Channel 4 comedy series that has been running since 2016, satirising the shenanigans of Prince Charles and other Read more ...
Veronica Lee
Variety is a form of entertainment most usually seen on Saturday night television these days, but Wonderville is an attempt to bring it back into the West End. It's mostly a magic and illusion show, with a hefty slice of comedy, a bit of song and dance, and a speciality act thrown in for good measure.Much of it works, although there are some acts that it's best to gloss over (I was reminded, and not in a good way, of Britain's Got Talent a few times on the night I saw the show). But when it works, it's really good. And considering that many of magic and illusion's tricks go back centuries, it Read more ...
Laura de Lisle
There just isn’t enough there, with ANNA X. Daniel Raggett’s production is the third and final of the RE:EMERGE season at the Harold Pinter Theatre, with Emma Corrin of Lady Di fame in the lead. The graphic design – the brightly-striped faces of Corrin and her co-star, Nabhaan Rizwan, on a dark background – is impeccable. Joseph Charlton’s writing, not so much.Based on “true events”, ANNA X is about a young Russian woman with an art degree who cons people into believing she’s rich, and a tech entrepreneur who falls for it. They’re both living in New York, which in Charlton’s nightmare vision Read more ...
Gary Naylor
A revival of a multi-award winning musical, with a big star or two, may look like a safe choice to re-open London’s largest theatre, the Coliseum, but there was a tingle of jeopardy in the air, exemplified when the show catches you by surprise, the curtain rising when (surely) people remain in the bar? And then you notice (for the last time - hurrah!) that all those seats all around you are deliberately left unoccupied and the game’s afoot. And besides, we'd already been given a glossy, garish programme: the West End is back, baby! At first with this new reiteration of the Broadway Read more ...