sun 16/06/2024

Marianka Swain

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Bio
Marianka Swain is a London-based writer and editor. She is the UK Editor-in-Chief of BroadwayWorld, and also covers the arts for outlets such as the Ham & High and Islington Gazette newspapers, Dancing Times and MoveTo Town & Country magazines, and TodayTix. You can find further work on www.mkmswain.com or follow her on Twitter @mkmswain

Articles By Marianka Swain

The Last Five Years, Southwark Playhouse review - an inspired actor-musician take on a cult classic

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The Prince of Egypt, Dominion Theatre review - Moses musical goes big and broad

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The Haystack, Hampstead Theatre review - a chilling surveillance state thriller

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Endgame/Rough for Theatre II, Old Vic review - Beckett played for laughs

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Faustus: That Damned Woman, Lyric Hammersmith review - gender swap yields muddled results

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Rags: The Musical, Park Theatre review - a timely, if predictable, immigrant tale

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Ravens: Spassky vs. Fischer, Hampstead Theatre review - it's game over for this chess play

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Dear Evan Hansen, Noël Coward Theatre review - this social outcast will steal your heart

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Mary Poppins, Prince Edward Theatre review - a lavish but old-fashioned revival

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Ghost Quartet, Boulevard Theatre review - a beguiling journey into the beyond

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The Man in the White Suit, Wyndham's Theatre review - sparks but no combustion in this chemistry farce

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Noises Off, Garrick Theatre review - sublime chaos in Michael Frayn's meta-farce

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What Girls Are Made Of, Soho Theatre review - euphoric gig-theatre

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Preludes, Southwark Playhouse review - journeying into the mind of Rachmaninoff

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Falsettos, The Other Palace review - affecting search for the new normal

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Once on This Island, Southwark Playhouse review - folkloric Caribbean musical charms

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latest in today

Music Reissues Weekly: Margo Guryan - Words and Music

Late summer 1966. Jazz was Margo Guryan’s thing. She was not interested in pop music. This changed when she was played The Beach Boys’s “God Only...

Bach's Mass in B Minor, Collegium Vocale Gent, Herreweg...

There’s a masterful subtlety to Philippe Herreweghe’s interpretation of Bach’s last great choral work – it shuns blazing transcendence for a sense...

Sorcery review - a tale of shapeshifting revenge

Islands off the coast of southern Chile, to the Spanish and German settlers of the 19th century, represented the edge of the world. To the...

The Moor review - Yorkshire chiller is ambitious but muddled

A number of films in recent years have added a distinctly local flavour to the folk-horror genre. Mark Jenkin was inspired by...

Album: John Moreland - Visitor

The mournful, lonesome voice of John Moreland from Bixby, Oklahoma, will be known by a few, but not many, in this country. The 12 songs on his...

Smashing Pumpkins / Weezer, OVO Hydro, Glasgow review - doub...

The current trend for package tours with two headliners appears to be growing, and this jaunt presented somewhat unlikely bedfellows – the...

Àma Gloria review - small-scale triumph with a big emotional...

In Marie Amachoukeli’s Àma Gloria there’s a remarkable performance by a child actor, Louise...

Susquatch Sunset review - nature red in tooth and claw (albe...

There’s a category of movies that are best seen having read nothing about them. Susquatch Sunset falls into that blood group as...

Jazz Emu, Soho Theatre review - delightfully daft musical sp...

Jazz Emu bounds on to the stage, launching into a song that talks about the importance of team work and how he has no ego. But strangely enough,...

Album: Moby - Always Centered at Night

US electronic perennial Moby has had a good run. He was a rave...