wed 05/11/2025

theatre reviews, news & interviews

Othello, Theatre Royal, Haymarket review - a surprising mix of stateliness and ironic humour

Heather Neill

Perspectives on Shakespeare's tragedy have changed over the decades. As Nonso Anozie said when playing the title role for Cheek by Jowl in 2004, white actors once "concentrated on their perception of what a black man is". Laurence Olivier, whose 1964 performance in polished ebony make-up was once the gold standard for the part, famously observed black dockworkers to learn their gait and mannerisms.

Macbeth, RSC, Stratford review - Glaswegian gangs and ghoulies prove gripping

Gary Naylor

It’s hard to pinpoint exactly what’s so very different about Belfast and Glasgow, both of which I have visited in the last few weeks, compared to, say, Manchester or Birmingham. Sure, there’s the architecture and the accents, but it’s more than that. 

The Line of Beauty, Almeida Theatre review - the...

Matt Wolf

Alan Hollinghurst's 2004 novel The Line of Beauty finds a distinct beauty all its own in this long-awaited Almeida Theatre premiere, the play's...

Wendy & Peter Pan, Barbican Theatre review -...

Helen Hawkins

On paper, this RSC revival of Ella Hickson’s 2013 adaptation sounds just the ticket: a feminist spin on the familiar JM Barrie story, with a gorgeous...

Hedda, Orange Tree Theatre review - a monument...

Gary Naylor

Hedda Gabler is a Hollywood star of The Golden Age – or rather, she was. She walked off the set of two movies into a five-film deal and didn’t come...

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

The Assembled Parties, Hampstead review - a rarity, a well-made play delivered straight

Helen Hawkins

Witty but poignant tribute to the strength of family ties as all around disintegrates

Mary Page Marlowe, Old Vic review - a starry portrait of a splintered life

Matt Wolf

Tracy Letts's Off Broadway play makes a shimmeringly powerful London debut

Little Brother, Soho Theatre review - light, bright but emotionally true

Aleks Sierz

This Verity Bargate Award-winning dramedy is entertaining as well as thought provoking

The Unbelievers, Royal Court Theatre - grimly compelling, powerfully performed

Matt Wolf

Nick Payne's new play is amongst his best

The Maids, Donmar Warehouse review - vibrant cast lost in a spectacular-looking fever dream

Helen Hawkins

Kip Williams revises Genet, with little gained in the update except eye-popping visuals

Ragdoll, Jermyn Street Theatre review - compelling and emotionally truthful

Aleks Sierz

Katherine Moar returns with a Patty Hearst-inspired follow up to her debut hit 'Farm Hall'

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

Gary Naylor

Raucous and carnivalesque, but also ugly and incomprehensible

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

Gary Naylor

Netflix star, Joe Locke, is the selling point of a production that needs one

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

Gary Naylor

Impressive spectacle saves an ageing show in an unsuitable venue

Hamlet, National Theatre review - turning tragedy to comedy is no joke

Demetrios Matheou

Hiran Abeyeskera’s childlike prince falls flat in a mixed production

Rohtko, Barbican review - postmodern meditation on fake and authentic art is less than the sum of its parts

Rachel Halliburton

Łukasz Twarkowski's production dazzles without illuminating

Lee, Park Theatre review - Lee Krasner looks back on her life as an artist

Gary Naylor

Informative and interesting, the play's format limits its potential

Measure for Measure, RSC, Stratford review - 'problem play' has no problem with relevance

Gary Naylor

Shakespeare, in this adaptation, is at his most perceptive

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

Aleks Sierz

West End transfer of National Theatre hit stars Stephen Fry and Olly Alexander

Get Down Tonight, Charing Cross Theatre review - glitz and hits from the 70s

Gary Naylor

If you love the songs of KC and the Sunshine Band, Please Do Go!

Punch, Apollo Theatre review - powerful play about the strength of redemption

Rachel Halliburton

James Graham's play transfixes the audience at every stage

The Billionaire Inside Your Head, Hampstead Theatre review - a map of a man with OCD

Helen Hawkins

Will Lord's promising debut burdens a fine cast with too much dialogue

Lacrima, Barbican review - riveting, lucid examination of the forces of globalisation through a dress

Rachel Halliburton

A visually virtuoso work with the feel of a gripping French TV drama

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

Aleks Sierz

Lively star-led revival of Joe Orton’s 1964 debut raises uncomfortable questions

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

Gary Naylor

Date movie about repeating dates inspires date musical

Bacchae, National Theatre review - cheeky, uneven version of Euripides' tragedy

Heather Neill

Indhu Rubasingham's tenure gets off to a bold, comic start

The Harder They Come, Stratford East review - still packs a punch, half a century on

Gary Naylor

Natey Jones and Madeline Charlemagne lead a perfectly realised adaptation of the seminal movie

The Weir, Harold Pinter Theatre review - evasive fantasy, bleak truth and possible community

David Nice

Three outstanding performances in Conor McPherson’s atmospheric five-hander

Dracula, Lyric Hammersmith review - hit-and-miss recasting of the familiar story as feminist diatribe

Helen Hawkins

Morgan Lloyd Malcolm's version puts Mina Harkness centre-stage

Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

Close Footnote

The future of Arts Journalism

 

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £49,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters

latest in today

'We are bowled over!' Thank you for your messages... ...
The Makropulos Case, Royal Opera - pointless feminist compli...

Janáček described his nature-versus-humanity fable The Cunning Little Vixen as “a merry thing with a sad...

Othello, Theatre Royal, Haymarket review - a surprising mix...

Perspectives on Shakespeare's tragedy have changed over the decades....

Benson Boone, O2 London review - sequins, spectacle and chee...

After cancelling his Birmingham gig an hour before curtain-up due to illness, the anticipatory hype around whether...

Die My Love review - good lovin' gone bad

Directed by Lynne Ramsay and based on the book by Ariana Harwicz, Die My Love is an unsettling dive into the disturbed psyche of...

Midlake's 'A Bridge to Far' is a tour-de-forc...

“Climb upon a bridge to far, go anywhere your heart desires.” The key phrase from the title track of Midlake’s sixth studio album conveys the...

Macbeth, RSC, Stratford review - Glaswegian gangs and ghouli...

It’s hard to pinpoint exactly what’s so very different about Belfast and Glasgow, both of which I have visited in the last few...

Sananda Maitreya, Town Hall, Birmingham review - 80s megasta...

During a false start to “Billy Don’t Fall”, on Sunday night at Birmingham’s iconic Town Hall, Sananda Maitreya took the opportunity to address the...

First Person: Kerem Hasan on the transformative experience o...

There is a scene in the second act of Jake Heggie and Terrence McNally’s Dead Man Walking in which the man condemned to death, Joseph De...

Mr Scorsese, Apple TV review - perfectly pitched documentary...

This five-parter by Rebecca Miller is essential viewing for any...