fri 10/10/2025

theatre reviews, news & interviews

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

Gary Naylor

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 that would sit comfortably at the Arcola at less than half that price. It was telling that there were a fair few seats unoccupied at the matinee I attended.

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

Gary Naylor

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.

Hamlet, National Theatre review - turning tragedy...

Demetrios Matheou

The National’s latest production of Hamlet opens with a bang: a sureness of style, atmosphere and refreshing comedic effect, accompanied by a...

Rohtko, Barbican review - postmodern meditation...

Rachel Halliburton

It’s truly thrilling to see the Barbican embracing big concept long-form theatre again, seeking out productions that are as conceptually challenging...

Lee, Park Theatre review - Lee Krasner looks back...

Gary Naylor

Like fellow New Yorker, Lee Miller, Lee Krasner changed her given name, the better to be accepted into what she called "The Boys Club" of 20th...

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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

The Code, Southwark Playhouse Elephant review - superbly cast, resonant play about the price of fame in Hollywood

Helen Hawkins

Tracie Bennett is outstanding as a ribald, riotous Tallulah Bankhead

Reunion, Kiln Theatre review - a stormy night in every sense

Gary Naylor

Beautifully acted, but desperately grim drama

The Lady from the Sea, Bridge Theatre review - flashes of brilliance

Matt Wolf

Simon Stone refashions Ibsen in his own high-octane image

Romans: A Novel, Almeida Theatre review - a uniquely extraordinary work

Aleks Sierz

Alice Birch’s wildly epic family drama is both mind-blowing and exasperating

The Producers, Garrick Theatre review - Ve haf vays of making you laugh

Gary Naylor

You probably know what's coming, but it's such great fun!

Not Your Superwoman, Bush Theatre review - powerful tribute to the plight and perseverance of Black women

Demetrios Matheou

Golda Rosheuvel and Letitia Wright excel in a super new play

Cow | Deer, Royal Court review - paradox-rich account of non-human life

Aleks Sierz

Experimental work about nature led by Katie Mitchell is both extraordinary and banal

Deaf Republic, Royal Court review - beautiful images, shame about the words

Aleks Sierz

Staging of Ukrainian-American Ilya Kaminsky’s anti-war poems is too meta-theatrical

Laura Benanti: Nobody Cares, Underbelly Boulevard Soho review - Tony winner makes charming, cheeky London debut

Matt Wolf

Broadway's acclaimed Cinderella, Louise, and Amalia reaches Soho for a welcome one-night stand

The Pitchfork Disney, King's Head Theatre review - blazing with dark energy

Aleks Sierz

Thrilling revival of Philip Ridley’s cult classic confirms its legendary status

Born with Teeth, Wyndham's Theatre review - electric sparring match between Shakespeare and Marlowe

Heather Neill

Rival Elizabethan playwrights in an up-to-the-minute encounter

Interview, Riverside Studios review - old media vs new in sparky scrap between generations

Helen Hawkins

Robert Sean Leonard and Paten Hughes make worthy sparring partners

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.

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