sat 20/04/2024

theatre reviews, news & interviews

London Tide, National Theatre review - haunting moody river blues

Aleks Sierz

“He do the police in different voices.” If ever one phrase summed up a work of fiction, and the art of its writer, then surely it is this description, by Charles Dickens in his 1865 novel, Our Mutual Friend, of his character Sloppy’s ability to read aloud from a newspaper. Ironically enough the book itself is one of Dickens’s least exuberant performances, written in his maturity, and with enormous and unnecessary detail (800 pages worth).

Machinal, The Old Vic review - note-perfect pity and terror

David Nice

Virtuosity and a wildly beating heart are compatible in Richard Jones’s finely calibrated production of Renaissance woman Sophie Treadwell’s Machinal. It hits hard as a 1920s mechanical symphony with a lyrical slow movement and words/cliches used like musical refrains. There’s an army of generals at work in the team of 16 actors, led by fearless Rosie Sheehy, and in the genius lighting, movement, sound, design. You rarely see such meticulous, detailed work in the theatre.

An Actor Convalescing in Devon, Hampstead Theatre...

Gary Naylor

One can often be made to feel old in the theatre. A hot take in a snappy 90 minutes (with video!) on the latest Gen Z obsession (is it even Gen Z, or...

The Comeuppance, Almeida Theatre review -...

Aleks Sierz

I’ve never been one for school reunions, but even if I had kept in touch with former classmates I think that American playwright Branden Jacobs-...

Richard, My Richard, Theatre Royal Bury St Edmund...

Laura De Lisle

History is very present in Philippa Gregory’s new play about Richard III. Literally - History is a character, played by Tom Kanji. He strides around...

Player Kings, Noel Coward Theatre review - inventive showcase for a peerless theatrical knight

Helen Hawkins

Ian McKellen's Falstaff thrives in Robert Icke's entertaining remix of the Henry IV plays

Cassie and the Lights, Southwark Playhouse review - powerful, affecting, beautifully acted tale of three sisters in care

Gary Naylor

Heart-rending chronicle of difficult, damaged lives that refuses to provide glib answers

Gunter, Royal Court review - jolly tale of witchcraft and misogyny

Helen Hawkins

A five-women team spell out a feminist message with humour and strong singing

First Person: actor Paul Jesson on survival, strength, and the healing potential of art

Paul Jesson

Olivier Award-winner explains how Richard Nelson came to write a solo play for him

Underdog: the Other, Other Brontë, National Theatre review - enjoyably comic if caricatured sibling rivalry

Heather Neill

Gemma Whelan discovers a mean streak under Charlotte's respectable bonnet

Long Day's Journey Into Night, Wyndham's Theatre review - O'Neill masterwork is once again driven by its Mary

Matt Wolf

Patricia Clarkson powers the latest iteration of this great, grievous American drama

Opening Night, Gielgud Theatre review - brave, yes, but also misguided and bizarre

Matt Wolf

Sheridan Smith gives it her all against near-impossible odds

The Divine Mrs S, Hampstead Theatre review - Rachael Stirling shines in hit-and-miss comedy

Gary Naylor

Awkward mix of knockabout laughs, heartfelt tribute and feminist messaging never quite settles

Power of Sail, Menier Chocolate Factory review - alternately stiff and startling

Matt Wolf

Paul Grellong play delivers in its final passages

MJ the Musical, Prince Edward Theatre review - glitzy jukebox musical with a superb star but a void inside

Helen Hawkins

It's a great song and dance evening, but the story is an empty one

The Dream of a Ridiculous Man, Marylebone Theatre review - from Russia with love

Demetrios Matheou

Greg Hicks shines as Dostoevsky’s defiantly optimistic dreamer

First Person: author-turned-actor Lydia Higman on a play that foregrounds a slice of forgotten history

Lydia Higman

'Gunter' co-creator and historian connects a 1604 witch hit to the world today

Foam, Finborough Theatre review - fascism and f*cking in a Gentlemen's Lavatory that proves short of gentlemen

Gary Naylor

Infamous neo-Nazi brought to life in compelling drama

First person: playwright Paul Grellong on keeping pace with American politics

Paul Grellong

The author of 'Power of Sail' sets the scene for his play's UK premiere

Faith Healer, Lyric Hammersmith review - Brian Friel's masterpiece works its magic again

Helen Hawkins

Director Rachel O'Riordan finds lighter moments in a tale of grief

Red Pitch, @sohoplace review - the ebullient tale of teenage footballers gets a rollicking transfer

Heather Neill

Focused on young life in south London, this hit is as energetic and joyful as ever

WAKE, National Stadium, Dublin review - a rainbow river of dance, song, and so much else

David Nice

THISISPOPBABY serves up a joyous tapestry of Ireland contemporary and traditional

Harry Clarke, Ambassadors Theatre review - an entertaining curio

Demetrios Matheou

Billy Crudup essays multiple characters as a fake Englishman abroad

Uncle Vanya, Orange Tree Theatre review - Chekhov served up choice

Matt Wolf

Trevor Nunn, age 84, makes a blinding return to form

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy, Garrick Theatre review - exhilarating, moving show makes West End return

Jane Edwardes

Ryan Calais Cameron brilliantly uses storytelling, music and verse

The Lonely Londoners, Jermyn Street Theatre review - evocative portrait of the migrant experience

Saskia Baron

Roy Williams and Ebenezer Bamgboye skilfully bring Sam Selvon's novel to the stage

The Duchess of Malfi, Sam Wanamaker Playhouse review - the good end badly, but act best

David Nice

Francesca Mills' protagonist is the vivacious, truthful heart of this fascinating production

Standing at the Sky's Edge, Gillian Lynne Theatre review - heartwarming Sheffield musical arrives in the West End

Jane Edwardes

Olivier Award-winning musical offers a celebration of community and a stirring exploration of a brutalist building's history

Cruel Intentions, The Other Palace review - uneasy vibes, hit tunes and sparkling staging

Gary Naylor

Jukebox musical gets toes tapping, but the thrill of transgression ain't what it used to be

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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