tue 17/10/2017

Theatre Reviews

A Woman of No Importance, Vaudeville - Eve Best is superb as a woman scorned

veronica Lee

In a rather clever wheeze, Dominic Dromgoole, former artistic director of Shakespeare's Globe – who therefore knows a thing or two about historically accurate stagings – has established Classic Spring, a new company dedicated to celebrating work by “proscenium playwrights” and staging their plays in the...

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Beginning, National Theatre review - assured, intimate, but short of surprises

Sam Marlowe

Loneliness: in the age of the digital hook-up and the flaunting narcissism of social media, it’s become a strange sort of taboo – a secret shame, the unsexy side of singledom. So it’s good to see playwright David Eldridge putting it centre-stage in this tender, pleasingly unsentimental two-hander.

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The Seagull, Lyric Hammersmith review – is Lesley Sharp's Irina a sex addict?

ismene Brown

The awful mother, the celebrity-obsessed teenager, the mediocre old writer who wants some young sex in his life – there are motifs in Chekhov’s The Seagull that fly merrily from one century to another, and Simon Stephens and...

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The Busy World Is Hushed, Finborough Theatre review - new play puts the G-word centre stage

Jenny Gilbert

God makes few appearances at the modern playhouse – so few that the Finborough Theatre saw fit to print a glossary in the programme for its latest production.

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Young Frankenstein review - Mel Brooks musical is blissfully bonkers

matt Wolf

What a difference an ocean and a change of scale can make. When I saw the Mel Brooks musical Young Frankenstein on Broadway a decade ago, the show seemed to take its cue from the lumbering monster contained within it, who stutters and sputters before eventually being kickstarted into something resembling life.

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Saint George and the Dragon, National Theatre review – a modern folk tale in the Olivier

Heather Neill

Bold and fearless are adjectives that might describe playwright Rory Mullarkey as accurately as any chivalrous knight. He made his name in 2013 when, at the age of 25, his play Cannibals, part of which was in Russian, took to the main stage at the Manchester Royal Exchange and went on to win the James Tait Black Prize.

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Heisenberg: The Uncertainty Principle, Wyndham’s Theatre review – paradoxically predictable

aleks Sierz

Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership.

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Victory Condition, Royal Court review - Ballardian vision of the contemporary

aleks Sierz

What does it mean to feel contemporary? Feel. Contemporary.

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The Lie, Menier Chocolate Factory review - fake news, real feeling

Marianka Swain

A year after premiering acclaimed French playwright Florian Zeller’s The Truth, the Menier Chocolate Factory now hosts The Lie – which, as the name suggests, acts as a companion piece of sorts.

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Labour of Love, Noël Coward Theatre, review - Martin Freeman and Tamsin Greig labour in vain

aleks Sierz

Prolific playwright James Graham aspires to be nothing if not timely.

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