fri 29/03/2024

aleks sierz

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Bio
Aleks is author of In-Yer-Face Theatre and Rewriting the Nation, co-editor of theatreVOICE website, and works as a journalist, broadcaster and theatre critic at large.

Articles By Aleks Sierz

The Croft, Original Theatre online review – give me the remote

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Sondheim at 90 Songs: 4 - 'America'

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Bubble, Theatre Uncut online review - educational, but unexceptional

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Blithe Spirit, Duke of York's Theatre review - Jennifer Saunders in serious comedy

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Shoe Lady, Royal Court review - Katherine Parkinson is a footsore Beckettian

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The Special Relationship, Soho Theatre review - informative, but uninspiring

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Pass Over, Kiln Theatre review - fierce critique of racist brutality

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The High Table, Bush Theatre review - party on in Lagos and London

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Far Away, Donmar Warehouse review - one for the devotees

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Death of England, National Theatre review - furious but fabulous

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The Sugar Syndrome, Orange Tree Theatre review - pushing empathy to the limit

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The Welkin, National Theatre review - women's labour is a pain

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Scenes with Girls, Royal Court review - feminist separatism 2.0

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Les Misérables, Sondheim Theatre review - join in our crusade

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Snowflake, Kiln Theatre review - strong but clumsy generational war

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A Kind of People, Royal Court review - multiculturalism falls apart

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The Dream of a Ridiculous Man, Marylebone Theatre review – f...

Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Annie Jacobsen: Nuclear War: A Scenario review – on the inco...

‘[A]n unimaginably beautiful day’: this was how Kikue Shiota described the morning of the 6th of August, 1945, in Hiroshima. The day was soon to...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...