fri 19/04/2024

Marianka Swain

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Bio
Marianka Swain is a London-based writer and editor. She is the UK Editor-in-Chief of BroadwayWorld, and also covers the arts for outlets such as the Ham & High and Islington Gazette newspapers, Dancing Times and MoveTo Town & Country magazines, and TodayTix. You can find further work on www.mkmswain.com or follow her on Twitter @mkmswain

Articles By Marianka Swain

The Last Five Years, Southwark Playhouse review - an inspired actor-musician take on a cult classic

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The Prince of Egypt, Dominion Theatre review - Moses musical goes big and broad

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The Haystack, Hampstead Theatre review - a chilling surveillance state thriller

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Endgame/Rough for Theatre II, Old Vic review - Beckett played for laughs

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Faustus: That Damned Woman, Lyric Hammersmith review - gender swap yields muddled results

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Rags: The Musical, Park Theatre review - a timely, if predictable, immigrant tale

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Ravens: Spassky vs. Fischer, Hampstead Theatre review - it's game over for this chess play

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Dear Evan Hansen, Noël Coward Theatre review - this social outcast will steal your heart

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Mary Poppins, Prince Edward Theatre review - a lavish but old-fashioned revival

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Ghost Quartet, Boulevard Theatre review - a beguiling journey into the beyond

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The Man in the White Suit, Wyndham's Theatre review - sparks but no combustion in this chemistry farce

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Noises Off, Garrick Theatre review - sublime chaos in Michael Frayn's meta-farce

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What Girls Are Made Of, Soho Theatre review - euphoric gig-theatre

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Preludes, Southwark Playhouse review - journeying into the mind of Rachmaninoff

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Falsettos, The Other Palace review - affecting search for the new normal

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Once on This Island, Southwark Playhouse review - folkloric Caribbean musical charms

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London Tide, National Theatre review - haunting moody river...

“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...

Jonathan Pie, Duke of York's Theatre review - spoof pol...

If you don't like sweary comics – Jonathan Pie uses the c-word liberally – then this may not be the show for you. In fact if you're a Tory, ditto...

Baby Reindeer, Netflix review - a misery memoir disturbingly...

Richard Gadd won an Edinburgh Comedy Award in 2016 with...

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

Virtuosity and a wildly beating heart are compatible in Richard Jones’s finely calibrated production of Renaissance woman Sophie Treadwell’s ...

Fantastic Machine review - photography's story from one...

The first photograph was taken nearly 200 years ago in France by Joseph Niépce, and the first picture of a person was taken in Paris by Louis...

Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester...

If ever more evidence were needed of Sir Mark Elder’s untiring zest for exploration and love of the thrill of live opera performance, it was this...

All You Need Is Death review - a future folk horror classic

Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who...

Album: Jonny Drop • Andrew Ashong - The Puzzle Dust

As I sat down to write this review, the sun came out. It was a salutory reminder of the importance of context: where I’d previously thought “mmm,...

theartsdesk on Vinyl: Record Store Day Special 2024

Record Store Day is tomorrow! At theartsdesk on Vinyl...

If Only I Could Hibernate review - kids in grinding poverty...

Teenage Ulzii (Battsooj Uurtsaikh in an elegantly restrained performance) is looking after his little sister and brother in Ulaanbaatar after...