thu 18/09/2025

theatre reviews, news & interviews

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

Gary Naylor

Unexpectedly, there’s a sly reference to James Joyce’s Ulysses interpolated into Act One (in case we hadn’t caught the not so sly one, naming a leading character Leopold Bloom). While that’s a nice callback from brash commercial Hollywood to the high art salons of Paris, it also links the works. If Ulysses is the book whose legend persists despite so few people having read it, is The Producers its cinematic equivalent?  

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

Demetrios Matheou

The Bush is likely to continue its fine recent run of hit plays, with this funny, poignant, culturally authentic and beautifully acted two-hander, about an estranged mother and daughter struggling to heal old wounds. 

Cow | Deer, Royal Court review - paradox-rich...

Aleks Sierz

I love irony. Especially beautiful irony. So I’m very excited about the ironic gesture of staging a show with no words at the Royal Court, a venue...

Deaf Republic, Royal Court review - beautiful...

Aleks Sierz

The Ukraine war is not the only place of horror in the world, but it does present a challenge to theatre makers who want to respond to events that...

Laura Benanti: Nobody Cares, Underbelly Boulevard...

Matt Wolf

Laura Benanti has been enchanting Broadway audiences for several decades now, and London has this week been let in on the secret that recently...

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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

Fat Ham, RSC, Stratford review - it's Hamlet Jim, but not as we know it

Gary Naylor

An entertaining, positive and contemporary blast!

Juniper Blood, Donmar Warehouse review - where ideas and ideals rule the roost

Aleks Sierz

Mike Bartlett’s new state-of-the-agricultural-nation play is beautifully performed

The Gathered Leaves, Park Theatre review - dated script lifted by nuanced characterisation

Rachel Halliburton

The actors skilfully evoke the claustrophobia of family members trying to fake togetherness

As You Like It: A Radical Retelling, Edinburgh International Festival 2025 review - breathtakingly audacious, deeply shocking

David Kettle

A cunning ruse leaves audiences facing their own privilege and complicity in Cliff Cardinal's bold theatrical creation

Edinburgh Fringe 2025 reviews: Refuse / Terry's / Sugar

David Kettle

A Ukrainian bin man, an unseen used car dealer and every daddy's dream twink in three contrasting Fringe shows

Faustus in Africa!, Edinburgh International Festival 2025 review - deeply flawed

David Kettle

Bringing the Faust legend to comment on colonialism produces bewildering results

Edinburgh Fringe 2025 reviews: Imprints / Courier

David Kettle

A slippery show about memory and a rug-pulling Deliveroo comedy in the latest from the Edinburgh Fringe

Edinburgh Fringe 2025 reviews: The Ode Islands / Delusions and Grandeur / Shame Show

David Kettle

Experimental digital performance art, classical insights and gay shame in three strong Fringe shows

Edinburgh Fringe 2025 reviews: Ordinary Decent Criminal / Insiders

David Kettle

Two dramas on prison life offer contrasting perspectives but a similar sense of compassion

Edinburgh Fringe 2025 reviews: Kinder / Shunga Alert / Clean Your Plate!

David Kettle

From drag to Japanese erotica via a French cookery show, three of the Fringe's more unusual offerings

The Two Gentlemen of Verona, RSC, Stratford review - not quite the intended gateway drug to Shakespeare

Gary Naylor

Shakespeare trying out lots of ideas that were to bear fruit in the future

Edinburgh Fringe 2025 reviews: The Horse of Jenin / Nowhere

David Kettle

Two powerful shows consider the Israeli-Palestinian conflict, with mixed results

Edinburgh Fringe 2025 reviews: The Fit Prince / Undersigned

David Kettle

A joyful gay romance and an intimate one-to-one encounter in two strong Fringe shows

Tom at the Farm, Edinburgh Fringe 2025 review - desire and disgust

David Kettle

A visually stunning stage re-adaptation of a recent gay classic plunges the audience into blood and earth

Works and Days, Edinburgh International Festival 2025 review - jaw-dropping theatrical ambition

David Kettle

Nothing less than the history of human civilisation is the theme of FC Bergman's visually stunning show

Every Brilliant Thing, @sohoplace review - return of the comedy about suicide that lifts the spirits

Helen Hawkins

Lenny Henry is the ideal ringmaster for this exercise in audience participation

Edinburgh Fringe 2025 reviews: The Beautiful Future is Coming / She's Behind You

David Kettle

A deft, epoch-straddling climate six-hander and a celebration (and take-down) of the pantomime dame at the Traverse Theatre

Good Night, Oscar, Barbican review - sad story of a Hollywood great's meltdown, with a dazzling turn by Sean Hayes

Helen Hawkins

Oscar Levant is an ideal subject to refresh the debate about media freedom

Edinburgh Fringe 2025 reviews - Monstering the Rocketman by Henry Naylor / Alex Berr

Veronica Lee

Tabloid excess in the 1980s; gallows humour in reflections on life and death

Edinburgh Fringe 2025 reviews: Lost Lear / Consumed

David Kettle

Twists in the tail bring revelations in two fine shows at the Traverse Theatre

Make It Happen, Edinburgh International Festival 2025 review - tutting at naughtiness

David Kettle

James Graham's dazzling comedy-drama on the rise and fall of RBS fails to snarl

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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