tue 20/05/2025

Theatre Reviews

Small Island, National Theatre review - fun epic takes ages to warm up

aleks Sierz

Novelist Andrea Levy's 2004 masterpiece, Small Island, is a tribute to the Windrush Generation, those migrants to England from the Caribbean that came first on the HMT Empire Windrush in 1948, and then subsequently on other ships. Being British citizens by right, the discrimination that they faced in the postwar years, which culminated in the 2018 Windrush Scandal, when so many of them have been denied their legal and human rights, is a stain on recent history.

Read more...

Jude, Hampstead Theatre review - Greek tragedy for today

aleks Sierz

Edward Hall bids farewell to this venue, where he has been artistic director since 2010, with this production of a new play by Howard Brenton. The playwright has been a regular at the Hampstead Theatre, and he has enjoyed stagings of his history plays here, including 55 Days (2012), Drawing the Line (2013) and Lawrence after Arabia (2016).

Read more...

The Glass Piano, Print Room at The Coronet review – fascinating story undermined by absurdism

Rachel Halliburton

Often the greatest works of dramatic absurdism spring from the worst extremes of human experience, whether it’s Ionesco’s Rhinoceros responding to fascism, or Havel’s The Garden Party satirising the irrational cruelties of Prague’s Soviet occupiers.

Read more...

Man of La Mancha, London Coliseum review - historical work better left in the past

Marianka Swain

English National Opera continues its run of semi-staged musicals, in commercial collaboration with Grade Linnit, with a revival of this vintage oddity.

Read more...

The Half God of Rainfall, Kiln Theatre review - titanic war of the gods

aleks Sierz

If British theatre often seems to lack ambition, the same cannot be said of The Half God of Rainfall, a galaxy-hopping mythological mash-up. Written by Inua Ellams, whose Barber Shop Chronicles was a big foot-stomping hit for the National in 2017, this epic story trips across the globe and the sphere of myth, combining Yoruba gods with ancient Greek deities.

Read more...

Ain't Misbehavin', Southwark Playhouse review - a jazz-hot musical revue

Marianka Swain

The joint is jumpin’ at Southwark Playhouse, now hosting an irresistible Fats Waller-inspired, Manhattan-set musical revue (a co-production with Colchester’s Mercury Theatre, where it opened last month).

Read more...

All My Sons, Old Vic review - starry but disappointingly uneven

aleks Sierz

Superstar Sally Field has come to town.

Read more...

SS Mendi: Dancing the Death Drill, Isango Ensemble, Linbury Theatre - evocative and essential lyric theatre

David Nice

While Bach's and Handel's Passions have been driving thousands to contemplate suffering, mortality and grace, this elegy for black lives lost over a century ago also chimes movingly with pre-Easter offerings.

Read more...

Sweet Charity, Donmar Warehouse review - Sixties style over substance

Marianka Swain

For her swansong, departing Donmar Artistic Director Josie Rourke goes Swinging Sixties in this stylish but flawed revival of the Cy Coleman, Dorothy Fields and Neil Simon musical.

Read more...

Three Sisters, Almeida Theatre review - middle of the road with flashes of magic

aleks Sierz

About a year ago, director Rebecca Frecknall electrified this venue with an award-winning revival of Tennessee Williams's Summer and Smoke, rescuing the play from obscurity and showcasing the star qualities of actor Patsy Ferran.

Read more...

Pages

Advertising feature

★★★★★

A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.
The Observer, Kate Kellaway

 

Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.

 

★★★★★

This final part of Florian Zeller’s trilogy is the most powerful of all.
The Times, Ann Treneman

 

Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.

 

Book by 30 September and get tickets from £15*
with no booking fee.


latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

The Fifth Step, Soho Place review - wickedly funny two-hande...

The plays of David Ireland have a tendency to build to an explosion, after long stretches of caustic dialogue and very funny banter....

Josefowicz, LSO, Mälkki, Barbican review - two old favourite...

Every now and then a concert programme comes along that fits like a bespoke suit, and this one could have been specially designed for me. Two...

Mr Swallow: Show Pony, Richmond Theatre review - magic trick...

Nick Mohammed invented his Mr Swallow character – camp, lisping, with an inflated ego and the mistaken belief that he has creative...

The Great Escape Festival 2025, Brighton review - a feast of...

Photographer Finetime and I have our first pints outside Dalton’s, a bar on...

Parsifal, Glyndebourne review - the music flies up, the dram...

There’s a grail, but it doesn't glow in a mundane if perverted Christian ritual. Three of the main characters have young and old actor versions...

The Bombing of Pan Am 103, BBC One review - new dramatisatio...

The appalling destruction of Pan Am’s flight 103 over Lockerbie in 1988 was put under the spotlight in January this year in Sky Atlantic’s ...

Ballet to Broadway: Wheeldon Works, Royal Ballet review - th...

Ballet is hardly a stranger to Broadway. Until the late 1950s every other musical had its fantasy ballet sequence – think Cyd Charisse in ...

Album: Robert Forster - Strawberries

“Tell me what you see” invites Robert Forster during Strawberries' “Tell it Back to me.” The album’s eight songs do not, however,...

Music Reissues Weekly: Chapterhouse - White House Demos

Quoted in an early music press article on his band Chapterhouse, singer-guitarist Stephen Patman said their ambition was “to have our records on...