Theatre Reviews
The Busy World Is Hushed, Finborough Theatre review - new play puts the G-word centre stageFriday, 13 October 2017
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. Read more... |
Young Frankenstein review - Mel Brooks musical is blissfully bonkersThursday, 12 October 2017
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. Read more... |
Saint George and the Dragon, National Theatre review – a modern folk tale in the OlivierThursday, 12 October 2017
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. Read more... |
Heisenberg: The Uncertainty Principle, Wyndham’s Theatre review – paradoxically predictableTuesday, 10 October 2017
Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Read more... |
Victory Condition, Royal Court review - Ballardian vision of the contemporaryTuesday, 10 October 2017
What does it mean to feel contemporary? Feel. Contemporary. Read more... |
The Lie, Menier Chocolate Factory review - fake news, real feelingMonday, 09 October 2017
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. Read more... |
Labour of Love, Noël Coward Theatre, review - Martin Freeman and Tamsin Greig labour in vainWednesday, 04 October 2017
Prolific playwright James Graham aspires to be nothing if not timely. Read more... |
B, Royal Court review - intriguing, ironical, but flawedTuesday, 03 October 2017
In the 1960s, we had the theatre of commitment; today we have an attitude of non-committal. Once, political playwrights could be guaranteed to tell you what to think, to describe what was wrong with society – and what to do about it. Read more... |
After the Rehearsal/Persona, Toneelgroep Amsterdam, Barbican - van Hove reconfigures BergmanSaturday, 30 September 2017
Three tall orders must be met in any successful transfer of an Ingmar Bergman text from screen to stage. First, take a company of actors as good as the various ones that the master himself assembled over the years, both in his films and in the theatre; Ivo van Hove’s Toneelgroep is one of the few in the world today up to the mark, working just as intensively. Read more... |
Jane Eyre, National Theatre review - a dynamic treatment that just missesFriday, 29 September 2017
Sometimes you go to the theatre and in the first 10 minutes are convinced that the production is going to smash it, only to find by half time that it’s not. Initial delight gives way to mild irritation, and as a member of the ticket-buying public you draw a line under it and hope for better luck next time. A critic, however, must identify what didn’t work and why. Read more... |
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★★★★★
‘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.
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