fri 25/07/2025

Theatre Reviews

Crude, Shed 36, Port of Dundee

David Kettle

It’s not often you need a passport to get into a theatre show. But then the journey required to get to Scottish site-specific experts Grid Iron’s Crude does feel like something of a pilgrimage – first get yourself to Dundee, then find the Science Centre car park, and hop on a coach to transport you deep into the restricted, ID-required heart of the city’s port.

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The Dresser, Duke of York’s Theatre

aleks Sierz

The best way to line up the stars is to offer them a chance to act in a play about the theatre. For this, Ronald Harwood’s The Dresser has a good track record: its original West End outing starred Tom Courtney; the 1983 film version had Albert Finney and Courtney again; and a 2015 BBC television version had Sirs Anthony Hopkins and Ian McKellen.

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Lunch/The Bow of Ulysses, Trafalgar Studios

Jenny Gilbert

The perception of Steven many-hats Berkoff as “one of the major minor contemporary dramatists in Britain” makes sense when you see this. Here are two chamber pieces, both two-handers, written 20 years apart, which gain hugely from being run together. Indeed, it’s hard to imagine either of them having much of a life as a single entity, since even combined they make a short evening at the theatre.

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Murder Ballad, Arts Theatre

Marianka Swain

Ye olde love triangle returns, this time as the centrepiece of a rock chamber musical that premiered Off-Broadway in 2013 and now makes its UK premiere. There’s a good guy, a bad boy, and the promise of a violent end, but despite the oft-referenced roiling passions – and a storming quartet of performances – Sam Yates’s staging feels too cool and clinical for its purportedly hot-blooded subject.

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The Suppliant Women, Royal Lyceum Theatre, Edinburgh

David Kettle

Fleeing rape and forced marriage in their war-torn homeland, a boatload of women refugees washes up in Greece, where they beg asylum from the suspicious locals. No, not a depressingly familiar news story of our own times, but the basis of Aeschylus’s 2,500-year-old drama The Suppliant Women – an ancient work whose unmistakable contemporary resonances David Greig brings unashamedly to the fore in his brand new adaptation.

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Travesties, Menier Chocolate Factory

aleks Sierz

Is this the most dazzling play of a dazzling playwright? First staged in 1974, Travesties is the one which manages to squeeze avant-garde novelist James Joyce, Dada godfather Tristan Tzara and communist revolutionary Lenin into a story which resembles a riotous party, where Wildean pastiche, political history, debate about art, unreliable memory and song-and-dance routines stay up half the night, and howl gloriously at the moon.

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No's Knife, Old Vic

David Nice

Nobody said that a 70-minute audience with the undead was going to be easy. You can read Samuel Beckett's Texts for Nothing in your own time, pausing for thought, leaving off, coming back. When as compelling an actor as Lisa Dwan chooses not just to read it but to perform a selection for the first time, there's nowhere to hide – either for us or for her.

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Floyd Collins, Wilton's Music Hall

Edward Seckerson

It's one of those true stories you couldn't make up: in 1920s Kentucky, Floyd Collins, visionary cave explorer, happens across the spectacular sand cave of his dreams only to become trapped on the way back to the surface. The media attention he might have hoped would turn his discovery into a commercial proposition for him and his impoverished family is instead

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The Libertine, Haymarket Theatre

aleks Sierz

Restoration theatre has the reputation of being a rake’s paradise – all those randy young aristos in hot pursuit of buxom wenches. But even in the depths of 17th-century playwriting, there was room for repentance and regret among the discarded petticoats and ripped bodices. So it is with Stephen Jeffreys’s The Libertine, his now sharply rewritten 1994 play that was also made into a film starring Johnny Depp.

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Imogen, Shakespeare's Globe

David Nice

What's in a name? Imogen has a softer music to it than Cymbeline, the only one of Shakespeare's plays in which the title character is marginal, and the daughter certainly dominates in a way that her regal father doesn't. So Cymbeline Renamed, as half the subheading of Matthew Dunster's bold production puts it, is fine.

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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.


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