fri 25/07/2025

Theatre Reviews

Our Ladies of Perpetual Succour, National Theatre

aleks Sierz

If you like the feeling of leaving a show, surrounded by the gently glowing faces of happy fellow audience members, then this is one for you. It’s a musical evening full of joyful singing – mixing classics by Mendelssohn and Bartok with a best-of chunk of the back catalogue from the Electric Light Orchestra’s Jeff Lynne – that transports you to a different world.

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Yerma, Young Vic

Matt Wolf

Billie Piper vaults to the top rank of British theatre actresses with Yerma, Australian writer-director Simon Stone's rabidly free rewrite of Lorca's 1934 play that posits its young star as the sort of take-no-prisoners talent whose gifts come not from drama school but from something gloriously unfettered and astonishingly free.

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Young Chekhov, National Theatre

Matt Wolf

"Yes, from life," Nikolai Ivanov (Geoffrey Streatfeild) says in passing of a painting midway through the early Chekhov play that bears his name. But the phrase could serve as the abiding achievement of the largely thrilling triptych of plays that has transferred from Chichester to the National under the banner title Young Chekhov.

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Breakfast at Tiffany’s, Theatre Royal Haymarket

Sam Marlowe

Think of Holly Golightly, and it’s more than likely that the face you’re picturing is Audrey Hepburn’s. And, while this adaptation by Richard Greenberg of Breakfast at Tiffany's is much closer to Truman Capote’s novella, it doesn’t have an ounce of the appeal of Blake Edwards’ famous film.

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Rotterdam, Trafalgar Studios

aleks Sierz

How many genders are there? The simplistic answer is two, but if you really think that then it’s time to go to the back of the class. In recent years, the rapid growth in perception of the fluidity of gender identity has meant that although there has been an increase in transgender stories in the news, culture has lagged a bit behind. Now every art form wants its own Danish Girl.

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The Plough and the Stars, National Theatre

aleks Sierz

Anniversaries are lotteries. Sometimes they allow us to see the past with fresh eyes; at other times, they simply accentuate the growing distance between then and now. Because this year marks the centenary of the Easter Rising of 1916, the National has decided to revive Sean O’Casey’s The Plough and the Stars, whose last two acts are set during the ill-fated uprising against British colonial rule.

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Half A Sixpence, Chichester Festival Theatre

bella Todd

Watching Cameron Mackintosh’s joyful revision of this Sixties musical, it’s possible to believe for a moment that all the world needs now is love sweet love and a shit-ton of banjos. With a new book by Downton Abbey behemoth Julian Fellowes, new numbers by the pair behind hit musical Mary Poppins, and design that delights at every turn of the multi-revolve, Half A Sixpence seems destined to follow a flush of previous Chichester Festival musicals into the West End...

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Harry Potter and the Cursed Child, Palace Theatre

Matt Wolf

Harry Potter lives to see another day. The Hogwarts wizard has made his stage debut in Harry Potter and the Cursed Child, a two-part play that pushes JK Rowling’s world-beating franchise beyond the realm of fiction and film to embrace live action: the bespectacled boy has become an angsty grown-up, and London theatre is much the richer for it.

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Jesus Christ Superstar, Regent's Park Open Air Theatre

alexandra Coghlan

London’s West End may be the envy of the world, but when it comes to musicals the big-hitting theatres might have to up their game a bit if they’re to keep up with the city’s rival offerings.

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Some Girl(s), Park Theatre

Marianka Swain

Neil LaBute’s exercise in self-flagellation, first seen in 2005 and adapted for film in 2013, offers his familiar misanthropic take on the battle of the sexes. This one concerns Guy (Charles Dorfman), engaged to be married and embarking on a tour of ex-girlfriends across America – ostensibly to right wrongs, but murkier motives soon emerge.

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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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