Theatre Reviews
The Forsyte Saga Parts 1 and 2, Park Theatre review - if Chekhov did soap operasSaturday, 26 October 2024
The misadventures and misbehaviours of the English upper-middle class is catnip for TV executives. All those posh types on which us hoi polloi can sit in delicious self-righteous judgement, as we marvel at their cut glass accents, well-tailored clothes and ostentatious wealth. Meanwhile their worlds are always collapsing due to villainy, venality or misconceived virtue. Lovely stuff! Read more... |
The Wild Duck, The Norwegian Ibsen Company, Coronet Theatre review - slow burn, devastating climaxFriday, 25 October 2024
“I think this is all very strange,” declares 14-year-old Hedvig Ekdal at the end of The Wild Duck’s third act, just as everything is about to plunge into a terrifying vortex. Alan Lucien Øyen's’s production is pointedly strange from the start, a claustrophobic, Beckett-like terrain in the haunting, possibly haunted space of the Coronet, with black side walls and 13 black chairs, in which happiness stands no chance of survival. The screw turns slowly, but with devastating effect. Read more... |
Autumn, Park Theatre review - on stage as in politics, Brexit drama promises much, but loses its wayMonday, 21 October 2024
Theatre is a strange dish. A recipe can be stacked with delicious ingredients, cooked to exacting standards, taste-test beautifully at the halfway mark, yet leave you not quite full, not exactly satisfied, disappointed that it didn’t come out quite as expected when plated up. Read more... |
The Fear of 13, Donmar Warehouse review - powerful analysis of a gross injusticeFriday, 18 October 2024
There is star casting, and there is casting the right star – not the same thing. The Donmar’s new production, The Fear of 13, succeeds in the latter category, in spades. Read more... |
The Duchess [of Malfi], Trafalgar Theatre review - actors imprisoned by confused time travellingFriday, 18 October 2024
John Webster’s sour, bloody tale of brotherly greed and vice has been updated by the playwright Zinnie Harris, who also directs her own text at the Trafalgar. The title has a handy [of Malfi] added. But do we really know where we are? Or which century we’re watching? Read more... |
What We Talk About When We Talk About Anne Frank, Marylebone Theatre review - explosive play for todayFriday, 18 October 2024
An incendiary play has opened at the Marylebone, the adventurous venue just off Baker Street. Bigger houses were apparently unwilling to stage it, fearing anti-Israeli protests. Their loss. Read more... |
Land of the Free, Southwark Playhouse review - John Wilkes Booth portrayed in play that resonates across 160 yearsFriday, 18 October 2024
Straddling the USA Presidential elections, Simple8’s run of Land of the Free could not be better timed, teaching us an old lesson that wants continual learning – the more things change, the more they stay the same. Read more... |
Oedipus, Wyndham's Theatre review - careful what you wish forThursday, 17 October 2024
How many times does a politician survive wave after wave of attack from rivals, surf the waves of fickle voters and tiptoe around every policy mishap, only to be undone by an appalling error of judgement in their private life, a skeleton in the closet, their own, flawed personality? And how many times, on the downfall of a British PM, does the television news take us back to the moment the disgraced politician stood on the steps of No 10 in their moment of victory? Read more... |
Knife on the Table, Cockpit Theatre review - gangsters grim, not glamorousThursday, 17 October 2024
There’s a moment in writer/co-director, Jonathan Brown’s, gritty new play, Knife on the Table, that justifies its run almost on its own. Flint, a decent kid going astray, is "invited" to prove he’s ready for the next step in his drug-dealing career by stabbing Bragg, another "soldier", who has become more trouble than he’s worth. Read more... |
A Raisin in the Sun, Lyric Hammersmith review - of race and menSunday, 13 October 2024
Lorraine Hansberry’s A Raisin in the Sun is not only the first play by a black woman to premiere on Broadway, back in 1959, but it’s also a cultural goldmine. So powerful is its depiction of the postwar African-American experience that it has inspired at least two other recent dramatic responses: Bruce Norris’s Clybourne Park (2010) and Kwame Kwei-Armah’s Beneatha’s Place (2013). 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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