Theatre Reviews
The Band's Visit, Donmar Warehouse review - still waters run bittersweetMonday, 10 October 2022
Not much happens but, in its way, everything does in The Band's Visit, the gentle, sweet-natured musical that rather unexpectedly stormed Broadway late in 2017 and is just now receiving a notably empathic London debut. Read more... |
Ravenscourt, Hampstead Theatre review - strong, but slenderSaturday, 08 October 2022
Therapy is inherently dramatic. After all, it’s all about character – and it has the aim of producing a recognizable change. But who is the most affected by the process: client or therapist? Read more... |
The Caucasian Chalk Circle, Rose Theatre review - new production of classic proves a gruelling experienceFriday, 07 October 2022
Brecht – as I suppose he intended – is always a shock to the system. Read more... |
The Boy with Two Hearts, National Theatre review - poignant yet humorous story of family forced to flee AfghanistanThursday, 06 October 2022
It’s particularly poignant to watch this story in the knowledge that a little over a year after US-led troops withdrew from Afghanistan, women and girls are enduring a renewed repression of their rights under the Taliban. The real-life story of The Boy with Two Hearts took place in 2000 – the year before the western invasion began; to see it today is a depressing reminder of how little was achieved through that ill-thought-out venture. Read more... |
James IV: Queen of the Fight, Festival Theatre, Edinburgh review - revelatory historical dramaThursday, 06 October 2022
"The poem is real," intones entertainer-turned-courtier Ellen solemnly as a prologue and epilogue to Rona Munro’s vivid, vibrant new James IV: Queen of the Fight, presented by Scottish producers Raw Material and Edinburgh’s Capital Theatres in association with the National Theatre of Scotland, and getting its premiere at the city’s Festival Theatre before a Scotland-wide tour. Read more... |
Iphigenia in Splott, Lyric Hammersmith review - raises as many questions as answersMonday, 03 October 2022
It’s hard to keep up with what terms are in vogue amongst those who insist on classifying and vilifying young people, but one that you don’t hear so often these days is NEET (Not in Education, Employment or Training). Back in 2015 when Gary Owen's lauded monodrama Iphigenia In Splott premiered, Effie was a NEET, and a proud one to boot. Read more... |
The Crucible, National Theatre review - visually stunning revival of Miller's classic dramaSaturday, 01 October 2022
How can this beauty arise from such ugliness? The Crucible, Arthur Miller’s 1953 drama about the Salem witch trials of 1692, is rife with unwavering prejudices, selfish slander, and sickening motives. Read more... |
John Gabriel Borkman, Bridge Theatre review - amusing tale of awful peopleFriday, 30 September 2022
It always feels special when a play speaks so directly to an audience that you feel and hear the ripples of recognition across the auditorium. And when disgraced banker John Gabriel Borkman roars that, “There are different rules for exceptional people”, at London’s Bridge Theatre, it’s a brilliant reminder of Ibsen’s uncanny prescience. Read more... |
Jews. In Their Own Words, Royal Court review - calling out ancient prejudiceThursday, 29 September 2022
What is the Royal Court theatre for? Is it a space that stages innovative new writing, or does it prefer to do documentary theatre? Is it concerned with reaching out beyond its regular audiences, or is it more focused on its own internal problems? Read more... |
Eureka Day, Old Vic review - fun if not entirely fulfillingMonday, 26 September 2022
Can a play peak too soon? That's the quandary that attends the Old Vic airing of Eureka Day, Jonathan Spector's on-point if overextended comedy that was written prior to the pandemic but has absolutely come into its own just now. A skewering of liberal pieties that puts one in mind of a fellow theatrical satirist like Bruce Norris (Clybourne Park), Eureka Day takes few prisoners on the way to a flat-seeming ending. 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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