tue 22/05/2018

West End

Girl from the North Country, Noël Coward Theatre review - Bob Dylan fuels a dreamlike drama

The rolling stone is now at home in the West End, as Conor McPherson’s inimitable dramatic take on Bob Dylan transfers from the Old Vic, where it premiered last summer. Described as “a play with songs”, it’s the distinct harmony of two art forms,...

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Hamilton, Victoria Palace review - rich, radical and ridiculously exciting

“Are you aware that we’re making history?” demands Alexander Hamilton in the show that has finally made the lesser-known Founding Father an international household name. And whether its creator, Lin-Manuel Miranda, knew it when he wrote that line or...

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La Soirée, Aldwych Theatre review - flickers of brilliance in a patchy evening

La Soirée is on the up-and-up. Beginning life as an after-hours show at the fringes of the Fringe in 2004, it won an Olivier in 2015 and has landed its first West End residency, a two-month run at the Aldwych Theatre over Christmas. Its acts –...

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Everybody's Talking About Jamie, Apollo Theatre review - inclusive and utterly joyful

Everybody’s been talking about Everybody’s Talking About Jamie since its Sheffield Crucible debut earlier this year. It’s unusual to see a musical come steaming into the West End based on word on mouth – not star casting, or association with an...

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'This is how it happened': Tom MacRae on writing Everybody's Talking About Jamie

I’d always wanted to write a musical, but I didn’t start actually trying until four years ago. Now four years on, my first show, Everybody’s Talking About Jamie, is about to hit the West End –  that’s four years to go from no show, no idea and...

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Venus in Fur, Theatre Royal Haymarket review - pain and pleasure in a starry two-hander

A hit on Broadway, David Ives’s steamy two-hander now boasts Natalie Dormer and David Oakes, well-known for their screen work, in its West End cast, with Patrick Marber on directing duties. That plus the tabloid panting over Dormer’s skimpy S&M...

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A Woman of No Importance, Vaudeville - Eve Best is superb as a woman scorned

In a rather clever wheeze, Dominic Dromgoole, former artistic director of Shakespeare's Globe – who therefore knows a thing or two about historically accurate stagings – has established Classic Spring, a new company dedicated to celebrating work by...

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David Oakes: 'I haven’t done anything as bad as my characters'

“He has something of Dillane about him.” Thus Patrick Marber on David Oakes. “I rate him very highly indeed. One of the very best of his generation.” Audiences at the Theatre Royal Haymarket will be able to judge for themselves this autumn. Oakes,...

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Young Frankenstein review - Mel Brooks musical is blissfully bonkers

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...

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Heisenberg: The Uncertainty Principle, Wyndham’s Theatre review – paradoxically predictable

Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Their previous collaborations include The Curious Incident of the Dog in the Night-Time, a massive Olivier award-winning hit, and her sensitive revival of...

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'First read-throughs have magic': Simon Stephens on Heisenberg: The Uncertainty Principle

All theatre workers have a day that they dread. For actors there is a particular terror about a first preview that can fuel those performances with adrenaline. For playwrights - well, for me at least - it is the first time a play is ever read out...

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Cat on a Hot Tin Roof, Apollo Theatre review - Sienna Miller lets rip

"Maggie the cat is alive: I am alive," or so remarks the feline, eternally frustrated heroine of Tennessee Williams's Cat on a Hot Tin Roof. That self-assessment has rarely been truer than as spoken by Sienna Miller in the terrific West End...

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