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aleks sierz

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Bio
Aleks is author of In-Yer-Face Theatre and Rewriting the Nation, co-editor of theatreVOICE website, and works as a journalist, broadcaster and theatre critic at large.

Articles By Aleks Sierz

Alkaline, Park Theatre review - faith, friendship and failure

Saturday, 14 July 2018 Read more...

Imperium, Gielgud Theatre review - eventful, very eventful, Roman epic

Thursday, 05 July 2018 Read more...

Genesis Inc, Hampstead Theatre review - Harry Enfield in ungodly mess

Friday, 29 June 2018 Read more...

One for Sorrow, Royal Court review - imploding family drama

Thursday, 28 June 2018 Read more...

Monogamy, Park Theatre review - Janie Dee in dark family drama

Tuesday, 12 June 2018 Read more...

The Strange Death of John Doe, Hampstead Theatre review - ambitious but not entirely successful

Wednesday, 06 June 2018 Read more...

Fatherland, Lyric Hammersmith review - loud and proud, shame about the content

Saturday, 02 June 2018 Read more...

Nightfall, Bridge Theatre, review - moving but over-exposed

Wednesday, 09 May 2018 Read more...

Mood Music, Old Vic review - riveting critique of the music biz

Thursday, 03 May 2018 Read more...

Nine Night, National Theatre review - Jamaican family drama full of spirit

Tuesday, 01 May 2018 Read more...

Absolute Hell, National Theatre review - high gloss show saves over-rated classic

Thursday, 26 April 2018 Read more...

The Prudes, Royal Court review - hilarious but frustrating sex show

Wednesday, 25 April 2018 Read more...

Instructions for Correct Assembly, Royal Court review - Jane Horrocks in Middle England 'Westworld'

Monday, 16 April 2018 Read more...

Pressure, Park Theatre review - David Haig terrific in his own drama

Wednesday, 04 April 2018 Read more...

Black Men Walking, Royal Court review - inspiring and exhilarating

Friday, 23 March 2018 Read more...

The Great Wave, National Theatre review - moving epic of global loss

Tuesday, 20 March 2018 Read more...

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'We are bowled over!' Thank you for your messages... ...
That Bastard, Puccini!, Park Theatre review - inventive comi...

Before Luigi Illica wrote the libretti for Puccini’s Tosca and Madama Butterfly, he had joined the composer as the...

Hamlet, Buxton International Festival review - how to re-ima...

Ambroise Thomas’s version of Hamlet is the flagship production of this year’s Buxton International Festival and was always going to be a...

Friendship review - toxic buddy alert

The frenetic brand of humour that Tim Robinson brings to Friendship comes from a long lineage. There have...

Album: Slikback - Attrition

In the eternal now of the strobe-lit sweatbox, innovation functions in a different way to the rest of culture. Yes of course, the thrill of the...

Interview: Quinteto Astor Piazzolla on playing in London and...

“I still can’t believe that some pseudo-critics continue to accuse me of having murdered...

Sir Brian Clarke (1953-2025) - a personal tribute

Brian Clarke died on 1 July 2025, after a long illness. He was one of the most original British artists of our time – wide-ranging, ground-...

S/HE IS STILL HER/E - The Official Genesis P-Orridge Documen...

“I like guns. At school we had to fight with guns in the army cadets. I’m actually a first-class sniper. I could shoot people from half a mile...

Album: The Near Jazz Experience - Tritone

As the name suggests, the Near Jazz Experience owe a huge musical debt to jazz, but that’s not the full story by any means. For a start, the...

Billie Eilish, O2 review - power, authenticity and deep conn...

Billie Eilish may be one of the biggest names in new music, but here at the O2 Arena, she’s just Billie – the one who stares deep into your soul,...