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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

Heather, Bush Theatre review - Harry Potter satire burns bright

Friday, 03 November 2017 Read more...

The Slaves of Solitude, Hampstead Theatre review - crude, over-dramatic and under-motivated

Tuesday, 31 October 2017 Read more...

Young Marx, Bridge Theatre review - fast-moving but over-complicated

Friday, 27 October 2017 Read more...

Witness for the Prosecution, London County Hall review - favourable verdict on Agatha Christie classic

Tuesday, 24 October 2017 Read more...

Of Kith and Kin, Bush Theatre, review - comic but confused gay surrogacy drama

Saturday, 21 October 2017 Read more...

Albion, Almeida Theatre, review – Victoria Hamilton’s epic performance

Wednesday, 18 October 2017 Read more...

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

Tuesday, 10 October 2017 Read more...

Victory Condition, Royal Court review - Ballardian vision of the contemporary

Tuesday, 10 October 2017 Read more...

Labour of Love, Noël Coward Theatre, review - Martin Freeman and Tamsin Greig labour in vain

Wednesday, 04 October 2017 Read more...

B, Royal Court review - intriguing, ironical, but flawed

Tuesday, 03 October 2017 Read more...

Ramona Tells Jim, Bush Theatre, review – kooky, teenage heartbreak

Saturday, 23 September 2017 Read more...

Oslo, National Theatre review - informative, gripping and moving

Tuesday, 19 September 2017 Read more...

The Blinding Light, Jermyn Street Theatre, review – Jasper Britton is fascinatingly febrile

Wednesday, 13 September 2017 Read more...

Loot, Park Theatre review – dizzyingly enjoyable

Thursday, 24 August 2017 Read more...

Knives in Hens, Donmar Warehouse review – Yaël Farber not symbolic enough

Wednesday, 23 August 2017 Read more...

Against, Almeida Theatre review - Ben Whishaw is a modern-day Jesus

Saturday, 19 August 2017 Read more...

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Lovers of a particular novel, when it’s adapted as a movie, often want book and movie to fit together as a hand in a glove. You want it to be like...

Poor Clare, Orange Tree Theatre review - saints cajole us si...

What am I, a philosophical if not political Marxist whose hero is Antonio Gramsci, doing in Harvey Nichols buying Comme des Garçons...

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...