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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

All of It/Hope Has a Happy Meal, Royal Court review - surreal pleasures

Monday, 12 June 2023 Read more...

Dixon and Daughters, National Theatre review - cold discomfort harm

Thursday, 27 April 2023 Read more...

Sea Creatures, Hampstead Theatre review - mysterious and allusive

Friday, 07 April 2023 Read more...

A Little Life, Harold Pinter Theatre review - unrelenting trauma

Thursday, 06 April 2023 Read more...

Black Superhero, Royal Court review - ambitious, but messy

Saturday, 25 March 2023 Read more...

The Way Old Friends Do, Park Theatre review - sweet, but flimsy

Monday, 20 March 2023 Read more...

Further Than the Furthest Thing, Young Vic review - small island longings

Saturday, 18 March 2023 Read more...

Truth's a Dog Must to Kennel, Battersea Arts Centre review - King Lear goes virtual

Thursday, 02 March 2023 Read more...

Trouble in Butetown, Donmar Warehouse review - entertaining and warmhearted

Wednesday, 22 February 2023 Read more...

Graceland, Royal Court review - quiet desolation is too literary

Thursday, 16 February 2023 Read more...

Phaedra, National Theatre review - stunning acting in stunning show

Monday, 13 February 2023 Read more...

Linck & Mülhahn, Hampstead Theatre review - problems as well as pleasures

Wednesday, 08 February 2023 Read more...

Lemons Lemons Lemons Lemons Lemons, Harold Pinter Theatre review - cool cast chills the drama

Thursday, 02 February 2023 Read more...

Two Billion Beats, Orange Tree Theatre review - lively, but overly idealistic

Wednesday, 01 February 2023 Read more...

Sound of the Underground, Royal Court review - loud and triumphantly proud

Monday, 30 January 2023 Read more...

Sons of the Prophet, Hampstead Theatre review - perfect mix of pain and comedy

Thursday, 15 December 2022 Read more...

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'We are bowled over!' Thank you for your messages... ...
The Makropulos Case, Royal Opera - pointless feminist compli...

Janáček described his nature-versus-humanity fable The Cunning Little Vixen as “a merry thing with a sad...

Othello, Theatre Royal, Haymarket review - a surprising mix...

Perspectives on Shakespeare's tragedy have changed over the decades....

Benson Boone, O2 London review - sequins, spectacle and chee...

After cancelling his Birmingham gig an hour before curtain-up due to illness, the anticipatory hype around whether...

Die My Love review - good lovin' gone bad

Directed by Lynne Ramsay and based on the book by Ariana Harwicz, Die My Love is an unsettling dive into the disturbed psyche of...

Midlake's 'A Bridge to Far' is a tour-de-forc...

“Climb upon a bridge to far, go anywhere your heart desires.” The key phrase from the title track of Midlake’s sixth studio album conveys the...

Macbeth, RSC, Stratford review - Glaswegian gangs and ghouli...

It’s hard to pinpoint exactly what’s so very different about Belfast and Glasgow, both of which I have visited in the last few...

Sananda Maitreya, Town Hall, Birmingham review - 80s megasta...

During a false start to “Billy Don’t Fall”, on Sunday night at Birmingham’s iconic Town Hall, Sananda Maitreya took the opportunity to address the...

First Person: Kerem Hasan on the transformative experience o...

There is a scene in the second act of Jake Heggie and Terrence McNally’s Dead Man Walking in which the man condemned to death, Joseph De...

Mr Scorsese, Apple TV review - perfectly pitched documentary...

This five-parter by Rebecca Miller is essential viewing for any...