fri 20/05/2022

Heather Neill

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Bio
Heather Neill is a critic and theatre writer. She was Arts Editor of The Times Educational Supplement and has contributed features to The Times, Telegraph and theatre programmes. She reviews for The Stage, interviews for theatrevoice.com and has been a judge of the Offies and the Theatre Book Prize and an assessor for NT Connections.

Articles By Heather Neill

The Father and the Assassin, National Theatre review - Gandhi's killer puts his case in a bold, whirlwind production

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Hamlet, Young Vic review - Cush Jumbo flares in a low-key production

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Witness for the Prosecution, London County Hall review - return of Agatha Christie's gripping courtroom drama

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The Dumb Waiter, Old Vic: In Camera review - more in sorrow than in anger

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Romeo and Juliet, Creation Theatre online review - game version falls between stools

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Romeo and Juliet, National Theatre online review - a triumphant hybrid

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Romeo and Juliet, Palace Theatre, Manchester online review - futuristic and timely

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Love in a Wood, Jermyn Street Theatre review - stars gather remotely for a lively online presentation

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A Midsummer Night's Dream, Shakespeare's Globe online review - a seasonal treat

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Nora: A Doll's House, Young Vic review - Ibsen diced, sliced and reinvented with poetic precision

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The Duchess of Malfi, Almeida Theatre review - a radically original perspective on Webster's tragedy

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A Christmas Carol, Old Vic Theatre review - the festive favourite mixes gloom with merriment

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The Wind of Heaven, Finborough Theatre review - a welcome, if strange, Emlyn Williams rediscovery

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The Taming of the Shrew, Barbican review - different but still problematic

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Ian McKellen On Stage, Harold Pinter Theatre review - a master relishes the joy of theatre

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Blood Wedding, Young Vic review - inventive, poetic if over-stretched revival of Lorca's rural tragedy

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latest in today

Top Gun: Maverick review - Tom Cruise defies age and gravity

Only 36 years later, Tom Cruise is back with his eagerly-awaited Top Gun sequel (it was delayed a couple of years by Covid), and there...

The Father and the Assassin, National Theatre review - Gandh...

The young Indian man stepping towards us on the vast Olivier stage is unremarkable enough, slight and boyish in manner. When he speaks he is...

Review: Nitty Gritty Dirt Band – Dirt Does Dylan

I have to confess, it’s a long time since I’ve thought about the Nitty Gritty Dirty Band and a new album serves as a reminder of how good they...

I Get Knocked Down, Brighton Festival review - Chumbawamba s...

One effect of the film I Get Knocked Down, a playfully constructed journey around the life of Chumbawamba vocalist Dunstan Bruce, is to...

Berrut, ECO, Guzzo, Cadogan Hall review - Schubert with a sm...

I came for the Schubert and it didn’t disappoint. Which was good, as the Mozart and Stravinsky did, a little. I came to know Schubert’s Fifth...

The Innocents review - they're just playing

The Innocents made a splash at Cannes in 2021 and it’s easy to see why. The ...

Blu-ray: I Am a Camera

The first film rendering of Christopher Isherwood’s experiences in early 1930s Berlin, I Am a Camera has been restored and released on...

The House of Shades, Almeida Theatre review - Anne-Marie Duf...

Anne-Marie Duff blazes across the stage like a meteorite in Beth Steel’s excoriating drama about the changes sweeping through a Northern mining...

Grease, Dominion Theatre review - a super night out, great s...

Barry Gibb was at the considerable peak of his era-defining songwriting powers when he provided the song that played over the opening titles of...

Tallies, Old Blue Last review - Canadian quintet rejuvenates...

Toronto’s Tallies have acknowledged their fondness for Aztec...