tue 17/09/2024

Marianka Swain

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Bio
Marianka Swain is a London-based writer and editor. She is the UK Editor-in-Chief of BroadwayWorld, and also covers the arts for outlets such as the Ham & High and Islington Gazette newspapers, Dancing Times and MoveTo Town & Country magazines, and TodayTix. You can find further work on www.mkmswain.com or follow her on Twitter @mkmswain

Articles By Marianka Swain

Evita, Regent's Park Open Air Theatre review - a diva dictator for 2019

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Blues in the Night, Kiln Theatre review - hard times, hot tunes

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The Bridges of Madison County, Menier Chocolate Factory review - Iowan romance fizzles

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Jesus Christ Superstar, Barbican review - Andrew Lloyd Webber's musical lives again

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On Your Feet!, London Coliseum review - Gloria Estefan bio-musical hits familiar notes

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Cash Cow, Hampstead Theatre review - timely look at pushy tennis parents

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Man of La Mancha, London Coliseum review - historical work better left in the past

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Ain't Misbehavin', Southwark Playhouse review - a jazz-hot musical revue

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Sweet Charity, Donmar Warehouse review - Sixties style over substance

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Betrayal, Harold Pinter Theatre review - Tom Hiddleston anchors a bold, brooding revival

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Follies, National Theatre review - the Sondheim spectacular returns, better than ever

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The American Clock, Old Vic review - Arthur Miller's musical history lesson drags

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Violet, Charing Cross Theatre review - Jeanine Tesori's faith musical is a gentle pleasure

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Aspects of Love, Southwark Playhouse review - discourse keeps passion at bay

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Fiddler on the Roof, Menier Chocolate Factory review - family matters in this sensitive musical revival

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Hadestown, National Theatre review - new folk musical is hotter than hell

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Wang, Lapwood, LSO, Pappano, Barbican review - grace and pow...

It takes stiff competition to outshine Yuja Wang, who last night at the Barbican complemented her spangled silver sheath with a disconcerting pair...

My Favourite Cake review - woman, love, and freedom

The taxi cab has become a recurring motif in modern Iranian cinema, perhaps because it approximates to a kind of dissident bubble within the...

Beethoven Sonata Cycle 1, Boris Giltburg, Wigmore Hall revie...

A happy, lucid and bright pianist, a forbidding Everest among piano sonatas: would Boris Giltburg follow a bewitching, ceaselessly engaging first...

The Band Back Together, Arcola Theatre review - three is a d...

We meet Joe first at the keys, singing a pretty good song, but we can hear the pain in the voice – but is that...

Music Reissues Weekly: Sean Buckley & The Breadcrumbs

Although Dagenham’s Sean Buckley & The Breadcrumbs are less than a footnote in the story of beat boom-era Britain, appearances on archive...

The Critic review - beware the acid-tipped pen

The setting is the lively 1930s London theatre world, but any sense that The Critic will be a lighthearted thriller should soon be...

Van Gogh: Poets & Lovers, National Gallery review - pass...

Van Gogh: Poets & Lovers includes many of his best known pictures and, amazingly, it is the first exhibition the...

Kim's Convenience, Riverside Studios review - KC and th...

One wonders what sitcom writers will do when supermarkets finally sweep the last corner shops away with nobody left old enough to buy...