fri 22/06/2018

Sam Marlowe

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Bio
Sam trained as an actor, and began her writing career as a critic and features writer for What's On In London magazine. She later became the magazine's theatre editor, before going on to work at The Independent, where she regularly contributed arts features. She is now a freelance arts journalist and regular theatre critic for The Times, Metro and the Chicago Tribune, and a judge for Theatre Awards UK.

Articles By Sam Marlowe

latest in today

theartsdesk at Glastonbury Festival 2018

Daft Punk! Kendrick Lamar! The Kinks! Yes! We blew the lid off!

What? No! There IS no...

The Town Hall Affair, The Wooster Group, Barbican review - e...

Iconoclasm, orgasms, and rampant rhetoric are all on irrepressible display in...

The Path to Heaven, RNCM, Manchester review - tragedy, truth...

Adam Gorb’s The Path to Heaven, with libretto by Ben Kaye, is his longest work to date (almost two hours’ running time without interval)...

Finishing the Picture, Finborough Theatre review - projectio...

In the early 20th century, Soviet filmmaker Lev Kuleshov spliced together images of people looking at things with a bowl of soup, a woman on a...

DVD/Blu-ray: Let the Sunshine In

Un beau soleil intérieur, the film’s ...

Kiss Me, Kate, Opera North, London Coliseum review - Cole Po...

First palpable hit of the evening: a full orchestra in the pit under hyper-alert...

theartsdesk on Vinyl 40: Talking Heads, Ornette Coleman, Cra...

Earlier this year, in May, Brighton hosted the Vinyl World Congress where Paul Pacifico, head of the Association of Independent Music, told the...

In The Fade review - twisty German courtroom drama

The Cannes jury in 2017 gave best actress to Diane Kruger for her performance in In the Fade. She plays Katja, who turns avenging angel...

David Byrne, Eventim Apollo review - twice in a lifetime?

Forgive the sports metaphor, but David Byrne knocked this one out of the park. Coming out of the concert at the...

The London Mastaba, Serpentine Galleries review - good news...

It’s not as immersive as New York’s The Gates, 2005, nor as magnificent as Floating Piers, 2016, in Italy’s Lake Iseo...