Review: THE ORESTEIA, Bridge Theatre
There is a dig at Simon Stone in the National Theatre's new Misanthrope, a jab at ultra-contemporary classical reboots staged in rotating glass boxes, the Australian auteur's calling card.
Alexander Cohen
Review: ARCHDUKE, Royal Court
We know how it ends.
Review: GLENGARRY GLEN ROSS, The Old Vic
Salesmen fight for survival in a competition where first prize is a Cadillac and the rest get fired.
Review: PETER GRIMES, Royal Ballet And Opera
Peter Grimes hinges on balancing the duality between its chorus and Grimes as an individual.
Review: TEETH 'N' SMILES, Starring Rebecca Lucy Taylor
The high-water mark of 60s culture has been and gone, leaving a trail of detritus in which capricious rocker Maggie Frisby finds herself.
Review: BROKEN GLASS, Young Vic
Arthur Miller's later works are usually overshadowed by his earlier masterpieces.
Review: LAST DAYS, Royal Ballet And Opera
We still don’t know what Kurt Cobain did in the days before his suicide in 1994.
Review: END, National Theatre
With End, David Eldridge completes his triptych of modern relationships.
Review: BACCHAE, National Theatre
More TikTok than tragedy
Review: THE WEIR, Harold Pinter Theatre
****'Brendan Gleeson's West End debut is quietly soul crushing'
Review: EVERY BRILLIANT THING, Starring Lenny Henry @sohoplace
If grief is the price we pay for love, then Every Brilliant Thing is the receipt lovingly crumpled and stuffed into a back pocket.
Review: THE ESTATE, National Theatre
In Shaan Sahota’s barnstorming National Theatre debut the personal and political are layered on top of each other until they collapse under their collective weight.
Review: GIRL FROM THE NORTH COUNTRY, The Old Vic
It’s hard to shake the suspicion that this revival of Conor McPherson’s Girl From the North Country is hitching a ride on the gravy train of A Complete Unknown.
Review: SEMELE, Royal Ballet And Opera
Forget Arcadian landscapes and Corinthian columns.
Review: INTIMATE APPAREL, Donmar Warehouse
In Intimate Apparel clothes are the nexus between class and communities.
Review: A MOON FOR THE MISBEGOTTEN, Almeida
We are in an American provincial backwater.
Review: STEREOPHONIC, The Duke Of York's Theatre
The West End transfer of Stereophonic is a full fat slice of Americana: anyone who dreamt of being in a band might just find those dreams resuscitated.
Review: FIDDLER ON THE ROOF, Barbican
Jordan Fein understands that Fiddler on the Roof is more than just Jews and jazz hands.
Review: MRS WARREN'S PROFESSION, Starring Imelda Staunton
Imelda Staunton leads a blistering revival
Review: THE DEEP BLUE SEA, Theatre Royal Haymarket
Lindsay Posner’s austere production is almost obsequiously faithful to the text
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Tickets From $89
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