Review: HERE WE ARE, National Theatre
Other eat-the-rich satires that have sharper teeth and larger appetites.
Alexander Cohen - Page 2
Review: THE INSEPARABLES, Finborough Theatre
** 'One for the Simone de Beauvoir fans'
Review: PLAYFIGHT, Soho Theatre
How will the Fringe hit land in London?
Review: RHINOCEROS, Almeida Theatre
Elerian's brand of maximalist metatheatre greedily hogs the limelight, a crusade to deconstruct Rhinoceros within an inch of its life.
Review: RETROGRADE, Apollo Theatre
Ryan Calais Cameron’s tight knit three-hander cuts deeper than a meditation on money or morality.
Review: A KNOCK ON THE ROOF, The Royal Court
“Sieged land besieges you” Gazan mother Mariam confides in us in A Knock On the Roof.
Review: BACKSTROKE, Starring Tamsin Greig
Cycles of fractured motherhood spin and splinter across generations in Anna Mackmin’s new play.
Review: OTHERLAND, Almeida Theatre
With a dream-like blend of tender poetry and pulsating humanity Chris Bush has established herself as one of the UK’s most erudite and important writers.
Review: MORE LIFE, The Royal Court
Botox and Ozempic can make anyone beautiful and AI will outthink us all.
Review: FESTEN, Royal Ballet And Opera
Mark-Anthony Turnage has a provocative habit of turning unconventional narratives into opera
Review: THE YEARS, Harold Pinter Theatre
Critics raved about its initial run at the Almedia last year.
Review: ELEKTRA, Duke Of York's Theatre
So why is Daniel Fish’s Elektra such a droning dud?
Review: OEDIPUS, The Old Vic
It’s difficult to imagine anyone watching Oedipus without having prior knowledge of the story’s brutal twist - especially the case given that a rival production of the same play has just closed in the West End to critical acclaim.
Review: INSIDE NO.9 STAGE/FRIGHT, Wyndham's Theatre
At its worst Inside No.
Review: CYMBELINE, Shakespeare's Globe
Shifting identities and hierarchies interweave like a spider’s web in Cymbeline.
Review: A GOOD HOUSE, The Royal Court
A case of never being more than the sum of its parts, even if those parts have promise in themselves.
Review: JENŮFA, Royal Ballet And Opera
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey.
Review: THE MAIDS, Jermyn Street Theatre
French dramatist Jean Genet is a rarity on British stages, and I can see why.
Review: THE TEMPEST, Theatre Royal Drury Lane
As achingly monotone as it is aggressively monochrome.
Review: THE INVENTION OF LOVE, Hampstead Theatre
Don’t be fooled.
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