Review: THE LITTLE FOXES, Young Vic
We love watching a rich family crumble on stage.
Alexander Cohen - Page 3
Review: STRANGER THAN THE MOON, Coronet Theatre
One for the Brecht completionists
Review: THE PURISTS, Kiln Theatre
“This ain’t NWA, it’s NW6.
Review: ALL’S WELL THAT ENDS WELL, Shakespeare's Globe
If, like me, you shrug bah humbug to Panto season and its saccharine cavalcade of festive frivolous fluff then you would do well to seek refuge at the Globe and its intelligently calibrated Winter offering of All's Well That Ends Well.
Review: THE ELIXIR OF LOVE, London Coliseum
Nostalgia isn’t what it used to be.
Review: REYKJAVIK, Hampstead Theatre
There’s a whiff of Jez Butterworth’s Jerusalem about Richard Bean’s Reykjavík.
Review: THE DUCHESS (OF MALFI), Trafalgar Theatre
Zinnie Harris’s 2019 incarnation of The Duchess of Malfi, matter-of-factly titled The Duchess (of Malfi), desperately yearns to conjure the sexy metatheatrical cunning of Van Hove, Mitchell, Ostermeier.
Review: THE FEAR OF 13, Donmar Warehouse
There’s a ghost of a good show lingering beneath the surface but it never materialises.
Review: FIDELIO, Royal Ballet and Opera
Tobias Kratzer’s production pulls the rug from underneath you writes BWW's critic.
Review: LEAR, Barbican
A must for Shakespeare completionists.
Review: LOOK BACK IN ANGER, Almeida Theatre
If Roots is the demure first part of the Almeida’s “Angry and Young” season, Look Back in Anger is the explosive finale.
Review: ROOTS, Almeida Theatre
The Almeida’s ”Angry and Young” season is a stroke of curatorial brilliance.
Review: HOUSE, Barbican
A single house in the Middle East is the focal point in this stage adaption of the Israeli-French filmmaker’s documentary trilogy from La Colline - Théâtre National.
Review: CORIOLANUS, National Theatre
Confluences of history weave together in Lyndsey Turner’s pulsating new production
Review: THE LIGHTEST ELEMENT, Hampstead Theatre
Stella Feehily's new play examines the life of pioneering astronomer Cecilia Payne-Gaposchkin
Review: OUR COUNTRY'S GOOD, Lyric Hammersmith
Is it serendipity or a testament to good writing? A day after the government mandate two thousand prisoners to enjoy an early release a new production of Our Country’s Good premieres: a play about deported British convicts forging a new life in newly colonised Australia couldn’t be timelier.
Review: LA TRAVIATA, Royal Ballet And Opera
Heavily reliant on strong vocals
Review: DEATH OF ENGLAND: CLOSING TIME, @sohoplace
It only premiered last October, but Death of England: Closing Time, the final chapter in Roy Williams and Clint Dyer’s state of the nation triptych, not only retains its spine-frosting freshness, but feels more dangerous than ever.
Review: BBC PROMS: PROM 31: ANNE-SOPHIE MUTTER PLAYS BRAHMS, Royal Albert Hall
What is there to be said about the West–Eastern Divan Orchestra that hasn’t already been said? For twenty-five years it has united Arab and Israeli musicians under the baton of Jewish co-founder Daniel Barenboim (late Palestinian Critical Theorist Edward Said is the other co-founder); their decl
Review: DEATH OF ENGLAND: DELROY, @sohoplace
Some actors can play a role.
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