Review: DEATH OF ENGLAND: DELROY, @sohoplace
Some actors can play a role.
Alexander Cohen - Page 4
Review: DEATH OF ENGLAND: MICHAEL, @sohoplace
The guns fire loud and sonorous for the opening salvos of Clint Dyer and Roy Williams’s Death of England trilogy.
Review: THE HOT WING KING, National Theatre
When food takes centre stage, it is usually as a conduit for humanity.
Review: VISIT FROM AN UNKNOWN WOMAN, Hampstead Theatre
The lights flash on, a writer stumbles into his scantly decorated flat.
Review: SLAVE PLAY, Noël Coward Theatre
For a play that wears controversy as a badge of honour the last thing I expected to feel was slightly bored
Interview: 'From The Outside, It Looks Impossible': Director Tinuke Craig on Rep Theatre, Genre-Jumping and THE SCHOOL FOR SCANDAL at the RSC
Few directors are as comfortable helming a sparkly winter panto as they are a psychologically gruelling Sarah Kane play.
Review: SKELETON CREW, Donmar Warehouse
It takes its time to warm up.
Review: MNEMONIC, National Theatre
Is this one mnemonic to forget?
Review: THE BECKETT TRILOGY, Coronet Theatre
Persevere with its mercilessness and you will be richly rewarded
Review: THE TAMING OF THE SHREW, Shakespeare's Globe
Jude Christian's new production playfully inverts Shakespeare's misogyny
Review: BLUETS, Royal Court
Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
Review: THE HARMONY TEST, Hampstead Theatre
Good writing doesn’t have to explode off the stage, but can gently lull you with buckets of charm and laser point focus.
Review: RICHARD III, Shakespeare's Globe
Terry’s Richard is a hyper masculine misogynist grunting, lumbering, and bruising his way to the throne.
Review: MARY SAID WHAT SHE SAID, Barbican
Theatre at it's most ruthlessly elusive.
Review: BETWEEN THE LINES, New Diorama Theatre
Sparks fly in this plucky grime infused play, but it doesn't quite catch fire
Review: THE CHERRY ORCHARD, Donmar Warehouse
An excellent cast are let down by self-obsessed direction.
Review: MINORITY REPORT, Lyric Hammersmith
It ought to echo with eerie prescience in 2024 as an ever-closer prophecy for an age where AI and algorithms will dictate the minutiae of our lives.
Review: LUCIA DI LAMMERMOOR, Royal Opera House
Nadine Sierra’s enthralling central performance helms this nerve-jangling revival.
Review: BOYS ON THE VERGE OF TEARS, Soho Theatre
A cathartic and powerful moment, a veinous fist unclenching.
Review: LONDON TIDE, National Theatre
Aesthetically malnourished, London Tide lacks the lustrous life blood that so warmly floods through the veins of Dickens’s literary world.
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