Review: STRANGER THINGS: THE FIRST SHADOW, Phoenix Theatre
It’s very much a case of if it ain’t broke don’t fix it.
Alexander Cohen - Page 6
Review: COLD WAR, Almeida Theatre
It raised eyebrows when it was announced: Paweł Pawlikowski’s Oscar nominated Cold War is hardly five years old, not nearly enough time for it to have fallen off the cultural radar.
'2023 Was the Year The National Theatre Stood Up to the Plate' - Alexander Cohen's Best Theatre of 2023
The National Theatre somewhat mutedly celebrated its 60th anniversary this year.
Review: GET HAPPY, Barbican Pit
It’s very much the time of year for seasonal silliness, and whilst run-of-the-mill pantomimes are a safe choice, they are also a predictable one.
Review: THE HOMECOMING, Young Vic
Matthew Dunster’s production of The Homecoming promises a “refocusing” of Pinter’s 1965 classic.
Review: INFINITE LIFE, National Theatre
Annie's Baker's new play transfers from the Linda Gross Theatre in New York
Review: SHE STOOPS TO CONQUER, Orange Tree Theatre
Tom Littler’s sparkling new production of She Stoops To Conquer is a festive delight
Review: GHOSTS, Sam Wanamaker Playhouse
If the idea of spending time with your family over the festive season is one that makes you queasy, spare a thought for the Alvings.
Review: JEPHTHA, Royal Opera House
300 years have passed since Jephtha, Handel’s Greek tragedy-infused oratorio, was heard at Covent Garden.
Review: PASSING, Park Theatre
Generational inheritance is the central question beating at the heart of Dan Sareen’s cosy domestic drama Passing.
Review: PERFECTION, OF A KIND: BRITTEN VS AUDEN, Southbank Centre
Less a bust up of two of the 20th century’s great British artists, Perfection, of a Kind: Britten vs Auden is a celebration of the artists’ curious friendship, and shared artistic virtuosity.
Review: KING LEAR, Wyndham's Theatre
Alarm bells ring when a director stars in the play they are also directing.
Review: THE LIMIT, Royal Opera House
A play about the limits of language ought to easily translate into a ballet.
Review: TRUEMAN AND THE ARSONISTS, Roundhouse Studio Theatre
Despite it's effervescent cast, this a sparky update of Frisch's classic fails to ignite.
Review: CLYDE'S, Donmar Warehouse
In amongst a crowded genre Lynn Nottage’s 2021 Clyde’s, making its European premiere at the cosy Donmar Theatre, stands out by doing what theatre does best.
Review: THE FLEA, The Yard
There’s no escape from the parasites.
Review: IMPOSTER 22, Royal Court
Produced by Access All Areas, a theatre company led by disabled and autistic performers, Imposter 22 thrusts questions about disability centre stage.
Review: PICTURE A DAY LIKE THIS, Royal Opera House
George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence
Review: DEATH OF ENGLAND: CLOSING TIME, National Theatre
The latest part of the the Death of England tetralogy is theatre at its most courageous
Review: PETER GRIMES, London Coliseum
Deftly balances psychological thrill with morality as murky as the North Sea
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