Review: NO I.D, Royal Court
What did our critic think of NO I.
Alexander Cohen - Page 9
Review: INNOCENCE, Royal Opera House
Here it is, opera's answer to A Little Life: Kaija Saariaho's Innocence follows the aftermath of a school shooting and the emotional destruction felt by those connect to the event.
Review: LITTLE SCRATCH, New Diorama
Katie Mitchell breathes dangerous life into Rebecca Watson's disarmingly experimental novel
Review: LIFE IS A DREAM (LA VIDA ES SUEÑO), Barbican Theatre
A gem of 17th century Spanish theatre gets the David Lynch treatment in Cheek By Jowl's latest show
Interview: 'Addiction is a Leveller' Playwright Joe White on Gen Z Sobriety, British Musicals and the Return of his Play BLACKOUT SONGS
BroadwayWorld caught up with Joe chatting about everything from Olivier nominations to what the future holds for this up and coming writer.
Review: THE DRY HOUSE, Marylebone Theatre
An arduous deep dive into the moral murkiness of alcoholism and grief
Review: SEA CREATURES, Hampstead Theatre
Cordelia Lynn’s atmospheric new play treads familiar waters
Review: PUSSYCAT IN MEMORY OF DARKNESS, Finborough Theatre
A jagged knife of a play that could cut deeper.
Review: DRIVE YOUR PLOW OVER THE BONES OF THE DEAD, Barbican Theatre
For all the gleeful whimsey and creative flare, this stage adaptation of Olga Tokarczuk’s critically acclaimed eco-thriller lacks bite
Review: THE DEAD CITY (DIE TOTE STADT), London Coliseum
Annilese Miskimmon directs an arresting new production of Korngold's cult operatic meditation on melancholy
Review: BLACK SUPERHERO, Royal Court Theatre
A boldly inventive but flawed deconstruction of superhero obsession
Review: THE WAY OLD FRIENDS DO, Park Theatre
A heartfelt love letter to ABBA that'll want to make you say thank you for the music.
Review: FURTHER THAN THE FURTHEST THING, Young Vic
A parable about the perils of capitalism that prioritises self-aggrandising polemics over dramatic substance
Review: TRUTH'S A DOG MUST TO KENNEL, Battersea Arts Centre
Metaphysical meandering comes at an opportunity cost
Review: THE WALWORTH FARCE, Southwark Playhouse Elephant
Family memory is weaponised in this grime lined new production of Enda Walsh's 2006 black comedy
Review: WOMEN, BEWARE THE DEVIL, Almeida Theatre
Tonally bombastic and unapologetically queasy
Review: RUSALKA, Royal Opera House
A fish out of water tale that reflects our uneasy relationship with nature
Review: THE RHINEGOLD, London Coliseum
A luminous production glistening with chutzpah and armed with a fresh new translation.
Review: MEDEA, @sohoplace
Sophie Okonedo adds flavour to a strong but otherwise vanilla production of Euripides' tragedy.
Review: GRACELAND, Royal Court
A one woman show that that lacks the emotional gravity to keep itself grounded
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