BWW Review: HOUSE OF IFE, Bush Theatre
Families are complex and the relationships between parents and children and siblings themselves is a rich basis for drama.
Aliya Al-Hassan - Page 84
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BWW Review: DON PASQUALE, Royal Opera House
Damiano Michieletto’s modern-day staging of Donizetti’s sparkling comedy Don Pasquale divided critics when it last appeared at The Royal Opera House in 2019.
BWW Review: THE MISFORTUNE OF THE ENGLISH, Orange Tree Theatre
Touching on nationalism, childish loyalty and what it means to be English, The Misfortune Of The English is Pamela Carter’s new play, inspired by tragic, true events.
BWW Review: PRIMA FACIE, Harold Pinter Theatre
It is doubtful that Prima Facie would have received the same pre-show hype if Jodie Comer had not been making her West End stage debut in the production.
BWW Review: THE LION, THE WITCH & THE WARDROBE, New Wimbledon Theatre
The Lion, the Witch & the Wardrobe was the first of C.
BWW Review: CATCH ME IF YOU CAN, Richmond Theatre
Not to be confused with the 2002 film of the same name, Catch Me If You Can is a small ensemble thriller that debuted on Broadway in 1965.
BWW Review: SAD, Omnibus theatre
There is certainly a gap in the representation of middle-aged women who are confronting ageing and complicated relationships on stage.
BWW Review: A MONSTER CALLS, Rose Theatre
Patrick Ness’ novel A Monster Calls is a sharp and poignant look at loss in childhood and how death is approached by adults and children.
BWW Review: EVERYONE'S TALKING ABOUT JAMIE, New Wimbledon Theatre
Back in 2017, few could have imagined the success of a show about a teenage drag queen.
BWW Review: TOM FOOL, Orange Tree Theatre
On the night marking two years since theatres were forced to close their doors due to the pandemic, we are reminded of the power of theatre in Franz Xaver Kroetz’s Tom Fool.
BWW Review: FIJI, Omnibus Theatre
The concept behind Fiji really shouldn’t work.
BWW Review: CLUEDO, Richmond Theatre
Was it Professor Plum in the library with the dagger? To many of us, the board game Cluedo is a family staple, but director Mark Bell’s play takes more of its influence from the 1985 American film Clue.
BWW Review: SMALL ISLAND, National Theatre
Rufus Norris’ stage production of Andrea Levy’s Small Island was hailed as a triumph on its debut in 2019.
BWW Review: PERSUASION, Rose Theatre
First seen back in 2017 at Manchester’s Royal Exchange, Jeff James and James Yeatman’s boldly modern adaptation of Jane Austen’s last novel Persuasion now makes a triumphant entrance at the Rose Theatre.
BWW Review: AN HOUR AND A HALF LATE, Richmond Theatre
Retirement concerns and empty-nest syndrome will be familiar issues to many and are ripe for both exploration and satire.
BWW Review: BUT I'M A CHEERLEADER: THE MUSICAL, Turbine Theatre
But I’m A Cheerleader: The Musical has a long history; based on the 1999 cult film, the musical was first workshopped at the New York Musical Theatre Festival in 2005, where it picked up the Audience Award for Best New Musical.
BWW Review: THE CUNNING LITTLE VIXEN, London Coliseum
After opening night was postponed due to Storm Eunice, the ENO's new production of Leoš Janáček's opera is a welcome slice of brightness in the current gloom.
BWW Review: RUNNING WITH LIONS, Lyric Hammersmith
First recorded in March 2021 and broadcast on BBC Radio 4, (still available on BBC Sounds) Sian Carter’s new play Running With Lions is a raw and honest look at attitudes towards grief, faith and the stigma of mental health problems in a multi-generational British-Caribbean family.
BWW Review: TWO BILLION BEATS, Orange Tree Theatre
First seen in a 20-minute version in April 2021, as part of the Orange Tree's foray into theatrical streaming Outside, Two Billion Beats is Sonali Bhattacharyya's engaging and vibrant play that explores the relationship between two South Asian teenage sisters as they confront injustice, racism a
BWW Review: BLOOD BROTHERS, New Wimbledon Theatre
Willy Russell’s Blood Brothers remains one of only three shows to play for over 10,000 performances in the West End, bringing audiences to their feet night after night in the days when standing ovations were not always the default.
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