Review: HAMLET, Starring Luke Thallon
What do Shakespeare and James Cameron have in common? Before Rupert Goold took hold of the Bard’s tragic masterpiece, the answer would have been ‘nothing’.
Cindy Marcolina - Page 10
Latest Articles
Review: MISS I-DOLL, The Other Palace
Entertainment is rotten business.
Review: RICHARD II, Bridge Theatre
A nation in need, an unsuitable king, banishments, murders, attempted coups.
Review: ANIMAL FARM, Stratford East
Amy Leach directs Tatty Hennessy’s adaptation of Orwell’s shockingly relevant novella, exploring greed and corruption in a sophisticated production that integrates British Sign Language.
Review: THREE SISTERS, Sam Wanamaker Playhouse
The Prozorov sisters are desperate for entertainment.
Review: MRS PRESIDENT, Charing Cross Theatre
The road to the perfect commemorative photograph is anything but smooth with their two unruly personalities.
Album Review: THINGS THAT COME AND GO, Hadley Fraser
It’s a meticulously organised ten-track album.
Review: PRETTY GUARDIAN SAILOR MOON: THE SUPER LIVE, HERE At Outernet
Let's get it out of the way: if you have no interest in the material, if you're averse to fantasy fun, or if you're not willing to buy into a style that's far removed from western realism, this is not for you.
![Review: ANTIGONE [ON STRIKE], Park Theatre](https://cloudimages2.broadwayworld.com/columnpiccloud/200200-ea82d40db7d31233f16137b58aa382d1.jpg?format=auto&width=220)
Review: ANTIGONE [ON STRIKE], Park Theatre
Sophocles is the blueprint for an interactive exploration of the public opinion of extremism in Alexander Raptotasios Antigone [on strike].
Review: THE GIFT, Park Theatre
An anonymous package arrives in Colin’s post, sending him into a spiral.
Interview: 'We Made an Album By Mistake': Hadley Fraser Talks Latest Studio Recording THINGS THAT COME AND GO
As the release of his third studio recording, 'Things that Come and Go' approaches, we sat down with Hadley Fraser to discuss music, his influences, what he listens to, and what music means to him.
Review: CANNED GOODS, Southwark Playhouse
Erik Kahn’s play tested very positively in the States early last year and has gained even more resonance since then.
Review: KYOTO, @sohoplace
After a stellar run in Stratford-upon-Avon, Joe Murphy and Joe Robertson’s RSC-fuelled project takes hold of London.
Review: THE DEVIL MAY CARE, Southwark Playhouse
The American production of George Bernard Shaw’s The Devil's Disciple was, famously, the first financial success for the Irish writer.
Review: THE MERCHANT OF VENICE 1936, Trafalgar Theatre
Oswald Mosley’s Blackshirts are getting a foothold in London’s East End.
Review: HANSEL AND GRETEL, Shakespeare’s Globe
Though we admit that venturing as far as saying that the witch looks like a mix of Margaret Thatcher and the old Queen might be just us being fastidious with our interpretative vein, the links are there to see and analyse.
Review: CUTTING THE TIGHTROPE: THE DIVORCE OF POLITICS FROM ART, Arcola Theatre
Now at its second run and presented in an updated version, Cutting the Tightrope puts together a list of brilliant playwrights (Hassan Abdulrazzak, Mojisola Adebayo, Phil Arditti, Sonali Bhattacharyya, Nina Bowers, Roxy Cook, Ed Edwards, Afsaneh Gray, Dawn King, Ahmed Masoud, Joel Samuels, Sami Abu
Review: THE IMPORTANCE OF BEING EARNEST, National Theatre
This is an Earnest for a new generation, Bridgertonian in its approach and just brat enough.
Review: THE HAPPIEST MAN ON EARTH, Southwark Playhouse
Mark St Germain adapts Jaku’s life story into a 90-minute one-man show that overflows with empathy and hope.
Review: KING JAMES, Hampstead Theatre
We all know that sport is easily the most straightforward gateway for male friendships.
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