Review: THE MOTIVE AND THE CUE, Noël Coward Theatre
Jack Thorne gives his audience a backstage pass in his new play, which has now transferred to the West End after a stellar run at the National Theatre.
Cindy Marcolina - Page 15
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Review: MACBETH, Donmar Warehouse
It would be interesting to see the show free from all the fancy listening gear so we can bask in the thrill of seeing Tennant and Jumbo grapple with their actions without a middleman.
Review: ELF IN CONCERT, Royal Albert Hall
The Hall knew what they were doing when choosing their festive programming.
Review: THE TIME MACHINE, Park Theatre
Michael Dylan, Dave Hearn, and Amy Revelle share the comic timing of long-time friends.
Review: PACIFIC OVERTURES, Menier Chocolate Factory
Matthew White’s latest creation is stunning and Sondheim’s score remains beautiful.
Review: SONGS FROM THE SHOWS WITH CLARE TEAL AND THE BBC SINGERS, Milton Court Concert Hall
It’s finally December, and there’s nothing British theatre does better than one-off festive entertainment.
Book Review: SHAKESPEARE'S HOUSE: A WINDOW ONTO HIS LIFE AND LEGACY by Richard Schoch
Richard Schoch explores what daily life would have been like in the Shakespeare household and how the buildings that surrounded him have become hotspots.
Review: TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK), Kiln Theatre
All in all, Two Strangers is a pleasant night out for the rom-com lovers: it romanticises The City That Never Sleeps and leaves the audience with a delightful ending that solves very little of the plot.
Review: NINETEEN GARDENS, Hampstead Theatre
Nineteen Gardens is one of those layered pieces.
Review: BRENDA'S GOT A BABY, New Diorama Theatre
Nouveau Riche and Jessica Hagan reunite after Queens of Sheba for a new comedy that explores the absurd pressures thrust upon women by society.
Review: IRVINE WELSH'S PORNO, Arts Theatre
An alleged hit at the Fringe in 2022, it disappears on a bigger stage and sadly becomes a steady trudge.
Review: BOY PARTS, Soho Theatre
While this version of the bestseller isn’t as consistently shocking as its original material, it’s sharp, entertaining, vicious, thrilling, morbid, uncomfortable, and alarmingly irresistible.
Review: I, DANIEL BLAKE, Stratford East
I, Daniel Blake was the film on everybody’s lips in 2016.
Review: ELEPHANT, Bush Theatre
An accomplished, evocative solo project, the piece sits between a play with songs and a straight drama infused with socio-politics: much like its creator, it’s impossible to pigeonhole it.
Review: PORTIA COUGHLAN, Almeida Theatre
Marina Carr’s award-winning play returns to London directed by Carrie Cracknell and starring Conversations with Friends starlet Alison Oliver (who trod the same boards earlier this year in Women, Beware the Devil).
Review: HAMNET, Garrick Theatre
Maggie O’Farrell’s novel Hamnet explores grief and loss through the lens of Elizabethan society, reimagining the family life of the most celebrated playwright in England.
Review: BLUE MIST, Royal Court Theatre
Three boys meet at Chunkyz to gossip, swap stories, and grow up against the backdrop of a society that’s not made for Muslim men.
Review: GENTLEMEN, Arcola Theatre
When toxic tradition clashes with inevitable progress, the very structure of the crème de la crème of higher education comes into question.
Review: DANNY ELFMAN'S MUSIC FROM THE FILMS OF TIM BURTON, Royal Albert Hall
Seventeen projects and nearly four decades of artistic alliance have produced beloved classics like The Nightmare Before Christmas, Beetlejuice, Sleepy Hollow, and Edward Scissorhands.
Review: FRANKENSTEIN: AN IMMERSIVE SHOW, Crypt, St. Peter's Church
Benjamin’s study of Victor’s mental health is exceptionally refreshing, but ends up feeling a tad apocryphal in the context, especially when considering the major changes to Shelley’s narrative.
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