Review: ACCIDENTAL DEATH OF AN ANARCHIST, Theatre Royal Haymarket
The play is unforgiving.
Cindy Marcolina - Page 16
Review: SHEWOLVES, Southwark Playhouse
Sarah Middleton’s Shewolves was quite the success at Edinburgh Festival Fringe last year, so it’s not a surprise it’s now made its way to London.
Review: I F*CKED YOU IN MY SPACESHIP, Soho Theatre
After playing to sold-out crowds for their whole run at VAULT Festival earlier in the year and winning an Origins Award for Outstanding New Work, Soho Theatre learnt why I F*cked You In My Spaceship has been the talk of London’s fringe scene.
Review: THE THIRD MAN, Menier Chocolate Factory
When Holly Martins arrives in Vienna to start a new job after the Second World War, he learns that his childhood friend Harry Lime died a few days prior.
Review: PAPER CUT, Park Theatre
Kyle has just returned from Afghanistan.
Review: THE UNICORN, Arcola Theatre
The Unicorn is a multifaceted, sombre look at trauma and addiction laced with deliberately unwitting humour and a penchant for benign shock.
Review: ES & FLO, Kiln Theatre
There are some things we don’t see enough in theatre.
Review: YOURS UNFAITHFULLY, Jermyn Street Theatre
Written almost a century ago and premiering in London for the first time, Yours Unfaithfully has the acquired taste of a fine vintage wine.
SingEasy Brings the Party to Theatreland
Once upon a time, in the heart of the West End, a small secret room where you could hear the people sing hid underneath a staircase.
Review: 30 AND OUT, Pleasance, London
It’s an eclectic, tragically funny show.
Review: BLACK PANTHER IN CONCERT, Royal Albert Hall
Conducted by Anthony Parnther (isn’t that the perfect name to lead this specific venture?), this European premiere features Massamba Diop on the talking drum, an instrument essential to the score.
Review: STUART MICHAEL - THE PSYCHIC MEDIUM, Wonderville
All in all, the evening is like a group session with no guarantees of being called out or receiving answers.
Review: ASPECTS OF LOVE, Lyric Theatre
Kent’s direction is interesting but leans into melodrama, with Ball offering some glitzy big-name introspection and the plot itself overflowing into sexual ambiguity and implied promiscuity.
Review: THE BIG O, King's Head Theatre
The Big O navigates Lucy’s self-loathing and PTSD in an inspirational journey, but, while the topic is loudly and proudly urgent, the play falls short on many levels.
Review: THE MISANDRIST, Arcola Theatre
Playwright Lisa Carroll explores how the contemporary search for intimacy is marred by millennial malaise and trauma cycles in a witty dramedy that’s unexplainably ideologically ambiguous.
Review: LEAVES OF GLASS, Park Theatre
Director Max Harrison takes the play and makes it a contemporary exploration of unaddressed trauma, gaslighting, and complicated family relations with performances that scrape excellence once they settle into themselves.
Review: VENUS AND ADONIS, Riverside Studios
The performance ambles between overly physical and shackled by stillness.
Review: OPERATION MINCEMEAT, Fortune Theatre
Operation Mincemeat is a victory for the underdog, in themes as well as in reality.
Feature: Is AI the Future of Live Theatre? Not Yet.
The launch of ChatGPT has been received with general apprehension, if not frantic worry, by writers worldwide.
Review: THE RETREAT, Finborough Theatre
Far from being the meaty two-hours-45-cum-interval, it chases its own tail in an exhausting, exasperating, overlong, and overblown production directed by Emma Jude Harris.
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