Review: SUPER HIGH RESOLUTION, Soho Theatre
Ultimately, this is a story of unintentional alienation and the role of mental health in those who care for other people’s.
Cindy Marcolina - Page 22
Review: MARY, Hampstead Theatre
Rona Munro explores the ramifications of the - then alleged, now confirmed - rape of Mary, Queen of Scots under the warped lens of the political games for which it was a useful tool.
Review: DADDY ISSUES, Seven Dials Playhouse
It’s the first anniversary of the death of Imi’s father and she’s having a lonely wake for Roger, her 8-month-old therapy dog whom she’s convinced absorbed all her feelings and kicked the bucket for it.
Review: TAMMY FAYE, Almeida Theatre
Rupert Goold directs a sanitised tale of faith, love, and financial fraud with a cast led by Andrew Rannells and Katie Brayben as the Bakkers - the couple who changed the face of American Christianity by broadcasting “24 hours per day, seven days a week until the second coming” in the 70s and 80
Book Review: MASTER OF THE HOUSE - THE THEATRES OF CAMERON MACKINTOSH
With many years ahead of the producer’s career, this most definitely won’t be the definitive text on Mackintosh’s tangible contributions to London’s theatres, but it’s a remarkable “the story so far” on a figure who’s as admired as is criticised.
Review: KING HAMLIN, Park Theatre
The writer packs it with top-shelf themes.
Review: A SINGLE MAN, Park Theatre
Unfortunately, it all ends up looking like a fake play seen in a movie where the characters go to the theatre to advance the plot or reflect on life.
Review: THE POLTERGEIST, Arcola Theatre
Philip Ridley writes an atomic bomb of a play and keeps his finger on the release button until Sasha explodes in an earth-shaking climax.
Review: THE MOORS, The Hope Theatre
Phil Bartlett presents the British première with a sinister wink and eerie humour, but the text is a mismatch of gothic tropes and too unsure of its identity for the production to come together well.
Review: FAME WHORE, King's Head Theatre
Tom Ratcliffe writes and directs a bleak drag comedy on the trappings of modern fame, exploring online relevance, performative activism, and authenticity.
Review: RUCKUS, Southwark Playhouse
The moments of brilliance in the piece are, unfortunately, overshadowed by its nature and the current commodification of trauma portrayals.
The Theatre Café Diner Is Now Officially Open To The Public
The Theatre Café has been a staple in the West End for years.
Review: THE BAND'S VISIT, Donmar Warehouse
Longurst directs with refreshing accuracy and delicate sophistication, creating visual dynamics that make the space feel immense.
Review: RAVENSCOURT, Hampstead Theatre
Narratively, the story isn’t anything revolutionary, but Burns’s approach is rich with emotional intelligence and clinical precision.
Review: JOHN GABRIEL BORKMAN, Bridge Theatre
Simon Russell Beale takes on the disgraced mogul, Nicholas Hytner directs.
Review: THE CRUCIBLE, National Theatre
In a society riddled with fake news, that bends over backwards to regulate a woman's body, justifying its laws with a magical book, The Crucible is frighteningly relevant.
Review: GHOSTS ON A WIRE, Union Theatre
Commissioned by Southwark Council, Linda Wilkinson writes a historically accurate account laden with fiction to explore the strings attached to progress.
Review: AUDRA MCDONALD IN CONCERT, The London Palladium
Audra McDonald’s name sits right at the centre of the Broadway firmament.
Review: ADDICTIVE BEAT, Dilston Gallery (Southwark Park Galleries)
Addictive Beats is a missed opportunity to attract a younger generation to explore mental health.
Review: CLUTCH, Bush Theatre
Tyler’s trying to get his driver’s licence.
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