2022 Year in Review: Cindy Marcolina's Best of 2022
After two years of absolute doom and uncertainty, 2022 began with a sprinkle of glimmer on the horizon.
Cindy Marcolina - Page 25
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Review: DERREN BROWN - SHOWMAN, Apollo Theatre
Ultimately, it's a show about human connection.
Review: AS YOU LIKE IT, @sohoplace
Presented in the round with the inclusion of closed-captioning at every performance and a few BSL-signing characters, it’s probably the most accessible, most gender-fluid show currently running in London.
Review: LIVE AT LOLA'S: A MUSICAL CHAT SHOW WITH STARS OF THE WEST END, Lola's Underground Casino at The Hippodrome
It's a clever, engaging format.
Review: HOLY SH*T, Riverside Studios
All in all, the piece is promising at this stage, but it could be so much more.
Review: WICKIES: THE VANISHING MEN OF EILEAN MOR, Park Theatre
Playwright Paul Morrissey explores a fascinating case, transforming it into a boutique paranormal thriller whilst trying to explain the lead-up to their disappearance.
Review: ON THE LINE, Camden People's Theatre
While only one hour long, Teglia’s script has a lot of surplus material that’s solely used to bring the topics up.
Review: BEST OF ENEMIES, Noël Coward Theatre
It's an exceptional addition to a Theatreland that's generally lacking in political engagement, especially during the Christmas period.
Review: HENRY V, Shakespeare's Globe
Winter has come to the Globe and it brought Henry V to the Sam Wanamaker Playhouse for the first time in its history.
Review: SARAH, The Coronet Theatre
Oliver Reese, artistic director of the Berliner Ensemble, translates the tale for the stage transforming it into a one-man-show led by Jonathan Slinger.
Review: THE MASSIVE TRAGEDY OF MADAME BOVARY!, Jermyn Street Theatre
Nicholson writes a deliciously entertaining adaptation of the novel, while Marieke Audsley has it jump off the page of a storybook.
Review: SKYFALL IN CONCERT, Royal Albert Hall
It’s remarkable how permeating Thomas Newman’s score is.
Review: HERE, Southwark Playhouse
It all sounds quite dramatic on paper, but the piece becomes a relentless plod-along.
Review: FROM HERE TO ETERNITY, Charing Cross Theatre
It should all feel very epic, but it’s mild at best.
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.
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.
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