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.
Cindy Marcolina - Page 26
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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.
Review: THE PRINCE, Southwark Playhouse
The Prince is a weird concept.
'This is only the beginning!' West End Winners Announced for The Stage Debut Awards 2022
After a virtual ceremony in 2020 and a pandemic-induced silence in 2021, The Stage Debut Awards have finally returned in all their glitz and glamour the day before the State Funeral of Queen Elizabeth II.
Review: 2:22 - A GHOST STORY, Criterion Theatre
The new company brings new energy to Matthew Dunster’s production, but the core of the show remains a smashing success.
Review: LOVE ALL, Jermyn Street Theatre
As directed by Littler, it’s deceivingly traditional on the surface.
Review: DOCTOR FAUSTUS, Southwark Playhouse
Directed by Ricky Dukes, Lazarus Theatre offer a take on Christopher Marlowe’s demonic tale that defies all genres, spanning everything from farce to gore in 95 minutes of esoteric intrigue.
Review: A DIFFERENT STAGE, Duke Of York's Theatre
A Different Stage contextualises the Gary Barlow the tabloids know, giving him the chance to be at the forefront of his own version of the story whilst reconfirming him as an exceptional entertainer.
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