Review: THE DEVIL MAY CARE, Southwark Playhouse
The American production of George Bernard Shaw’s The Devil's Disciple was, famously, the first financial success for the Irish writer.
Cindy Marcolina - Page 7
Review: THE MERCHANT OF VENICE 1936, Trafalgar Theatre
Oswald Mosley’s Blackshirts are getting a foothold in London’s East End.
Review: HANSEL AND GRETEL, Shakespeare’s Globe
Though we admit that venturing as far as saying that the witch looks like a mix of Margaret Thatcher and the old Queen might be just us being fastidious with our interpretative vein, the links are there to see and analyse.
Review: CUTTING THE TIGHTROPE: THE DIVORCE OF POLITICS FROM ART, Arcola Theatre
Now at its second run and presented in an updated version, Cutting the Tightrope puts together a list of brilliant playwrights (Hassan Abdulrazzak, Mojisola Adebayo, Phil Arditti, Sonali Bhattacharyya, Nina Bowers, Roxy Cook, Ed Edwards, Afsaneh Gray, Dawn King, Ahmed Masoud, Joel Samuels, Sami Abu
Review: THE IMPORTANCE OF BEING EARNEST, National Theatre
This is an Earnest for a new generation, Bridgertonian in its approach and just brat enough.
Review: THE HAPPIEST MAN ON EARTH, Southwark Playhouse
Mark St Germain adapts Jaku’s life story into a 90-minute one-man show that overflows with empathy and hope.
Review: KING JAMES, Hampstead Theatre
We all know that sport is easily the most straightforward gateway for male friendships.
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Review: [TITLE OF SHOW], Southwark Playhouse
Director Christopher D.
Review: SWEETMEAT, Old Red Lion
A failed engagement and extended repression are a deadly concoction in Ivo de Jager’s new play Sweetmeat.
Review: THE FOOD BANK SHOW, Camden People’s Theatre
Sam Rees’s The Food Bank Show is very aware of all the limitations of his viewership.
Review: SLAVE: A QUESTION OF FREEDOM, Riverside Studios
When we talk about slavery, our minds immediately land to the olden days of colonies and plantations; perhaps we think of the much discussed reparations provided to the victims or their descendants, or we draw back to those tedious corporate trainings that address a problem that seemingly doesn't be
Review: WISH YOU WERE HERE, Gate Theatre @ Theatro Technis
The start of Sanaz Toossi’s Wish You Were Here sees girlies being girlies in 1978 Iran.
Review: THE UNGODLY, Southwark Playhouse
There’s a number of compelling sides to Carrick’s script, but it ultimately feels over-written, under-directed, and over-performed.
Review: OEDIPUS, Wyndham's Theatre
Flashback to a dreary Thursday evening in mid-January.
Review: EURYDICE, Jermyn Street Theatre
Greek mythology has always had a hold on pop culture, but it seems like it’s taken a place of honour in recent times - especially on stage.
Review: BELLRINGERS, Hampstead Theatre
Daisy Hall’s debut is already a decorated piece of writing, having been a finalist for the Women’s Prize for Playwriting last year and a huge success at the latest edition of the Edinburgh Fringe.
Review: NOWHERE, Battersea Arts Centre
The world is a dark place.
Review: FOREVERLAND, Southwark Playhouse
Would you undergo a procedure that would easily and painlessly grant you to live eternally? Writer Emma Hemingford theorises a future where the extension of life has become as normal as getting Botox.
Review: ONE OF THE BOYS, The Playground Theatre
Tim Edge’s sophomore project is described as a nail-biting show that uncovers the dark truths of vicious competition and ferocious career moves.
Review: THE CABINET MINISTER, Menier Chocolate Factory
Sir Julian Twombley is in hot water when it’s discovered that his family has been living way beyond his House of Commons’ wages.
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