Review: A FACE IN THE CROWD, Young Vic
“I love you like Mary Shelley loved her monster.
Cindy Marcolina - Page 8
Review: WAITING FOR GODOT, Theatre Royal Haymarket
A country road.
Review: ABIGAIL'S PARTY, Stratford East
The Seventies were a time for cheesy pineapple, bellbottom jeans, Elton John, and ABBA.
Review: 23.5 HOURS, Park Theatre
Leigh’s husband was arrested for inappropriate sexual conduct with a minor.
Review: VITAMIN D, Soho Theatre
Having to move back with your parents after a failed marriage is raising all types of questions that Larki can’t or doesn’t want to answer.
Film Review: THE CRITIC
The Irish writer Brendan Behan described critics as “eunuchs in a harem; they know how it’s done, they’ve seen it done every day, but they’re unable to do it themselves”.
Review: G, Royal Court Theatre
Magical realism is hard to come by in the theatre.
Review: FIDDLER ON THE ROOF, Regent's Park Open Air Theatre
The production embraces Jewish representation and celebrates their religious rituals with refreshing openness.
Review: SOMETHING ROTTEN! IN CONCERT, Theatre Royal Drury Lane
In line with the trend of the moment, this is more than a concert and less than a full production.
Review: A CHORUS LINE, Sadler's Wells
The show is in itself show-stopping.
Review: THE GRAPES OF WRATH, National Theatre
The piece is heavy in topic and method, but Carrie Cracknell’s quiet direction smooths out the nearly three hours of running time.
Review: THE WITCHING HOUR, Bridewell Theatre
It’s haunted by a script that’s as creaky as the house investigated by the characters, but it’s captivating enough here and there.
Review: AFTER SEX, Arcola Theatre
Friends with benefits.
Review: DORIAN: THE MUSICAL, Southwark Playhouse
However, penned by Joe Evans (score and lyrics) and Linnie Reedman (book and direction), Dorian is an awkward production that’s supposedly adapting the mores and morals of the time for a social media-obsessed audience.
Review: ALMA MATER, Almeida Theatre
Alma Mater is the byproduct of fourth-wave feminism, with faint echoes of David Mamet’s Oleanna flipped on its head and delivered with a sleight of hand.
Review: THE VOICE OF THE TURTLE, Jermyn Street Theatre
They say you find love when and where you least expect it, but swearing off relationships isn’t just a contemporary manifestation of ennui.
Review: UNCANNY: I KNOW WHAT I SAW, Theatre Royal Drury Lane and On Tour
Back in 2021, Danny Robins spoke to the void in the shed in his garden asking “Do ghosts exist?”.
Review: THE MARYLIN CONSPIRACY, Park Theatre
The production is frankly unnecessary, too long, and way too slow for what it really is.
Review: SOME DEMON, Arcola Theatre
Laura Waldren lifts the veil off an eating disorder unit.
Review: THE BOUNDS, Royal Court Theatre
Written by Stewart Pringle, The Bounds takes punters to 1553, “the true Golden Age of English football”, when matches could last hours or days and rules were, though relaxed, quite severe.
.jpg?format=auto&width=300)
Tickets From $73
Tickets From $89
Tickets From $89
Tickets From $65