Review: FIREWING, Hampstead Theatre
For a play ostensibly about wildlife photography, we don’t actually see too many photographs in Firewing.
Clementine Scott - Page 2
Review: THE PRICE, Marylebone Theatre
Much like All My Sons, the virtuosic Arthur Miller tragedy revived in the West End earlier this year, Miller’s lesser-known 1967 play The Price holds a mirror up to the American Dream and finds people varying degrees of broken by their desire to succeed.
Review: THE WAVES, Jermyn Street Theatre
Virginia Woolf isn’t the easiest author to adapt for the stage, and her lesser-known 1931 experimental novel The Waves presents a particularly interesting dramaturgical challenge.
Review: THIS IS NOT ABOUT ME, Soho Theatre London
The set for This Is Not About Me initially resembles the bottom of a particularly untidy knitting drawer: strewn with red thread and abandoned crochet projects.
Review: TWO, Park Theatre
There is a moment in TWO where you could hear a pin drop: the affable 1980s soundtrack shuts off, and a glass shatters on the floor behind the bar.
Review: INTER ALIA, Starring Rosamund Pike, Wyndham's Theatre
In Prima Facie, former lawyer and playwright Suzie Miller wrote about a lawyer whose faith in her profession is shaken by an experience of sexual assault.
Review: LIFELINE, Southwark Playhouse Elephant
Lifeline is the kind of play that feels as though it was composed with the help of a mindmap with one word circled in the centre, around which all parts of the drama must orbit.
Review: RUTH, Wilton's Music Hall
In a staging device that feels made for the cavernous Wilton’s Music Hall, Bibi Simpson as convicted murderer Ruth Ellis addresses the audience with aristocratic authority, a tiny figure within an isolated prison cell.
Review: IRON FANTASY, Soho Theatre
In the much-cited 2014 book The Body Keeps the Score, the Dutch psychotherapist Bessel van der Kolk wrote of how the human body can be undone and rewired by traumatic experiences.
Review: GRIT, GLITTER & GASLIGHT - THE SARAH MCGUINNESS STORY, Circle And Star Theatre
Sarah McGuinness is best known for her work producing whimsical indie documentaries about the standup comedian Eddie Izzard; in her one-woman show, though, there are only passing references to this.
Review: TELL ME STRAIGHT and AGGY, Park Theatre
Park Theatre’s latest double bill presents two recent works from an emerging writer, both centring average queer London lives, and the lengths we’ll go to to present the versions of ourselves we want the world to see.
Review: BLINK, King’s Head Theatre
When it premiered at Soho Theatre in 2012, Blink was a whimsical oddity, an ode to two eccentric loners falling in love.
Review: MARIE & ROSETTA, @sohoplace
Her name may not be widely known today, but Sister Rosetta Tharpe’s musical legacy is felt down the decades.
Review: THE COMFORT WOMAN, Omnibus Theatre
Somewhere between 20,000 and 300,000 women, mainly from the Korean Peninsula, were trafficked into sexual slavery by the Imperial Japanese Army before and during the Second World War: the so-called ‘comfort women’.
Review: THE VILLAGE WHERE NO ONE SUFFERS, Jack Studio
“We’ve died, we’ve been reborn, but we still have our memories,” a character reflects at one point.
Review: BIRD GROVE, Hampstead Theatre
George Eliot’s Middlemarch was, and is, radical for its acknowledgement of how society places limits on even the most ambitious and idealistic of its inhabitants.
Review: WHAT I’D BE, Jack Studio
The premise of What I’d Be is disarmingly simple: two estranged sisters sit on a bench in a small town, and talk.
Review: MAN AND BOY, National Theatre
If anyone still thought Terence Rattigan a staid drawing room playwright, his 1963 play Man and Boy ought to put an end to that.
Review: MILES, Southwark Playhouse
The opening tableau of Miles sticks in the mind: a man writhes atop a piano, as though something long-dormant within him is being woken up.
Review: MONSTERING THE ROCKETMAN, Arcola Theatre
Despite its title, Elton John is far from the central focus of Henry Naylor’s blisteringly paced one-man show, Monstering the Rocketman.
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