Review: OUR AMERICAN QUEEN, Bridewell Theatre
The stage is immediately set for a confrontation.
Clementine Scott - Page 4
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Review: LA TRAVIATA, Royal Ballet And Opera
Opera as a whole may be too reliant on museum pieces, on endless identikit revivals designed to secure bums on seats.
Review: ORPHANS, Jermyn Street Theatre
Lyle Kessler’s Orphans was first performed in 1983, but you wouldn’t know that from this production.
Review: TOP HAT, Queen Elizabeth Hall
Twenty or so dancers parade before an oversized Art Deco clock, to the familiar strains of ‘Puttin’ on the Ritz’ from a brass band offstage.
Review: INDIAN INK, Hampstead Theatre
Indian Ink is not among Tom Stoppard’s greatest plays.
Review: KENREX, The Other Palace
An ominous small town tension, the lingering fear that something rotten lies beneath the wholesome community spirit, pervades KENREX, which transfers to London after an acclaimed Sheffield Theatres run.
Review: DANIEL'S HUSBAND, Marylebone Theatre
We’re in a room straight out of the pages of Architectural Digest, two couples sipping Scotch on mid-century chaise longues.
Review: DRACAPELLA, Park Theatre
Bram Stoker’s Dracula can actually be quite funny.
Review: BEAUTY AND THE BEAST: A HORNY LOVE STORY, Charing Cross Theatre
In an age of transphobic fearmongering about any drag queen daring to perform in front of children, acknowledging the fact that British family entertainment has always been queer feels more important than ever.
Review: THE CHRISTMAS THING, Seven Dials Playhouse
The Christmas Thing is a variety show with a little too much variety, and sometimes feels like a showcase for its talented performers (and perhaps a few game audience members) rather than a standalone show.
Review: THE SPY WHO CAME IN FROM THE COLD, @sohoplace
This is a tale exhilaratingly told, and if it fails it fails for being too inventive, rather than not inventive enough.
Review: DAVID COPPERFIELD, Jermyn Street Theatre
This David Copperfield is far more than a cheap facsimile of its source material.
Review: PETTY MEN, Arcola Theatre
Few Shakespeare plays have received the ‘updated for the current political moment’ treatment more than Julius Caesar.
Review: JOBSWORTH, Park Theatre
If you’ve ever worked a remote job, and been strapped for cash, you’ll recognise the temptation to take on additional casual work on the side.
Review: PARTENOPE, London Coliseum
Here are all the hallmarks of any good Shakespearean comedy: love polygons, gender trouble and a shipwreck to get things going.
Review: PRECIPICE, New Diorama
What do we do when the world is falling apart around us? We sing.
Review: #FATKARY: THE CORRIDO OF A TRAGIC EX-FAT WOMAN, Playground Theatre
You’d be hard pressed to find a more striking opening outfit in a play than #FATKARY: The Corrido of a Tragic Ex-Fat Woman.
Review: BARRIER(S), Camden People's Theatre
There’s something of Heartstopper to the design of Barrier(s), pastel sketches of suburban living rooms and nervous texts to a crush etched out lovingly on the projector.
Review: ROMEO A JULIET, Shakespeare's Globe
Romeo a Juliet does not make any of its political points overtly, and this is an occasion where some things are better left unsaid, without cheap gimmicks.
Review: GWENDA'S GARAGE, Southwark Playhouse
In Sheffield, the self-proclaimed “lesbian capital of the North”, a revolution is coming.
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