Review: TWELFTH NIGHT, Shakespeare's Globe
‘This is Illyria,’ bellows the sea captain conveying the shipwrecked Viola to shore, in what is surely one of Shakespeare’s most straightforward opening lines.
Clementine Scott - Page 5
Album Review: LIVE IN LONDON, Marisha Wallace
Marisha Wallace, Broadway’s current Sally Bowles, has had a career in New York and London marked by starring roles in musicals about women surviving tough circumstances.
Camden Fringe Review: THE PUBLICIST, Libra Theatre Cafe
There’s a make-or-break moment towards the end of The Publicist, where Julia Pilkington’s titular PR professional stands trapped on a phone call between two rails of clothing, a TV producer and former friend berating her on one side, her client trying to severe their professional relationship on
Review: BEETHOVEN: I SHALL HEAR IN HEAVEN, Opera Holland Park
This is a great opportunity to hear the breadth of Beethoven’s work performed in a novel way, and the drama does have its flashes of brilliance.
Review: SAVING MOZART, The Other Palace
Saving Mozart has created an enticing musical and visual universe, and the culture of 18th century court musicians is promising territory for musical theatre.
Review: CLIVE, Arcola Theatre
There are no firm tabloid-headline conclusions to be found in Clive about how technology’s ruining our lives, or how younger generations don’t know how to speak to people, and the play is all the better, and more timeless, for it.
Review: MAIDEN VOYAGE, Southwark Playhouse Elephant
Once reliable Oscar bait, the classic “inspirational” biopic become something of a social media punchline in recent years.
Review: 101 DALMATIANS: THE MUSICAL, Eventim Apollo
101 Dalmatians is a solid retelling of a classic that feels life-affirming without being too sentimental.
Review: ECHO, King's Head Theatre
“What is it about this hotel room?” This is the question posed by a cast member of Echo, over halfway through the play, when we’ve been trapped inside a deliciously kitsch B&B, all lilac wallpaper and shag carpets, for over an hour.
Review: FOUR PLAY, King's Head Theatre
Sitting in the grand tradition of the ‘partner swap’ drama, 2015’s Four Play spoke to the LGBTQ+ community post-marriage equality, grappling with the desire to fit in in heteronormative suburbia versus the freedom to explore sexuality in a way that feels authentic.
Review: 35MM: A MUSICAL EXHIBITION, Phoenix Arts Club
“Who cares what happened after?” This is the question posed by song cycle 35MM, which takes its structure from a series of photographs, each projected onto the back wall, and giving us a musical insight into a single moment, where nothing beforehand or afterwards matters – a breakup, the tende
Review: UGLY SISTERS, Soho Theatre
“What does a woman feel like?” Not an easy question for any woman, cis or trans, to answer, and Ugly Sisters, an Edinburgh Fringe transfer from transfemme production company piss / CARNATION, resists giving us any easy solutions, while also making the issue at hand feel more expansive than any r
Review: LE NOZZE DI FIGARO, Glyndebourne Festival
You could be forgiven for thinking that there isn’t much more to be said about Le nozze di Figaro, the most performed opera in Glyndebourne’s history.
Review: JIMMY, Park Theatre
For anyone who loves or even likes the game of tennis, Jimmy is a worthy paean to how harrowing the sport can be at its best.
Review: TRIAL BY JURY/A MATTER OF MISCONDUCT!, Opera Holland Park
A thoughtfully selected double bill making up the operetta segment of Opera Holland Park’s summer season shows the genre at its technical best, but also illuminates its troubling shortcomings.
Review: MEDEA, Coronet Theatre
This Medea feels at one with its ancient origins, with Athens’ strict patriarchy and fractured psyches and desperate quests for glory, while also injecting a risk-taking dose of dread and brutality.
Review: OUR COSMIC DUST, Park Theatre
Sometimes the Brechtian veers into the over-literal, but there is still clarity and catharsis to be found in a child's newfound understanding of life and loss.
Review: THE FROGS, Southwark Playhouse
The recent UK premiere of Here We Are, Stephen Sondheim’s final musical, certainly demonstrated that the much-mourned legend had his flaws.
Review: DIAGNOSIS, Finborough Theatre
You may not know Athena Stevens’s name, but you may remember her legal troubles: her allegations against Shakespeare's Globe of sexual abuse by a fellow actor and disability discrimination were widely reported in March this year.
Review: AFTER THE ACT, Royal Court
To pin an entire show on one piece of local government legislation may seem an implausible move at first glance.
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