Review: FILMS IN CONCERT: INTERSTELLAR LIVE, Royal Albert Hall
Given only the slightest of insights into what Christopher Nolan intended, Hans Zimmer set about creating a score for Interstellar that he would later call the best work of his career.
Franco Milazzo - Page 2
Review: THE AUTHENTICATOR, National Theatre
Eccentric artist Fenella Harford (Sylvestra Le Touzel) inherits her family’s stately home and uncovers a cache of hidden diaries that may rewrite its history.
Review: RIGOLETTO, Royal Ballet And Opera
When this Rigoletto first opened the Royal Opera House’s first full season after the long pandemic silence, it felt less like a return to normality and more like a statement of intent.
Review: THE LAST STRONGHOLD, Excurio
Set in the bustling medieval castle of Carcassone, Excurio’s The Last Stronghold drops us into the midst of political intrigue, a budding romance and a nightmarish encounter
Review: ANCIENT GREASE, The Vaults
At The Vaults, Ancient Grease arrives with impeccable comic timing.
Review: VIKINGS: THE IMMERSIVE EXPERIENCE, Dock X
After the recent avalanche of historical exhibitions which have stretched the “immersive” beyond the point of plausibility, is Vikings worth the trek to Dock X?
Review: THE HOLY ROSENBERGS, Menier Chocolate Factory
At the Menier Chocolate Factory, the revival of Ryan Craig’s The Holy Rosenbergs arrives with the weight of history attached to it.
Interview: 'A Bolt of Lightning Runs Through You': Artistic Director Christine Jones on THEATRE FOR ONE's Singular Intimacy and Raw Impact
Imagine a space where the boundary between the stage and the stalls simply evaporates.
Review: SINEMATIC, Emerald Theatre
It appears Tosca Rivola is back for a sequel of sorts.
Review: THE OPERA LOCOS, Sadler's Wells
If you have ever suspected that opera might benefit from fewer Valkyries and more vaudeville, Opera Locos is here to confirm your prejudice and then sing it at you in Italian.
Review: CHICOS MAMBO: TUTU, Sadler's Wells East
Philippe Lafeuille’s TUTU arrives at the Peacock with the air of a sugar rush and the spine of a manifesto.
Review: COSÌ FAN TUTTE, London Coliseum
Phelim McDermott directing Così fan tutte is a bit like asking a Catholic priest to do Mass in full drag.
Review: THE VIRGINS, Soho Theatre
Featuring two of the most awkward sex scenes you'll ever see, this acerbic comedy is a merciless meditation on teenage fumblings.
Review: DEBATE: BALDWIN VS BUCKLEY, Wilton's Music Hall
Confronting issues that echoes down the decades, american vicarious resurrects the 1965 Cambridge Union debate between James Baldwin and William F.
Review: BORIS GUDUNOV, Royal Ballet And Opera
If Mussorgsky’s Boris Godunov were a dinner party, Richard Jones’s Russian-language revival at the Royal Opera House would be the dinner date where you arrive bright and curious and leave questioning your life choices, nursing a neat whisky in a corner.
Review: ASYLUM KING, Collective Theatre
It was probably a dark, rainy night when Francesca Marlowe came across the mysterious case of the dead asylum seeker.
Review: I DO, Malmaison Hotel
Theatre has to work extra hard in January to get people away from cosy duvets and into venues.
Review: CIRQUE DU SOLEIL: OVO, Royal Albert Hall
Let’s get the essentials out of the way.
Critics’ Choice: Franco Milazzo's Best Theatre Of 2025
Looking back over 2025, it appears I sat in a dark room and wrote barely legible thoughts into a notebook on about 150-odd occasions.
Review: CHRISTMAS DAY, Almeida Theatre
There is a particular kind of contemporary British play that believes proximity to the dinner table equals profundity.
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