Review: ARTIFICIALLY YOURS, Riverside Studios
Leslie Ash leads a very funny play by first time writer Aaron Thakar, lit up by a charming and hilarious turn by another debutante, Jake Mavis
Gary Naylor - Page 10
Review: CARMEN, Royal Opera House
An old favourite brings the passion and the pain with beautiful singing and convincing acting
Review: THE DREAM OF A RIDICULOUS MAN, Marylebone Theatre
A tale for our time - a thought that brings both a disillusioned sense that little has changed in 150 years but also a sense that things can
Review: DUKE BLUEBEARD'S CASTLE, London Coliseum
English National Opera closes its troubled, but successful, 2023-24 season with Bartok's curious compelling slice of psychodrama beautifully played by its orchestra
Review: LONDON ZOO, Southwark Playhouse
Too much left unexplored in biting satire on the workplace and the emerging new media landscape of the 21st century
Review: LOVE FROM CARMEN, Chickenshed Theatre
Rap and Bizet's music tells this updated story of love in a hostile world
Review: NYE, National Theatre
The emotions driving the birth of the NHS, as experienced by its founding father, explored in epic production
Review: THE IMPROVISED PLAY, Arcola Theatre
By their very nature, improvised shows will have good nights and not so good nights
Review: JEKYLL & HYDE, National Theatre Schools Tour
A shocking and taboo-busting production fires young minds like no other art form can.
Review: MARRY ME A LITTLE, Stage Door Theatre
Woman and Man sing lesser-known songs from the Broadway master's oeuvre and fail to connect
Review: THE SOBCENTRE, Jack Studio Theatre
Tathata Theatre have some good ideas, but we see what looks more like a work-in-progress than a fully realised play
Review: JAB, Finborough Theatre
James McDermott's two-hander hits hard, but needs a little more mystery and nuance to realise its potential
Review: LEAR'S SHADOW, Jack Studio Theatre
Colin Hurley gives us a Lear who has echoes of leaders today, but the pace and volume of the performance make drawing such parallels tricky.
Review: WHEN YOU PASS OVER MY TOMB, Arcola Theatre
Daniel Goldman brings award-winning Franco-Uruguayan Sergio Blanco's 2016 play to English speaking audiences for the first time
Review: THE BARBER OF SEVILLE, English National Opera, London Coliseum
The longstanding favourite is all very slick but, 37 years on, the production is showing its age
Review: ROMEO AND JULIET, RSC First Encounters, Sydenham Primary School
Arts funding has never been more threatened at a time when it's never been more needed
Review: THE HANDMAID'S TALE, English National Opera, London Coliseum
Paul Ruder's opera, based on Margaret Atwood's celebrated novel, has, frighteningly, gained more relevance since its premiere in 2000
Review: THE EU KILLED MY DAD, Jermyn Street Theatre
Aaron Kilercioglu's play may, or may not, be an allegory for Turkey's changing state in a changing world
Review: TRANSGRESSION, White Bear Theatre
Loretta Monaco's play introduces interesting ideas, but lacks the characterisation and dialogue required to build convincing and engaging characters
Review: THE MOTHER OF KAMAL, Upstairs at the Gatehouse
Dina Ibrahim's play is important and heartfelt, but never establishes a tight grip on the audience's emotions
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