BWW Review: JELLYFISH, National Theatre
Jellyfish is a wonderful piece of writing brilliantly brought to life by a marvellous cast in which Sarah Gordy shines.
Gary Naylor - Page 30
BWW Review: PETER GYNT, National Theatre
David Hare's updating of Ibsen's Peer Gynt has plenty to say about the world in 2019 - perhaps a little too much - but James McArdle's central performance and the sheer chutzpah of the concept and direction pulls it through.
BWW Review: ONE GIANT LEAP, Jack Studio Theatre
One Giant Leap takes a good set up - a failing sci-fi show asked to fake the moon landings - but loses its way amongst predictable stereotypes and laughs that come few and far between.
Exciting New Voices Showcased in NEW VIEWS at the National Theatre
BWW was impressed with the work of the young playwrights selected as winners of the National Theatre's annual New Views competition.
BWW Review: SUMMER ROLLS, Park Theatre
Summer Rolls takes us into the heart of a British Vietnamese family that is struggling to deal with the present, a consequence of the long shadow cast by the past.
BWW Review: CROOKED DANCES, The Other Place, Stratford-upon-Avon
Crooked Dances takes us deep into the French forest and deep into the mysteries of the occult, as go-getting journalist, Katy, learns more than she would like about reclusive pianist Silvia and her obsession with the music of Erik Satie.
BWW Review: HAMLET, St Paul's Church, Covent Garden
Iris Theatre's summer season at St Paul's Church kicks off with an innovative Hamlet in which not all the bells and whistles work, but which boasts a fine central performance from Jenet Le Lacheur.
BWW Interview: Julian Glover Talks THE NIGHT OF THE IGUANA
Julian Glover talks about his long life on stage and screen, and about his role in the new production of The Night of the Iguana at the Noel Coward Theatre
BWW Review: CARMEN, Royal Opera House
Barrie Kosky's Carmen returns to the Royal Opera House for a second revival and still chalks up as many misses as hits.
BWW Review: THE MOTHER, Queen Elizabeth Hall, Southbank Centre
Arthur Pita adapts Hans Christian Andersen's The Story of a Mother for Natalia Osipova and Jonathan Goddard in a contemporary dance work that is unblinkingly clear and ferocious in its storytelling.
BWW Review: BORIS GODUNOV, Royal Opera House
Illuminated by a masterful performance from Bryn Terfel, this production is a gruelling but rewarding, often stunning, revisit to the Musorgsky's original 1869 version.
BWW Review: THE LIGHT IN THE PIAZZA, Royal Festival Hall
Adam Guettel's extraordinary music, wonderfully played by the Orchestra of Opera North, is the best reason to revive a show that is hobbled by a pedestrian book and awkward stereotypes.
BWW Review: PLENTY, Chichester Festival Theatre
The one-time highly controversial David Hare play still packs a punch and a message that seems, if anything, even more insistent in these Austerity / Brexit days.
BWW Review: BREXIT, King's Head Theatre
Brexit looks at, well, Brexit and finds comedy in the twists and turns it forces upon the new Prime Minister, Adam Masters - but the jokes could be funnier and the satire more biting.
BWW Interview: Anna Morrissey Talks A MIDSUMMER NIGHT'S DREAM at the Nevill Holt Opera
Anna Morrissey talks about her work as a movement director and the challenges of making her directing debut with Benjamin Britten's A Midsummer Night's Dream
BWW Review: FORCE OF NATURE NATALIA, Curzon Mayfair
Force Of Nature gives us an unprecedented up close and personal insight of the work of Royal Ballet Principal, Natalia Osipova, but leaves us wanting to know more about the woman who animates the dancer.
BWW Review: EDUCATION, EDUCATION, EDUCATION, Trafalgar Studios
Education, Education, Education presses a lot of nostalgia buttons to generate laughs, but leaves its strongest storyline relatively unexplored.
BWW Review: MANON LESCAUT, Opera Holland Park
A somewhat disengaged staging is saved by wonderful music played wonderfully well and a distressing coup de theatre brothel scene.
BWW Interview: Alexander Feklistov Talks THE KNIGHT OF THE BURNING PESTLE at the Barbican
Alexander Feklistov talks about working with Cheek by Jowl, the differences between different audiences and how a 400 year old play resonates today.
BWW Review: VENICE PRESERVED, Swan Theatre, Stratford-upon-Avon
Prasanna Puwanarajah's revival of Venice Preserved brings the look of the show right up to date - its narrative is very 21st century, so needed nothing.
.jpg?format=auto&width=300)
.jpg?format=auto&width=365)
Tickets From $73
Tickets From $89
Tickets From $89
Tickets From $65