BWW Review: BARBER SHOP CHRONICLES, National Theatre
As eavesdropping opportunities go, the barber shop has everything a playwright could desire: a constant stream of close encounters and a broad range of people willing to sit still and talk.
Jenny Gilbert
BWW Review: WOYZECK, Old Vic
The very survival into the 21st century of an unfinished play written by a 23-year-old in 1836 is an extraordinary thing, made more extraordinary by the grimness of its subject.
BWW Review: OUR LADIES OF PERPETUAL SUCCOUR, Duke of York's Theatre
From The Sound of Music to Gareth Malone's The Choir, the redemptive power of choral singing has provided a wealth of feel-good stories.
BWW Review: MATTHEW BOURNE'S EARLY ADVENTURES, Sadler's Wells
If Matthew Bourne had set out to produce a dance show to express the sentiments of Brexit, he couldn't have done it more effectively than this.
BWW Review: GALA FLAMENCA 2017, Sadler's Wells
What could be more cheering in a dank dark London February than a blast of Spanish flamenco? Answer: a Sadler's Wells flamenco gala, a fistful of stellar talents for the price of one.
BWW Review: MASURCA FOGO, Sadler's Wells
For anyone who had been wondering, seven and a half years on from the demise of Pina Bausch, what was the point of her company's continued trawl through her back-catalogue, this visit is reason enough.
BWW Review: HEDDA GABLER, National Theatre
Ibsen's Hedda has been called the female Hamlet and not just because it's a role that every serious actress wants to play.
BWW Review: KING LEAR, Old Vic, 7 November 2016
Gender-blind casting has arrived and we'd better get used to it.
BWW Review: ANASTASIA, Royal Opera House, 26 October 2016
If Kenneth MacMillan had left well alone, the taut little chamber piece he made in 1967 - stark, inventive and affecting - would be hailed a modernist masterpiece by now.
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