Marianka Swain

Marianka Swain Marianka Swain is the UK Editor-in-chief of BroadwayWorld. A London-based theatre critic and arts journalist, she also contributes to several other outlets, including the Ham & High and Islington Gazette newspapers, Dancing Times magazine and theartsdesk. You can find more of her work at www.mkmswain.com or follow her on Twitter @mkmswain


MOST POPULAR ARTICLES
LAST 30 DAYS

SYLVIA Leads September's Top 10 New London ShowsSYLVIA Leads September's Top 10 New London Shows
Posted: Sep. 2, 2018


BWW Review: Tricycle Reopens as the Kiln TheatreBWW Review: Tricycle Reopens as the Kiln Theatre
Posted: Sep. 12, 2018


BWW Review: DANCE NATION, Almeida TheatreBWW Review: DANCE NATION, Almeida Theatre
Posted: Sep. 5, 2018


LAST 365 DAYS

BWW Interview: David Oakes Talks VENUS IN FURBWW Interview: David Oakes Talks VENUS IN FUR
Posted: Nov. 2, 2017


BWW Review: BRING IT ON: THE MUSICAL, Southwark PlayhouseBWW Review: BRING IT ON: THE MUSICAL, Southwark Playhouse
Posted: Aug. 7, 2018


BWW Interview: Lucie Shorthouse On EVERYBODY'S TALKING ABOUT JAMIELucie Shorthouse On EVERYBODY'S TALKING ABOUT JAMIE
Posted: Dec. 3, 2017


BWW Review: AN INTIMATE EVENING WITH KRISTIN CHENOWETH, London PalladiumBWW Review: AN INTIMATE EVENING WITH KRISTIN CHENOWETH
Posted: Oct. 21, 2017


BWW Interview: Bunny Christie and Tony Grech-Smith On the JULIUS CAESAR NT Live BroadcastBunny Christie and Tony Grech-Smith On the JULIUS CAESAR Broadcast
Posted: Mar. 16, 2018


Review: MOOD MUSIC, Old VicReview: MOOD MUSIC, Old Vic
Posted: May. 3, 2018


BWW Review: CHESS, London ColiseumBWW Review: CHESS, London Coliseum
Posted: May. 1, 2018


BWW Review: Tricycle Reopens as the Kiln TheatreBWW Review: Tricycle Reopens as the Kiln Theatre
September 12, 2018

It's all change at the Kiln (was Tricycle) Theatre, with a 5.5 million redevelopment resulting in a bright, light, spacious and welcoming new building complete with a more obvious street presence, comfortable caf/bar area, plentiful ladies' loos, and a flexible auditorium with plush seats and improved sight lines.

BWW Review: DANCE NATION, Almeida TheatreBWW Review: DANCE NATION, Almeida Theatre
September 5, 2018

Wild, raw, hilarious and tender, Clare Barron's electrifying play - first seen in New York earlier this year - is a candid portrait of prepubescent girls, rare compared with the myriad male coming-of-age tales. But, like its warrior women, Barron's piece fights for its space, and with a formal daring that teeters thrillingly on the edge of chaos.

SYLVIA Leads September's Top 10 New London ShowsSYLVIA Leads September's Top 10 New London Shows
September 2, 2018

London is never short of temptations, whether splashy West End shows, epic dramas or bold fringe offerings. From a new hip-hop history lesson to Pinter and Shakespeare, here are some of this month's most eye-catching openings. Don't forget to check back for BroadwayWorld reviews, interviews and features!

BWW Review: BRING IT ON: THE MUSICAL, Southwark PlayhouseBWW Review: BRING IT ON: THE MUSICAL, Southwark Playhouse
August 7, 2018

There's an explosion of spirit and - yes - 'cheer face' at Southwark Playhouse, hosting the long-awaited UK premiere of this 2011 musical; last year's national tour was sadly postponed. But Ewan Jones's dynamic British Theatre Academy production, with its minimal scenery and tight ensemble perfectly filling a midsize space, suggests it's the ideal piece to go on the road - not to mention its timely, uplifting message of inclusion.

BWW Review: THE IMPORTANCE OF BEING EARNEST, Vaudeville TheatreBWW Review: THE IMPORTANCE OF BEING EARNEST, Vaudeville Theatre
August 3, 2018

Classic Spring's year-long season ends with Wilde gone wild: a free love riot that yanks the homosexual subtext into text, with everyone from masters and servants to, er, the long-lost brothers sharing snogs and cigarettes. The famous passive aggressive tea party turns into a food fight, and even Lady Bracknell is at the sherry.

BWW Interview: Jeremy Swift Talks THE IMPORTANCE OF BEING EARNESTBWW Interview: Jeremy Swift Talks THE IMPORTANCE OF BEING EARNEST
August 2, 2018

Jeremy Swift is well known to TV audiences as Septimus Spratt on Downton Abbey. On the big screen, he's appeared in Polanski's Oliver Twist and Altman's Gosford Park, and will shortly be seen in Mary Poppins Returns. He's currently playing Reverend Chasuble in The Importance of Being Earnest at the Vaudeville Theatre, which opens tonight.

BWW Review: HOME, I'M DARLING, National TheatreBWW Review: HOME, I'M DARLING, National Theatre
August 1, 2018

The first thing we see is Anna Fleischle's Fifties-tastic giant doll's-house set: each period-perfect room bathed in a different twinkling hue, flowers painted onto the brick wall, and jaunty music setting the tone. But Katherine Parkinson's Judy is able to open the front wall like a folding door - clearly establishing that this life, and this contentment, is just a facade.

OTHELLO Leads August's Top 10 New London ShowsOTHELLO Leads August's Top 10 New London Shows
July 30, 2018

London is never short of temptations, whether splashy West End shows, epic dramas or bold fringe offerings. From starry Shakespeare and a new musical to family entertainment, here are some of this month's most eye-catching openings. Don't forget to check back for BroadwayWorld reviews, interviews and features!

BWW Review: SPAMILTON, Menier Chocolate FactoryBWW Review: SPAMILTON, Menier Chocolate Factory
July 25, 2018

Gerard Alessandrini is not throwing away his shot. The creator of satirical revue Forbidden Broadway realised that the unprecedented success of Lin-Manuel Miranda's musical warranted a standalone show, and thus Spamilton was born. A 2016 Off-Broadway hit, the affectionate spoof now follows Hamilton over the pond.

BWW Review: ALLELUJAH!, Bridge TheatreBWW Review: ALLELUJAH!, Bridge Theatre
July 20, 2018

This highly anticipated new play from 84-year-old Alan Bennett premieres at the Bridge, continuing his long-standing relationship with Nicholas Hytner. It's an exciting get, and there are wonderful flashes of Bennett wit, wisdom and stirring empathy, but also polemical outbursts and baggy plotting that leads to a ponderous and not entirely justified run time.

BWW Interview: Damian Humbley Talks SPAMILTONBWW Interview: Damian Humbley Talks SPAMILTON
July 17, 2018

Australian actor Damian Humbley's past work includes Merrily We Roll Along,The Woman in White andThe Last 5 Years.He's currently starring inSpamilton, an affectionate spoof of the all-conqueringHamilton, at Menier Chocolate Factory.

BWW Review: THE LEHMAN TRILOGY, National TheatreBWW Review: THE LEHMAN TRILOGY, National Theatre
July 13, 2018

Through one family and one company, Italian playwright Stefano Massini tackles big topics: the development of Western capitalism, the immigrant experience, the American Dream. But this isn't just any family it's the Lehman Brothers, the collapse of whose banking firm precipitated the 2008 financial crisis.

THE LEHMAN TRILOGY Leads July's Top 10 New London ShowsTHE LEHMAN TRILOGY Leads July's Top 10 New London Shows
July 5, 2018

London is never short of temptations, whether splashy West End shows, epic dramas or bold fringe offerings. From a new theatrical epic to Shakespeare and musical spoof, here are some of this month's most eye-catching openings. Don't forget to check back for BroadwayWorld reviews, interviews and features!

BWW Interview: Director Emily Lim Talks PERICLES at the National TheatreBWW Interview: Director Emily Lim Talks PERICLES at the National Theatre
July 4, 2018

This August, a company of over 200 people from across London joins forces at the National Theatre to perform a new musical version of Shakespeare's Pericles.

BWW: KISS ME, KATE, London ColiseumBWW: KISS ME, KATE, London Coliseum
June 21, 2018

Cole Porter's 1948 love letter to showbiCole Porter's 1948 love letter to showbiz is brilliantly served by Opera North's big, bold and bawdy production - both soaringly romantic and packed with meta winks. A touring staple, Jo Davies' detailed take (the revival helmed byEd Goggin) beds down very comfortably in the London Coliseum.

BWW Review: THE PRIME OF MISS JEAN BRODIE, Donmar WarehouseBWW Review: THE PRIME OF MISS JEAN BRODIE, Donmar Warehouse
June 12, 2018

The bells, the bells! They're ringing out at the Donmar - ushering girls into class, and nuns into cloister. It's one of the creative ways in which director Polly Findlay reframes this beloved classic, although a new adaptation from David Harrower also rings the changes.

BWW Review: JULIE, National TheatreBWW Review: JULIE, National Theatre
June 8, 2018

Polly Stenham's updating of Strindberg's Miss Julie moves the action to contemporary London, and finds both contempt and sympathy for this new version of the idle rich. But, shorn of its 19th-century context, the play struggles to make the class transgression feel dangerous, nor does this 85-minute piece dwell long enough on subjects like racism or sexism.

BWW Review: TRANSLATIONS, National TheatreBWW Review: TRANSLATIONS, National Theatre
May 31, 2018

It begins with deep breathing, in order to access words that hold unimaginable power. And Ian Rickson's exquisite production of Brian Friel's masterpiece maintains that space throughout: for words to breathe and simmer, to hang in the air, and for us to understand how vital language is not just as a means of communication, but identity, nationality, and a rich heritage at risk of extinction.

FUN HOME Leads June's Top 10 New London ShowsFUN HOME Leads June's Top 10 New London Shows
June 17, 2018

London is never short of temptations, whether splashy West End shows, epic dramas or bold fringe offerings. From a ground-breaking musical to a mighty modern classic, here are some of this month's most eye-catching openings. Don't forget to check back for BroadwayWorld reviews, interviews and features!

BWW Review: AS YOU LIKE IT/HAMLET, Shakespeare's GlobeBWW Review: AS YOU LIKE IT/HAMLET, Shakespeare's Globe
May 18, 2018

Michelle Terry's first season as Artistic Director of the Globe will be carefully scrutinised. Emma Rice's contentious exit raised important questions about the venue's purpose, its balancing of tradition and innovation, new and returning audiences, and about how we engage with Shakespeare in the 21st century.



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