Clementine Scott
Review: WIFE TO JAMES WHELAN, Jermyn Street Theatre
The New York-based Mint Theater Company specialises in theatrical gems neglected by accidents of history.
Review: SPRINGWOOD, Hampstead Theatre
At one point, in June 1939, the UK-US ‘Special Relationship’ was defined by the King eating hotdogs on the president’s lawn.
Review: RELICS, Lyric Hammersmith
At first Relics seems straight out of a classic, deadpan British sitcom.
Review: STING, Young Vic
The protagonist of Sting, a postdoctoral student named Ash, lives in a divided world.
Review: MUCH ADO ABOUT NOTHING, Shakespeare's Globe
With its whitewashed walls and actors swanning around in linen suits, inevitably the Globe’s summer staging of Much Ado About Nothing will recall Kenneth Branagh’s Tuscany-set film version from 1993.
Review: DRIFTWOOD, Kiln Theatre
“It’s like vultures circling a carcass,” one character in Driftwood says of the uneasy situation in Trinidad a few years shy of independence.
Review: WE HAD A WORLD, Hampstead Theatre
On her deathbed, US playwright Joshua Harmon’s grandmother granted him permission to write a play about their family, on the condition that it be as “brutal and vitriolic” as possible.
Review: ARE YOU WATCHING?, Royal Court
Clad in pastel pyjamas and lounging on bunkbeds, two preteen girls discuss the repeated drugging and rape of Gisèle Pelicot.
Review: HIGH SOCIETY, Starring Helen George and Freddie Fox
Latest in the line of blockbuster Cole Porter musicals dominating the Barbican’s summer programming is High Society, following in the footsteps of Anything Goes and Kiss Me, Kate.
Review: REDCLIFFE, Southwark Playhouse
In early 1753, two men – a footman named William Critchard and a sailor named Richard Arnold – were arrested and executed for ‘buggery’ in the Bristol suburb of Redcliffe.
Review: ALBATROSS, Omnibus Theatre
It’s become something of a cliché in climate change coverage that the crisis has emerged out of the sins of the older generation wrought upon the young, and that fixing it is something that parents owe their children.
Review: DARK OF THE MOON, Charing Cross Theatre
The history of musical theatre was almost very different.
Review: THE HARDER THEY COME, Stratford East
In another world, Jimmy Cliff’s ‘You Can Get It If You Really Want’ would have made a barnstorming musical theatre ‘I Want’ song.
Review: QUARTET IN AUTUMN, Arcola Theatre
Despite her relative unpopularity within her lifetime, Barbara Pym always excelled at plumbing the depths in the lives of desperately ordinary people.
Review: CARE, Young Vic
Rosanna Vize’s set for the world premiere of Care is sterile, harshly lit and unromantic.
Review: THE GUY WHO DIDN’T LIKE MUSICALS, Apollo Theatre
It’s clear before the curtain rises – before you’ve even set foot in the theatre – that The Guy Who Didn’t Like Musicals is about more than the sum of its parts.
Review: THE BOY WHO HARNESSED THE WIND, @sohoplace
In many ways, @sohoplace is the perfect venue for The Boy Who Harnessed The Wind: the intimate thrust staging is perfect for elaborate ensemble choreography and carousing the audience.
Review: THE ANTI 'YOGI', Soho Theatre
The Anti “Yogi” (heavy on the quotation marks) is one of those shows where the tagline tells you everything you need to know: “liberation, not Lululemon”.
Review: THE CONVERSATION WITH HARRIET WALTER, St Martin-in-the-Fields
Shakespeare veteran Dame Harriet Walter talks about the Bard in a reverent tone, but she doesn’t let him off the hook.
Review: A MIDSUMMER NIGHT'S DREAM, Shakespeare's Globe
A few scenes into Emily Lim’s version of A Midsummer Night’s Dream, the Globe stage undergoes a transformation.
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