Review: THE RAT TRAP, Park Theatre
“Domestic matters are more your domain than mine,” a husband says to his wife in the middle of her working day, echoing a thousand gaslighting, supposedly liberal men who’ve come before and since.
Clementine Scott - Page 3
Review: THE TEMPEST, Shakespeare’s Globe
The Tempest is perhaps the most metatheatrical of Shakespeare's plays: the plot takes place in real time, and Prospero asks the audience to “free” him with their applause.
Review: ROTUS: RECEPTIONIST OF THE UNITED STATES, Park Theatre
MAGA womanhood is a curious paradox, observed with interest across the pond after a third of women under 30 voted for Trump in 2024.
Review: ALREADY PERFECT, King's Head Theatre
Haven’t we all wanted to have a chat with our inner child at some point? And what if the inner child is not quite as faultless and innocent as we may think?
Review: OUR AMERICAN QUEEN, Bridewell Theatre
The stage is immediately set for a confrontation.
Review: LA TRAVIATA, Royal Ballet And Opera
Opera as a whole may be too reliant on museum pieces, on endless identikit revivals designed to secure bums on seats.
Review: ORPHANS, Jermyn Street Theatre
Lyle Kessler’s Orphans was first performed in 1983, but you wouldn’t know that from this production.
Review: TOP HAT, Queen Elizabeth Hall
Twenty or so dancers parade before an oversized Art Deco clock, to the familiar strains of ‘Puttin’ on the Ritz’ from a brass band offstage.
Review: INDIAN INK, Hampstead Theatre
Indian Ink is not among Tom Stoppard’s greatest plays.
Review: KENREX, The Other Palace
An ominous small town tension, the lingering fear that something rotten lies beneath the wholesome community spirit, pervades KENREX, which transfers to London after an acclaimed Sheffield Theatres run.
Review: DANIEL'S HUSBAND, Marylebone Theatre
We’re in a room straight out of the pages of Architectural Digest, two couples sipping Scotch on mid-century chaise longues.
Review: DRACAPELLA, Park Theatre
Bram Stoker’s Dracula can actually be quite funny.
Review: BEAUTY AND THE BEAST: A HORNY LOVE STORY, Charing Cross Theatre
In an age of transphobic fearmongering about any drag queen daring to perform in front of children, acknowledging the fact that British family entertainment has always been queer feels more important than ever.
Review: THE CHRISTMAS THING, Seven Dials Playhouse
The Christmas Thing is a variety show with a little too much variety, and sometimes feels like a showcase for its talented performers (and perhaps a few game audience members) rather than a standalone show.
Review: THE SPY WHO CAME IN FROM THE COLD, @sohoplace
This is a tale exhilaratingly told, and if it fails it fails for being too inventive, rather than not inventive enough.
Review: DAVID COPPERFIELD, Jermyn Street Theatre
This David Copperfield is far more than a cheap facsimile of its source material.
Review: PETTY MEN, Arcola Theatre
Few Shakespeare plays have received the ‘updated for the current political moment’ treatment more than Julius Caesar.
Review: JOBSWORTH, Park Theatre
If you’ve ever worked a remote job, and been strapped for cash, you’ll recognise the temptation to take on additional casual work on the side.
Review: PARTENOPE, London Coliseum
Here are all the hallmarks of any good Shakespearean comedy: love polygons, gender trouble and a shipwreck to get things going.
Review: PRECIPICE, New Diorama
What do we do when the world is falling apart around us? We sing.
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