Review: #FATKARY: THE CORRIDO OF A TRAGIC EX-FAT WOMAN, Playground Theatre
You’d be hard pressed to find a more striking opening outfit in a play than #FATKARY: The Corrido of a Tragic Ex-Fat Woman.
Clementine Scott - Page 4
Review: BARRIER(S), Camden People's Theatre
There’s something of Heartstopper to the design of Barrier(s), pastel sketches of suburban living rooms and nervous texts to a crush etched out lovingly on the projector.
Review: ROMEO A JULIET, Shakespeare's Globe
Romeo a Juliet does not make any of its political points overtly, and this is an occasion where some things are better left unsaid, without cheap gimmicks.
Review: GWENDA'S GARAGE, Southwark Playhouse
In Sheffield, the self-proclaimed “lesbian capital of the North”, a revolution is coming.
Review: WYLD WOMAN, Southwark Playhouse
If you’re one of the lucky few to be seated on the stage during new one-hander Wyld Woman, you’ll be treated to a close-up of US writer-performer Isabel Renner acting out some of the worst sex you’ve ever seen (one particular metaphor about Covid tests sticks in the mind).
Review: CROCODILE FEVER, Arcola Theatre
During the interval at Crocodile Fever’s London premiere, we’re all rushed out of the Arcola auditorium a little quicker than we would be normally.
Review: SIT OR KNEEL, The Other Palace
Many a recent headline has luxuriated in Gen Z becoming one of the largest demographics at church services in the UK – we’re the ones who made the papal conclave go viral, after all.
Review: GIUSTINO, Royal Ballet And Opera
Both director and designer have slightly too many ideas about what the show could be, and what is left is unresolved potential.
Review: MY ENGLISH PERSIAN KITCHEN, Soho Theatre
Some Soho Theatre audience members at My English Persian Kitchen over the next month may be more enticed by what comes after the show than by the show itself.
Review: LEE, Park Theatre
Lee Krasner has now received her flowers, with major retrospectives at the Barbican among other European galleries in recent years, but it wasn’t always that way.
Review: UPROOTED, New Diorama
Once the provocative point has been made, that violence against the planet and against women are one and the same, Uprooted seems unsure of where to go next.
Review: THE BILLIONAIRE INSIDE YOUR HEAD, Hampstead Theatre
This is rich, layered writing on mental illness which avoids tired cliches of germaphobes forever washing their hands.
Review: ENGLISH KINGS KILLING FOREIGNERS, Soho Theatre
A biracial actor stands in the harsh glare of the spotlight, about to recite the St Crispin’s Day speech from Shakespeare’s Henry V, clad in a bulletproof vest.
Review: DOOMERS, Rose Lipman Building
Like much science fiction, US playwright Matthew Gasda’s Doomers has to contend with one crucial issue – how do we make sure that the dramatic stakes remain high, when nobody yet knows the end result of the technology driving the story? Doomers is concerned with where the balance is between prog
Review: REUNION, Kiln Theatre
Lock a few theatre characters in a room together, sit them around a dinner table and they surely won’t leave without revealing a few hidden resentments, infidelities, or family secrets they thought they’d take to their graves.
Review: THE TRUTH ABOUT BLAYDS, Finborough Theatre
Even though the Finborough has been transformed into a lush 1920s drawing room, with emerald green walls and an intricately stuccoed fireplace, cloyingly nostalgic period piece this is not.
Review: VERMIN, Park Theatre
There’s something of the early feminist short story The Yellow Wallpaper to the conceit of Vermin – the escape from a marriage tainted by violence is found not outside the house, but inside it.
Review: THE CHAOS THAT HAS BEEN AND WILL NO DOUBT RETURN, Southwark Playhouse
So much ink has been spilled on the perilous joy of being young, but this new slice-of-life drama set in a deprived London suburb puts it better than most: youth is about always being “on the precipice of choice”.
Review: THE POPESS, The Glitch
‘What do you look for in faith?’ This is the question proclaimed by Italian performer Elena Mazzon in The Popess, before she launches upon unsuspecting audience members in search of individual responses.
Review: CASCANDO, Jermyn Street Theatre
If you happen to be strolling around Piccadilly in the next couple of weeks, you’d be forgiven for thinking you’d stumbled upon an arcane cult ritual – or perhaps an unusually urban episode of The Traitors.
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