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

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


EVERYBODY'S TALKING ABOUT JAMIE Leads November's Top 10 New London ShowsEVERYBODY'S TALKING ABOUT JAMIE Leads November's Top 10 Shows
Posted: Nov. 3, 2017


BroadwayWorld's Top Christmas Picks For London TheatreBroadwayWorld's Top Christmas Picks For London Theatre
Posted: Nov. 14, 2017


BWW Interview: Fenella Woolgar Talks THE SLAVES OF SOLITUDEFenella Woolgar Talks THE SLAVES OF SOLITUDE
Posted: Oct. 27, 2017


BWW Interview: Daniel Boys and Simon Lipkin Talk NATIVITY! THE MUSICALDaniel Boys and Simon Lipkin On NATIVITY! THE MUSICAL
Posted: Nov. 6, 2017


BWW Interview: Josie Walker On EVERYBODY'S TALKING ABOUT JAMIEJosie Walker On EVERYBODY'S TALKING ABOUT JAMIE
Posted: Nov. 13, 2017


BWW Interview: Nicholas Hytner Discusses BALANCING ACTSNicholas Hytner Discusses BALANCING ACTS
Posted: Nov. 14, 2017


LAST 365 DAYS

BWW Interview: Killian Donnelly On Playing Jean Valjean In LES MISERABLESKillian Donnelly On Playing Jean Valjean In LES MISERABLES
Posted: Jun. 12, 2017


BWW Interview: Stars Andrew Polec and Christina Bennington Talk BAT OUT OF HELLAndrew Polec and Christina Bennington Talk BAT OUT OF HELL
Posted: Jun. 15, 2017


BWW Interview: Ashley Gilmour Talks MISS SAIGON TourAshley Gilmour Talks MISS SAIGON Tour
Posted: Jun. 23, 2017


BWW Interview: Carley Stenson On Playing Fantine In LES MISERABLESCarley Stenson On Playing Fantine In LES MISERABLES
Posted: Aug. 30, 2017


BWW Interview: Sara Poyzer, New West End Donna, Talks MAMMA MIA!Sara Poyzer Talks West End MAMMA MIA!
Posted: Jun. 19, 2017


BWW Interview: Ben Lewis Talks THE PHANTOM OF THE OPERABen Lewis Talks THE PHANTOM OF THE OPERA
Posted: Sep. 11, 2017


BWW Interview: Freema Agyeman Talks APOLOGIA, Sense8 And The Female DoctorFreema Agyeman Talks APOLOGIA, Sense8 And The Female Doctor
Posted: Jul. 20, 2017


BWW Interview: Actress Lizzy Connolly Talks THE TWILIGHT ZONEBWW Interview: Actress Lizzy Connolly Talks THE TWILIGHT ZONE
November 23, 2017

Lizzy Connolly's past work includes On the Town, The Wild Party, Once in a Lifetime and Dirty Rotten Scoundrels. She's now tackling Anne Washburn's adaptation of TV classic The Twilight Zone at Almeida Theatre; previews begin 5 December.

BWW Review: NETWORK, National TheatreBWW Review: NETWORK, National Theatre
November 14, 2017

News as showbiz, entire networks and even a reality TV President fuelled by articulating popular rage, and gradual corporate dehumanisation: we are now living Paddy Chayefsky's satirical dystopia. Lee Hall's astute adaptation recognises that the 1976 movie needs little updating to feel like a searing indictment of 2017.

BroadwayWorld's Top Christmas Picks For London TheatreBroadwayWorld's Top Christmas Picks For London Theatre
November 14, 2017

Christmas is upon us, and the capital, as usual, is serving up a veritable feast of festive offerings. Here are some of London's finest

BWW Interview: Nicholas Hytner Discusses BALANCING ACTSBWW Interview: Nicholas Hytner Discusses BALANCING ACTS
November 14, 2017

Nicholas Hytner, former Artistic Director of the National Theatre in London, discusses his memoir BALANCING ACTS and new Bridge Theatre

BWW Interview: Josie Walker On EVERYBODY'S TALKING ABOUT JAMIEBWW Interview: Josie Walker On EVERYBODY'S TALKING ABOUT JAMIE
November 13, 2017

Josie Walker's work ranges from Matilda the Musical to Husband & Sons and War Horse. She's now starring in a new musical based on the real story of 16-year-old Jamie Campbell, who wanted to become a drag queen, and his supportive mother Margaret. Following a hit Sheffield run, it's currently in previews at the Apollo Theatre.

BWW Review: GLENGARRY GLEN ROSS, Playhouse TheatreBWW Review: GLENGARRY GLEN ROSS, Playhouse Theatre
November 10, 2017

David Mamet's Pulitzer-winning play, which premiered at the National in 1983, in back in London in a star-studded, pugilistic revival from Sam Yates. Though kept firmly in period, it's not hard to find skin-crawling contemporary parallels in Mamet's exposure of a toxic capitalist culture ruled by the art of the deal.

BWW Review: BIG FISH, The Other PalaceBWW Review: BIG FISH, The Other Palace
November 9, 2017

Based on Daniel Wallace's novel and Tim Burton's 2003 film adaptation, this musical is quite the oddity. Screenwriter John August has tinkered with the book since its brief Broadway run in 2013, but it remains an unfathomable mixture of magical and mawkish, whimsy and desolation.

BWW Interview: Daniel Boys and Simon Lipkin Talk NATIVITY! THE MUSICALBWW Interview: Daniel Boys and Simon Lipkin Talk NATIVITY! THE MUSICAL
November 6, 2017

Actors Daniel Boys and Simon Lipkin lead the new stage musical version of hit family film Nativity!, which is touring the UK this Christmas season.

EVERYBODY'S TALKING ABOUT JAMIE Leads November's Top 10 New London ShowsEVERYBODY'S TALKING ABOUT JAMIE Leads November's Top 10 New London Shows
November 3, 2017

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

BWW Interview: David Oakes Talks VENUS IN FURBWW Interview: David Oakes Talks VENUS IN FUR
November 2, 2017

David Oakes's past roles range from The Borgias and Victoria to Shakespeare in Love. He's currently playing opposite Natalie Dormer in dark comedy Venus in Fur at Theatre Royal Haymarket.

BWW Review: THE SLAVES OF SOLITUDE, Hampstead TheatreBWW Review: THE SLAVES OF SOLITUDE, Hampstead Theatre
October 31, 2017

We're back in the world of ration books, blackouts and spam fritters, as Nicholas Wright delves into the home front via his adaptation of Patrick Hamilton's 1947 novel. Though there's a certain period chintz about Jonathan Kent's production, darker undercurrents make this a more complex proposition than it first appears.

BWW Review: YOUNG MARX, Bridge TheatreBWW Review: YOUNG MARX, Bridge Theatre
October 29, 2017

Nicholas Hytner and Nick Starr's enterprise is certainly an historic one: The Bridge is London's first new wholly commercial theatre in 80 years. If its opening play isn't the same landmark work, it's nevertheless an auspicious start to a promising enterprise.

BWW Interview: Fenella Woolgar Talks THE SLAVES OF SOLITUDEBWW Interview: Fenella Woolgar Talks THE SLAVES OF SOLITUDE
October 27, 2017

Actress Fenella Woolgar's work ranges from Handbagged and Circle Mirror Transformation to Home Fires and Doctor Who. She's currently starring in the stage adaptation of Patrick Hamilton's The Slaves of Solitude, about a boarding house in 1943 Henley-on-Thames, where Miss Roach, who endures daily torment from a fellow occupant, becomes involved with an American serviceman. The play is now in previews at Hampstead Theatre.

BWW Review: AN INTIMATE EVENING WITH KRISTIN CHENOWETH, London PalladiumBWW Review: AN INTIMATE EVENING WITH KRISTIN CHENOWETH, London Palladium
October 21, 2017

The words 'an intimate evening with' may seem at odds with the cavernous Palladium. But leave it to the pint-sized Broadway legend with the huge voice to work her magic on the space. Somehow, with just a mic and a piano, Kristin Chenoweth put on a spectacular show and simultaneously formed a heartfelt connection with fans.

BWW Interview: Paula Garfield On 15 Years Of Deafinitely TheatreBWW Interview: Paula Garfield On 15 Years Of Deafinitely Theatre
October 19, 2017

Marking the 15th anniversary of pioneering company Deafinitely Theatre, Artistic Director Paula Garfield is directing a new production of Mike Bartlett's Contractions. It runs at New Diorama Theatre 1-29 November.

BWW Review: ALBION, Almeida TheatreBWW Review: ALBION, Almeida Theatre
October 18, 2017

The urge to present state-of-the-nation plays following the Brexit vote is understandable, even vital, but has produced decidedly mixed results. Thankfully, Mike Bartlett's empathetic Chekhovian response is a real winner: rich in loamy metaphor, yes, but also a gripping family drama crackling with humour.

BWW Review: A WOMAN OF NO IMPORTANCE, Vaudeville TheatreBWW Review: A WOMAN OF NO IMPORTANCE, Vaudeville Theatre
October 17, 2017

Dominic Dromgoole's new company Classic Spring kicks off its year-long celebration of Oscar Wilde with lesser-known 1893 work A Woman of No Importance. A starry cast, led by the incandescent Eve Best, makes a strong case for the play, though Dromgoole's reclaiming of Wilde in the proscenium arch theatre space for which he originally wrote is more of a mixed affair.

BWW Review: BEGINNING, National TheatreBWW Review: BEGINNING, National Theatre
October 13, 2017

It seems to be the week for notable romcom two-handers. Joining Simon Stephens' Heisenberg and David Ireland's The End of Hope is David Eldridge's meditation on the loneliness and halting longing of modern relationships.

BWW Interview: Emma Fielding On A WOMAN OF NO IMPORTANCEBWW Interview: Emma Fielding On A WOMAN OF NO IMPORTANCE
October 12, 2017

Actress Emma Fielding's work ranges from Arcadia, Private Lives and The King's Speech to Terror and The School for Scandal. She's now playing Mrs Allonby in Oscar Wilde's A Woman of No Importance at the Vaudeville Theatre, currently in previews.

BWW Review: HEISENBERG: THE UNCERTAINTY PRINCIPLE, Wyndham's TheatreBWW Review: HEISENBERG: THE UNCERTAINTY PRINCIPLE, Wyndham's Theatre
October 10, 2017

For the premiere work of new company Elliott & Harper Productions, director Marianne Elliott got the Curious Incident band back together, from playwright Simon Stephens to her acclaimed creative team. But it's in service of a much more intimate piece that while strikingly staged at times feels like an odd fit for a West End house.



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