Our UK / West End Critics
View All »
Aliya Al-Hassan
Critic
Amber-Rae Stobbs
Critic
Caroline Cronin
Critic
Cheryl Markosky
Critic
Cindy Marcolina
Critic
Debbie Gilpin
Critic
Donald Hutera
Critic
Franco Milazzo
Critic
Gary Naylor
Critic
Guest Author
Critic
Kat Mokrynski
Critic
Matthew Paluch
Critic
Mica Blackwell
Critic
Michael Higgs
Critic
Vikki Jane Vile
Critic
Review: GERMAN CORNEJO'S TANGO IN THE DARK, Peacock Theatre
Those searching for proof of George Bernard Shaw's view that dancing is “a perpendicular expression of a horizontal desire” need look no further than this show....
Review Roundup: GOOD, starring David Tennant
It is third time lucky for Dominic Cooke's revival of C.P Taylor's GOOD, having been delayed twice by the pandemic. The first production from Cooke and Kate Horton's company, Fictionhouse, it stars David Tennant, Sharon Small and Elliot Levey. So what did the critics think?...
Review: LIFE OF PI, Wyndham's Theatre
A cargo ship sinks in the middle of the Pacific Ocean, causing misery and pain to all involved. Amongst the survivors is a sixteen-year-old boy named Pi; accompanying him is a hyena, a zebra, an orangutan, and a Royal Bengal tiger – all of whom are attempting to co-inhabit a small lifeboat. It sou...
Review: IVY TILLER: VICAR'S DAUGHTER, SQUIRREL KILLER, The Other Place, Royal Shakespeare Theatre
Ivy Tiller is a good kid, but life has dealt her a rough hand and, when it gets rougher still, what will she do?...
Review: GOOD, Harold Pinter Theatre
From Dennis Nielsen to DJ in Don Juan In Soho, to the murderous vicar in the BBC’s Inside Man, David Tennant seems drawn to playing the antihero. As Professor John Halder, in CP Taylor’s 1982 play GOOD, he captures the moral downfall of an ordinary man who gradually embraces the Third Reich....
Review: TRIO, New Wolsey Theatre
At its core, Trio’s biggest wound is a self-inflicted one. It undercuts its own capacity for dramatic impact due to its structure, with each character taking turns to discuss the events of their tumultuous shared history in the past tense, emotionally removed from each historic detail and inherent...
Review: FAME WHORE, King's Head Theatre
Tom Ratcliffe writes and directs a bleak drag comedy on the trappings of modern fame, exploring online relevance, performative activism, and authenticity. He introduces a contemporary anti-hero who quickly learns that audience is currency and who's ready to do what it takes to become viral. Fame Who...
Review: THE DOCTOR, Duke of York's Theatre
There is a kettle on stage for much of Robert Icke’s The Doctor. It is one of the few props in this loose adaptation of Arthur Schnitzler’s 1912 play Professor Bernhardi, which was first staged at the Almeida Theatre in 2019 and now receives its delayed revival in the West End. And the kettle’...
Review: ZOONATION: MIXTAPE, Sadler's Wells
A celebration of ZooNation and their greatest hits from the last 20 years was always going to pack a punch, but Kate Prince’s Company of charismatic hip-hop dancers can do wit, comedy, pathos and poignancy too....
Review: HARRY POTTER AND THE HALF-BLOOD PRINCE IN CONCERT, Royal Albert Hall
With seven books, eight films, a stage production, and countless video games to devour - it's hard to believe there's a new way to share this story, but that's where CiniConcerts step in....
Review: RUCKUS, Southwark Playhouse
The moments of brilliance in the piece are, unfortunately, overshadowed by its nature and the current commodification of trauma portrayals. We rapidly understand what’s going on, but there’s litte appeal and no hook. We keep watching because we want to know how wrong it will go and how hurt she�...
Review: LAST DAYS, Royal Opera House
A new opera inspired by Kurt Cobain based on a film by Gus Van Sant premieres at the Royal Opera House...
Review: THE CORAL, Finborough Theatre
Imaginatively staged, for the first time in the UK for 100 years, Emily Louizou’s revival captures in looks and sounds, but fails to engage the audience with its message....
Review: GODS OF THE GAME, Grange Park Opera
Football opera land perfectly between the Women's Euros and the Men's World Cup finding plenty of common ground to delight fans of both art forms...
Review: THE BAND'S VISIT, Donmar Warehouse
Longurst directs with refreshing accuracy and delicate sophistication, creating visual dynamics that make the space feel immense. It’s simply sublime, mandatory viewing for a lesson on empathy, kindness, and the power of music....
Review: THE BOY WITH TWO HEARTS, National Theatre
Laudable sentiment but something of a missed dramatic opportunity in this play about an Afghan family's journey from Herat to Cardiff and the love they found there...
Review: NOISES OFF, Richmond Theatre
Noises Off is the original play that goes wrong. Michael Frayn's farce-within-a-farce is now forty years old and this revival both amuses and resonates more powerfully than ever....
Review: DMITRY, Marylebone Theatre
Dmitry, a new play, is described as 'After Schiller', but, in its dissection of the ruthless manipulation of a young man aiming for the Tsardom of Russia, one finds parallels more recent blockbusters....
Review Roundup: BLUES FOR AN ALABAMA SKY starring Giles Terera
The play marks the UK debut of Samira Wiley, alongside a cast that includes Ronkẹ Adékoluẹjo, Osy Ikhile, Sule Rimi and Giles Terera. So what did the critics think?...
Review: BLUES FOR AN ALABAMA SKY, National Theatre
This production, directed by Lynette Linton is nothing short of mesmerising - combining music, movement, and powerful performances to create a production that evokes truly visceral reactions within the audience....
Review: THE MILK TRAIN DOESN'T STOP HERE ANYMORE, Charing Cross Theatre
1960s Williams' play that cannot capture the magic of his work in the previous two decades...
Review: RAVENSCOURT, Hampstead Theatre
Narratively, the story isn’t anything revolutionary, but Burns’s approach is rich with emotional intelligence and clinical precision. She takes on a crumbling, unfeeling practice ruled by waiting lists and a scorecard, exploring how destructive a lack of (financial, yes, but also psychological) ...
Review: SPIKE, Salisbury Playhouse
In a fabulously fast-paced and funny tribute to Spike Milligan, writers Ian Hislop and Nick Newman affectionately convey how the extraordinary Anglo-Irishman creates The Goon Show....
Review: ONLY AN OCTAVE APART, Wilton's Music Hall
“Keep it pretty, keep it shallow, keep it moving.” As well as being words that American cabaret singer Justin Vivian Bond (pronoun v) lives by, they go some way to sum up Only An Octave Apart, this eye-catching and pacy two-hander with Grammy-winning countertenor Anthony Roth Costanzo....
Review Roundup: JOHN GABRIEL BORKMAN Starring Simon Russell Beale
What did the critics think of Lucinda Coxon's new version of John Gabriel Borkman, starring Simon Russell Beale and directed by Nicholas Hytner?...
Videos
TICKET CENTRAL
Tickets From $77
Tickets From $59
Tickets From $73
Tickets From $95
