Our UK / West End Critics
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Aliya Al-Hassan
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Amber-Rae Stobbs
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Debbie Gilpin
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Donald Hutera
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Vikki Jane Vile
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Review: THE WITCHES OF OZ, The Vaults
If you're looking for some dinner-cabaret, this show really is a no-brainer....
Review: JOHN GABRIEL BORKMAN, Bridge Theatre
Simon Russell Beale takes on the disgraced mogul, Nicholas Hytner directs. Anna Fleischle designs the show. It’s a winning team, but the piece leaves the audience as cold as a Norwegian winter....
Review: TOSCA, London Coliseum
In the first of three new ENO productions this autumn, Christof Loy’s UK Premiere of the Finnish National Opera and Ballet’s new production is an insightful version that is also subtly updated....
Review: DIDO'S BAR, The Factory
What began with an encounter between director Josephine Barton and Kurdish Iranian musician Marouf Majidi in 2017 in Helsinki has culminated in a converted factory space in Newham and Dido’s Bar, a story of immigrants fleeing war and persecution and finding love in foreign lands....
Review: THE CRUCIBLE, National Theatre
In a society riddled with fake news, that bends over backwards to regulate a woman's body, justifying its laws with a magical book, The Crucible is frighteningly relevant....
Review: HANNAH EINBINDER, Soho Theatre
Hannah Einbinder covers many major life events including birth, death and awkward teenage encounters. She is relatable yet fresh throughout and peppers her anecdotes with carefully timed pauses and quick dry wit so that the joke lands each and every time....
Review: JEWS. IN THEIR OWN WORDS, Royal Court
Theatres are no strangers to ghosts. Sadly, the ghost of Herschel Fink will haunt for years to come....
Review: AIDA, Royal Opera House
A provocative and ultimately successful reimagining of opera's most operatic of works...
Review: RAMBERT DANCE IN PEAKY BLINDERS: THE REDEMPTION OF THOMAS SHELBY, Birmingham Hippodrome
The sinister chords of Nick Cave and the Bad Seeds' 'Red Right Hand' ring out as Tommy Shelby stands, flanked by family members, with the light glinting from the razor blade sewn into his wool tweed cap. It's a scene familiar to any fan of the global hit TV show Peaky Blinders. But something's diffe...
Review: NOUGHTS AND CROSSES, Richmond Theatre
In its transformation from page to stage, this production seems to lose its bite....
Review: ANOTHER EAVESDROPPING, Jack Studio Theatre
Angel Theatre Company have a lot of fun, but still find some bite, with their snatches of conversation overheard in London in 2022....
Review: GHOSTS ON A WIRE, Union Theatre
Commissioned by Southwark Council, Linda Wilkinson writes a historically accurate account laden with fiction to explore the strings attached to progress. Author Mary Shelley and human rights activist Octavia Hill coexist in this tonally odd piece, playing ghosts in each other’s lives....
Review: EUREKA DAY, Old Vic
Jonathan Spector’s much-anticipated comedy Eureka Day starring Helen Hunt explores how a group of people with the same overt goals can diverge so wildly in their approaches to meeting them. By making its lead an opponent of vaccination, though, it treads a dangerous path....
Review: AUDRA MCDONALD IN CONCERT, The London Palladium
Audra McDonald’s name sits right at the centre of the Broadway firmament. A record-breaking performer among the queens of musicals, her cup of talent certainly runneth over. ...
Review: STAR WARS: RETURN OF THE JEDI IN CONCERT, Royal Albert Hall
For music lovers, it’s the anniversary album-in-full gigs. For bookworms, it’s the sneaky extra chapter in the paperback edition. And for cinephiles, it’s the film in concert series. ...
Review: ADDICTIVE BEAT, Dilston Gallery (Southwark Park Galleries)
Addictive Beats is a missed opportunity to attract a younger generation to explore mental health. Sure, the music is crazy cool and the show promises a great vibe, but, as it is, it’s a production that only scrapes the top of its themes but saved a lot of money on seat rental....
Review: GROOVE, Oxford House
Produced by Outbox and Shoreditch Town Hall, Groove tells a story at the heart of every gay community: that of the dancefloor and those who gather on it....
Review: SUS, Park Theatre
Sus retains its power and relevance, but one can't help wondering if it requires an update to account for the changes in policing minorities in the 43 years since it was written - at their roots, the problems are the same, but they present somewhat differently....
Review: CAGES, Riverside Studios
What fresh hell is this? Those who come to see musical theatre for the acting, the songs and the story may be wondering where Cages fits into this art form....
Review: CLUTCH, Bush Theatre
Tyler’s trying to get his driver’s licence. Six years after his first attempt, he’s enlisted Max as an instructor. With a reputation as the best in Birmingham and dozens of successful candidates to prove it, he has quite a dictatorial attitude to his lessons. Locked in the cockpit, their initi...
Review: THE PRINCE, Southwark Playhouse
The Prince is a weird concept. With a flurry of gender theory and top-notch queerness enveloped by sword fights and iambic pentameter, it’s a refreshingly sacrilegious approach to Shakespeare....
Review: RENEE FLEMING'S CITIES THAT SING: PARIS, IMAX
There's no place like Paris, so welcome to my world of opera'. So says Renée Fleming, when introducing this film on the city which invented the word 'connoisseur'.
...
Review: ROSE, Park Theatre
One woman's reflections on her life as a Jew in the 20th century throw light on the history of a people - and give us much food for thought in the 21st....
Review: UNITED UKRAINIAN BALLET'S GISELLE, London Coliseum
Comprising over fifty Ukrainian refugee dancers, the United Ukrainian Ballet’s debut in London was always going to be a moving and courageous showing....
Review: PYGMALION, Tabard Theatre
The DOT’s touring production of Pygmalion is a unique interpretation of George Bernard Shaw’s writings and whose script has a stronger focus on the rather unpleasant character of Henry Higgins rather than the more romanticised musical version My Fair Lady....
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