BWW Review: CURIOUS, Soho Theatre
Fresh off their debut, critically acclaimed and award-winning play, Jasmine Lee Jones brings a new solo show to Soho Theatre’s main stage.
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BWW Review: THE NORMAL HEART, National Theatre
A fire is ignited as the ensemble gather silently in an act of remembrance.
BWW Review: WITNESS FOR THE PROSECUTION, London County Hall
Based on Agatha Christie’s 1925 short story, Witness For The Prosecution was well-established at London’s County Hall before the pandemic.
BWW Review: GROAN UPS, King's Theatre
Are we really that different from who we were at school? Mischief Theatre’s Groan Ups takes a light-hearted look at this question.
BWW Review: TOKYO ROSE, Southwark Playhouse
So called 'Tokyo Rose' Iva Toguri's struggle for a post-war pardon is given life by Burnt Lemon Theatre in a musical that has many echoes of Hamilton
BWW Review: THE WEEKEND, Bloomsbury Theatre
This new opera, adapted by Tamsin Collison from Michael Palin's play, is both funny and wonderful to hear, Scott Stroman's score swinging as much as the characters are stuck
BWW Review: AKRAM KHAN'S CREATURE, Sadler's Wells
Akram Khan’s third work for English National Ballet finally debuted after numerous COVID-related false starts to a vocal Sadler’s Wells audience this week.
BWW Review: MALINDADZIMU, Hampstead Theatre
Award-winning new playwright Mufaro Makubika leads us from Nottingham to Zimbabwe in a tale of mothers, daughters, and spiritual ancestors.
BWW Review: THE LAST FIVE YEARS, Garrick Theatre
There is something unexplainable and idiosyncratically intimate about Aria Entertainment’s The Last 5 Years.
BWW Review: SHINING CITY, Theatre Royal Stratford East
Men who have behaved badly fail to communicate in Conor McPherson's reflection on guilt, emotional intelligence and a kind of redemption
BWW Review: THE MIDSUMMER MARRIAGE, Southbank Centre
In 1955 Michael Tippett introduced his first opera The Midsummer Marriage to a grey, post-war society desperate for some joy and optimism.
BWW Review: MYTHOSPHERE, Stone Nest
On Shaftesbury Avenue, right opposite The Palace Theatre with its Cursed Child, a venue which holds a mesmerising surprise lies between a Wing Stop and an educational centre.
BWW Review: THE CO-OP, Jack Studio Theatre
When Charlie joins Jimmy and Cazza's acting agency, things go badly and well all at the same time in an absurdist comedy
BWW Review: ROCK OF AGES, New Wimbledon Theatre
Rock of Ages, the brash rock musical, is back for another tour.
BWW Review: THE FUNNY GIRLS, New Wimbledon Theatre Studio
Barbra Streisand and Joan Rivers kvetch (a lot) and kvell (a little) before and after they become two of the biggest stars in the USA
BWW Review: BLITHE SPIRIT, Harold Pinter Theatre
Richard Eyre’s production of Noël Coward’s 1941 Blithe Spirit was just settling into its West End home last year when lockdown struck.
BWW Review: CAMP SIEGFRIED, Old Vic
The Old Vic stages the world premiere of American playwright Bess Wohl's Camp Siegfried.
BWW Review: OPERATION MINCEMEAT, Southwark Playhouse
Move over Hamilton and Six.
BWW Review: DECIPHERING, New Diorama Theatre
In 1940 a group of four teenage friends, thinking they’d be crawling through a secret passage to the close-by Lascaux Manor, made one of the most astonishing discoveries of the 20th Century.
BWW Review: RIGOLETTO, Royal Opera House
Rigoletto delves deep into the human psyche to ask questions both through its subject matter and its melding of music and voices
BWW Review: THE GRAND, King's Head Theatre
It’s the 11th of September at The Grand in Brighton, first in 1943, then 1982, and then 2001.
BWW Review: THE DRESSER, Theatre Royal Bath
Theatre Royal Bath is the ideal venue for Olivier Award-winning Sir Ronald Harwood’s play about a touring rep company set in “a theatre in the English provinces”, according to the programme notes.
BWW Review: CALL ME MADAM, Upstairs at the Gatehouse
Escapist, dated nonsense, but such fun and beautifully done.
BWW Review: CATCHING COMETS, Pleasance Theatre
“I’m a part-time time-traveler!” Toby is an artist who moonlights (quite literally) in an observatory.
BWW Review: INDECENT, Menier Chocolate Factory
Director Rebecca Taichman and playwright Paula Vogel were both drawn to Sholem Asch’s 1907 phenomenon, God of Vengeance.
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