BWW Review: DROUGHT, VAULT Festival
Written and performed by Kate Radford and featuring a variety of disciplines, Drought tells the story of Caenis, a character from Ovid's Metamorphosis.
UK / West End Theater Reviews
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BWW Review: LADYBONES, VAULT Festival
Nuala is a junior osteology archaeologist.
BWW Review: FOLLIES, National Theatre
Follies begins with a gentle piece of music: warm, slow, romantic, that erupts into a jazz and brass extravaganza.
BWW Review: TANZTHEATER WUPPERTAL PINA BAUSCH — BON VOYAGE, BOB, Sadler's Wells
During her lifetime, Pina Bausch's expansion of German expressionist dance into raw, bizarre but nonetheless affecting spectacle revolutionised contemporary dance.
BWW Review: BINAURAL DINNER DATE, Rich Mix
ZU-UK finds a new home for their inventive Binaural Dinner Date.
BWW Review: EQUUS, Theatre Royal Stratford East
A piece that could easily feel out dated is anything but as Ned Bennett's production of Peter Shaffer's Equus blasts onto the Stratford stage, before going off on tour with English Touring Theatre.
BWW Review: AS A MAN GROWS YOUNGER, Brockley Jack Studio Theatre
David Bromley brings Italo Svevo back to life in Howard Colyer's monologue, As A Man Grows Younger, and finds plenty of parallels with the Europe of today.
BWW Review: WARPED, VAULT Festival
Aaron and Matty worship Ronnie and Reggie Kray, the criminals who meddled with celebrities and had East London under their thumb in the 60s.
BWW Review: TARTUFFE, National Theatre
Tartuffe, which has just opened at the National, is quick, clever, and frightening.
BWW Review: JERSEY BOYS, Edinburgh Playhouse
For any fan of the Four Seasons, the story that Jersey Boys tells is unmissable.
BWW Review: GLENGARRY GLEN ROSS, Alexandra Theatre, Birmingham
David Mamet's play, Glengarry Glen Ross, debuted at the National Theatre in London in 1983 to critical acclaim, winning the Pulitzer Prize the following year, in addition to opening the production on Broadway.
BWW Review: EDEN, Hampstead Theatre
There's much to admire in Eden, a play that pits town against country, development against conservation, corruption against integrity, love against careers, the big guy against the little guy.
BWW Review: TACENDA, VAULT Festival
RedBellyBlack Theatre are back at VAULT Festival with a new piece of devised theatre, Tacenda.
BWW Review: PRINCESS & THE HUSTLER, Bristol Old Vic
Beauty pageants and bus boycotts seldom belong on the same page, but in Chinonyerem Odimba's joyously playful and beautifully played Princess & the Hustler, they're brought together by Princess James, a flamboyant young girl who is black, beautiful, and brilliantly funny.
'Everybody's Got The Right: The Changing Face of Criticism and How New Musicals are Reviewed', MT Fest, The Other Palace
Paul Taylor-Mills hosted a conversation with Mark Shenton, one of a series at The Other Palace's MT Fest.
BWW Review: SHIPWRECK, Almeida Theatre
'Isn't that the problem with political theater, too much directness?' queries one of Anne Washburn's characters in her new play - which, in meta fashion, and over a leisurely three hours, not only addresses Trump head on, but also painstakingly analyses our responses to the President and the present
BWW Review: ONLY FOOLS AND HORSES - THE MUSICAL, Theatre Royal Haymarket
When it was announced that Trotters Independent Traders' three-wheeled 'yellow peril' was heading direct to London's West End in the form of a new musical, a few eyebrows were raised.
BWW Review: CYPRUS AVENUE, Royal Court
Cyprus Avenue is a blistering black comedy illuminated by a sensational performance from Stephen Rea as Eric, a man adrift in a world that is changing too quickly for him, feeding a psychosis about to explode.
BWW Review: Elina Garanca, Wigmore Hall
If there are golden voices, the instrument of Elina Garanca isn't among them.
BWW Review: THE PAPER MAN, Soho Theatre
The Paper Man starts off with the story of Austria's 1930s football hero Matthias Sindelar but swiftly dummies the Nazis and nutmegs for a narrative about the construction of narratives - and becomes rather dull as a consequence.
BWW Review: THE LADY FROM THE SEA, The Print Room
The Print Room at The Coronet is hosting a slick and melancholic bilingual revival of Henrik Ibsen's The Lady From The Sea produced by the venue in their first collaboration with The Norwegian Ibsen Company.
BWW Review: COME FROM AWAY, Phoenix Theatre
A remarkable true story birthed this modest Canadian musical, which went on to storm Broadway in 2017, and now makes it West End debut at a time when its heartfelt message seems more necessary than ever.
BWW Review: TRIAL BY LAUGHTER, Richmond Theatre
As Editor and Lead Cartoonist of Private Eye, Ian Hislop and Nick Newman are certainly not immune to the issue of libel.
BWW Review: MACBETH, Orange Tree Theatre
School is where most of us are introduced to William Shakespeare and the nature of this introduction will often impact on how much we love or loath The Bard in later life.
BWW Review: 9 TO 5 THE MUSICAL, Savoy Theatre
In a programme interview, Patricia Resnick - writer of both the original 1980 film and this 2008 musical adaptation - notes that Jane Fonda wanted to convey a political message about workplace sexism, but realised couching it in comedy would make it more palatable.
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