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UK / WEST END THEATER REVIEWS

The latest reviews and critic recommendations from UK / West End
BWW Review: ABSOLUTE HELL, National Theatre

BWW Review: ABSOLUTE HELL, National Theatre

by Marianka Swain — April 26, 2018
The original version of Rodney Ackland's provocative work, The Pink Room, had a bruising reception back in 1952, losing thousands for investor Terence Rattigan amidst furious reviews. Since salvaged by the Orange Tree in the Eighties, its rebirth was cemented by a Judi Dench-starring production at t...
BWW Review: THE PHLEBOTOMIST, Hampstead Theatre

BWW Review: THE PHLEBOTOMIST, Hampstead Theatre

by Cindy Marcolina — April 26, 2018
When Bea (Jade Anouka) and Aaron (Rory Fleck Byrne) meet, they both think they've found happiness. He's intelligent, handsome, and with a high rating, she's a phlebotomist in a centre dedicated to blood testing. Char's (Cherrelle Skeete) existence is on the line because of the test, so she turns to ...
BWW Review: MOORMAID, Arcola Theatre

BWW Review: MOORMAID, Arcola Theatre

by Gary Naylor — April 25, 2018
Moormaid takes on a contemporary issue - the return to Europe of young men who fought in Syria - but fails to build characters in whom we can believe despite some fine acting....
BWW Review: A VIEW FROM THE BRIDGE, Tobacco Factory Theatres

BWW Review: A VIEW FROM THE BRIDGE, Tobacco Factory Theatres

by Tim Wright — April 25, 2018
There's an old rocking chair with a threadbare cushion in the corner of small living room near Brooklyn Bridge, New York. In it sits Eddie Carbone, our tragic hero, reading the paper. He smells of coffee from the sacks he's been unloading at the docks. A hard-working man providing for his wife Beatr...
BWW Review: STRICTLY BALLROOM THE MUSICAL, Piccadilly Theatre

BWW Review: STRICTLY BALLROOM THE MUSICAL, Piccadilly Theatre

by Marianka Swain — April 24, 2018
Love is in the air, and revolution too. Baz Luhrmann's beloved 1992 film (originally a student play, now back on stage as a musical) is even more adamantly anti-establishment in this latest incarnation, opening out a delicious satire of 1980s Australian competitive ballroom into a more universal sto...
BWW Review: THE WRITER, Almeida Theatre

BWW Review: THE WRITER, Almeida Theatre

by Cindy Marcolina — April 24, 2018
Ella Hickson premieres The Writer, a new momentous play about the patriarchal cage of the theatre business. After the success of Oil in 2016, she challenges the status quo through a young writer who wants to change the world. While her character is being kept down by the narcissistic tendencies of t...
BWW Review: THE WINSLOW BOY, Theatre Royal Brighton

BWW Review: THE WINSLOW BOY, Theatre Royal Brighton

by Fiona Scott — April 24, 2018
How much are we willing to sacrifice for the pursuit of truth and justice? Terence Rattigan's The Winslow Boy explores this thorny question....
BWW Review: KINDERTRANSPORT, Richmond Theatre

BWW Review: KINDERTRANSPORT, Richmond Theatre

by Aliya Al-Hassan — April 25, 2018
At a time when anti-Semitism appears dangerously current and desperate refugees flee their homelands, a revival of Diane Samuels' engrossing play Kindertransport could not be more timely. Anne Simon directs the remarkable true story of a series of rescue efforts that brought thousands of refugee Jew...
BWW Review: MAYFLY, Orange Tree Theatre

BWW Review: MAYFLY, Orange Tree Theatre

by Aliya Al-Hassan — April 24, 2018
Historically, Richmond's Orange Tree Theatre was a well-known champion of new talent. However, until now, Artistic Director Paul Miller and Executive Director Sarah Nicholson were yet to stage a debut play. Joe White is an alumnus of the Orange Tree Writers Collective, and his first play has clearly...
BWW Review: RASHEEDA SPEAKING, Trafalgar Studios

BWW Review: RASHEEDA SPEAKING, Trafalgar Studios

by Charlie Wilks — April 22, 2018
When Rasheeda Speaking first premiered in the US, it was met with critical divide on all ends. It's the second play I've seen this week that's theatrically dissected race, culture and class. What makes this play different is that it throws office politics into the mix, placing focus on racism in a m...
BWW Review: TONIGHT AT 8:30, Jermyn Street Theatre

BWW Review: TONIGHT AT 8:30, Jermyn Street Theatre

by Cindy Marcolina — April 22, 2018
Jermyn Street Theatre's Artistic Director Tom Littler brings to the stage Noel Coward's cycle of one-act plays in three ravishing triple bills. Tonight at 8:30 marks the biggest and most ambitious project in the theatre's life, but Littler makes it look like a walk in the park....
BWW Review: FACELESS, Park Theatre

BWW Review: FACELESS, Park Theatre

by Charlie Wilks — April 20, 2018
This play touches on pretty much everything. Politics, race, religion, womanhood and class are just a few of the notions investigated in Selina Fillingers tightly written Faceless, inspired by true events, and currently running at the Park Theatre....
BWW Album Review: CALENDAR GIRLS (Original London Recording) is Just Nice

BWW Album Review: CALENDAR GIRLS (Original London Recording) is Just Nice

by David Clarke — April 20, 2018
Recently released CALENDAR GIRLS (Original London Recording)cis just perfectly nice. Based on the charming and quaint 2003 film by the same title written by Tim Firth, the musical itself garnered warm notices from London media. So, it is no surprise that the music and this cast was recorded for pres...
BWW Review: BAT OUT OF HELL, Dominion Theatre

BWW Review: BAT OUT OF HELL, Dominion Theatre

by Nicky Sweetland — April 20, 2018
After a run at the London Coliseum last year and a subsequent tenure in Toronto, Jim Steinman's Bat Out of Hell is back in town - and it puts rock well and truly back into the West End....
BWW Review: THE GOLDEN F**KING YEARS, Brockley Jack Studio Theatre

BWW Review: THE GOLDEN F**KING YEARS, Brockley Jack Studio Theatre

by Gary Naylor — April 20, 2018
The Golden F**king Years is a beautifully observed and acted farce that finds plenty of comedy in the tedium of ageing and the sudden opportunity of a bit of excitement - and the consequences that inevitably follow....
BWW Review: EDUCATION, EDUCATION, EDUCATION, Shoreditch Town Hall

BWW Review: EDUCATION, EDUCATION, EDUCATION, Shoreditch Town Hall

by Charlie Wilks — April 19, 2018
Every now and then you see a piece of theatre that lights a fire under you. A play that is so brilliant, it shows how special performance can be. Something so meticulously precise and genuinely unique. Education, Education, Education is that show. Riding high from their sensational run at the Edinbu...
BWW Review: CHICAGO, Phoenix Theatre

BWW Review: CHICAGO, Phoenix Theatre

by Marianka Swain — April 19, 2018
Chicago's hit West End revival ­- which featured a constant revolving door of big names - closed in 2012 after almost 15 years. Now, it returns with the requisite stunt casting (Cuba Gooding Jr), but also with a cast of triple-threat stalwarts who illustrate the enduring strengths of this whip-smar...
BWW Review: GAUHAR JAAN - THE DATIA INCIDENT, Omnibus Theatre

BWW Review: GAUHAR JAAN - THE DATIA INCIDENT, Omnibus Theatre

by Gary Naylor — April 18, 2018
A play and accompanying exhibition about a renowned Indian singer, the eponymous Gauhar Jaan, and 'an incident' that gained infamy across India in the early 20th century....
BWW Review: SON OF A PREACHER MAN, Theatre Royal Brighton

BWW Review: SON OF A PREACHER MAN, Theatre Royal Brighton

by Fiona Scott — April 18, 2018
The premise sounds promising: a brand new jukebox musical featuring the music of Dusty Springfield. Written by Warner Brown and directed and choreographed by Craig Revel Horwood, Son of a Preacher Man opened in Bromley in September 2017 and is currently touring the UK....
BWW Review: INSTRUCTIONS FOR CORRECT ASSEMBLY, Royal Court

BWW Review: INSTRUCTIONS FOR CORRECT ASSEMBLY, Royal Court

by Charlie Wilks — April 18, 2018
Let's face it, we never turn into the person our parents hope we'll be. Most of the time, our maternal up-bringers learn to adjust to this fact, and accept their offspring for who they are. Granted, it's harder to do this when the son you've raised ends up using drugs, blowing money left right and c...
BWW Review: MUCH ADO ABOUT NOTHING, Rose Theatre

BWW Review: MUCH ADO ABOUT NOTHING, Rose Theatre

by Aliya Al-Hassan — April 19, 2018
To kick off its 10th anniversary season, the Rose Theatre turns to Shakespeare to give it a needed boost. This new production of Much Ado About Nothing is not quite a hit, but still an entertaining if slightly manic evening....
BWW Review: THE BAND, Bristol Hippodrome

BWW Review: THE BAND, Bristol Hippodrome

by Tim Wright — April 18, 2018
Pop music and musicals make good bedfellows for two main reasons. Firstly, pop music has a kind of duality - a song can mean entirely different things in different contexts. Secondly, pop music normally has just the right amount of sentimentality. The Band is a demonstration of how to harness both t...
BWW Review: A STREETCAR NAMED DESIRE,  Bristol Old Vic

BWW Review: A STREETCAR NAMED DESIRE, Bristol Old Vic

by Kerrie Nicholson — April 18, 2018
Tennessee Williams' 1947 classic A Streetcar Named Desire explores the visceral side of human nature: violence, desire, power, loneliness and guilt. Winning the Pulitzer Prize in 1948, it's been adapted multiple times for stage and screen and is widely held as one of the greatest plays of the 20th ...
BWW Review: TINA, Aldwych Theatre

BWW Review: TINA, Aldwych Theatre

by Andrew Tomlins — April 17, 2018
Following several years of development, Tina, the new musical about Tina Turner, has opened at the West End's newly restored Aldwych Theatre. If the electrifying Saturday night audience I was part of is anything to go by, this show is set to have a long run in London....
BWW Review: OBSIDIAN TEAR/MARGUERITE & ARMAND/ELITE SYNCOPATIONS, Royal Opera House

BWW Review: OBSIDIAN TEAR/MARGUERITE & ARMAND/ELITE SYNCOPATIONS, Royal Opera House

by Vikki Jane Vile — April 16, 2018
The Royal Ballet's latest offering is a rather curious mixed bill containing contemporary, classical and carnivalesque works from three of its resident choreographers. On the surface each of them are tried and tested Opera House hits but together the programme feels confused with no common thread th...
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