BWW Review: PAPER HEARTS, Upstairs At The Gatehouse
Even the toughest heart of stone will turn into a paper heart with Liam O'Rafferty's new musical.
UK / West End Theater Reviews
The latest reviews and critic recommendations from UK / West End.
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BWW Review: VOICES FROM CHERNOBYL, Jack Studio Theatre
Voices From Chernobyl reminds us of a largely forgotten disaster and the terrible human cost, a price still being paid today.
BWW Review: JAMES THIEREE - COMPAGNIE DU HANNETON, THE TOAD KNEW at Sadler's Wells
James Thierree's latest offering is an another polarising work from theatrical experimentalists Compagnie du Hanneton.
BWW Review: THE FERRYMAN, Royal Court
Butterworth's writing offers an exquisite balance of humour and drama, revelry and mourning, surprise and expectation.
BWW Review: ROMEO AND JULIET, Union Theatre
Andy Bewley directs Joe Mackenzie's mostly disappointing but highly energetic adaptation of Shakespeare's tragic tale.
BWW Review: MADAME RUBINSTEIN, Park Theatre
Based on the life and career of cosmetics magnate Helena Rubinstein, John Misto's new play stars Miriam Margolyes and continues a varied season at the Park Theatre.
BWW Review: LA STRADA, Exeter Northcott Theatre
It was recently announced that Federico Fellini's film masterpiece La Strada has been restored and is set to receive a nationwide reissue, but it's also being given a new life on the stage in this touring production, which captures both the charm and grittiness of the original.
BWW Review: ALL OUR CHILDREN, Jermyn Street Theatre
Set in a Nazi-dominated Germany in 1941, Stephen Unwin's debut play is an affecting examination of humanity, hypocrisy, and morality.
BWW Review: EVERYTHING BETWEEN US, Finborough Theatre
In a captivating UK premiere, Sandra is preparing to take her seat on the first day of the Truth and Reconcilliation Commission for Northern Ireland at Stormont, when her estranged sister Teeni bursts in on a wave of racist and expletive-ridden anger.
BWW Review: WONDERLAND, New Wimbledon Theatre
Billed as a new musical adaptation of Lewis Carroll's beloved books, Wonderland sees Alice as a deflated and disappointed 40 year old, living in a grimy tower block with her teenage daughter Ellie.
BWW Review: THE TREATMENT, Almeida Theatre
Martin Crimp's 1993 play feels sharply contemporary in this slick revival from Lyndsey Turner, with its layered deconstruction of the way that we treat both art and life as commodities - and how we mistreat one another - opening up industry satire into a far-reaching portrait of social malaise.
BWW Review: HOME TRUTHS, The Bunker Theatre
Home Truths nine plays paint a picture of chaotic and cruel housing policies that have shafted the poor for decades with little sign of any change coming - and it's also funny, warm and clever!
BWW Review: CITY OF GLASS, Lyric Hammersmith
If City of Glass was a modern art installation, it would undoubtably be worth five stars.
BWW Review: DIVINE CHAOS OF STARRY THINGS, White Bear Theatre
Divine Chaos Of Starry Things is so concerned about the politics of revolution, colonialism and feminism that the stuff of drama is lost.
BWW Review: WHILE WE'RE HERE, Bush Theatre
The inaugural production in the refurbished Bush Theatre's new studio space is the latest play from Barney Norris.
BWW Review: NOT DEAD ENOUGH, King's Theatre, Edinburgh
The stage adaptation of a second book from the Peter James detective thriller series DS Grace serves as a reminder that not all popular novels transfer seamlessly to the stage.
BWW Review: ROMEO AND JULIET, Shakespeare's Globe
If there was controversy surrounding the use of light and sound at the Globe Theatre, the opening production of Emma Rice's second and final season as Artistic Director can only fuel the multi-hued fire.
BWW Review: LATE COMPANY, Finborough Theatre
During its celebrations for Canada's 150th birthday, Finborough Theatre sees the premiere of Late Company.
BWW Review: OBSESSION, Barbican
'Everybody wants passion,' says Ivo van Hove in the programme interview for his latest show, but in both tone and aesthetic, his take on this doomed romance is less red-hot fire of ardour, more the cold, grey ash left in the wake of a consuming flame.
BWW Review: THE BRAILLE LEGACY, Charing Cross Theatre
The Braille Legacy tells the story of Louis Braille's fight for his system that allowed blind people to read by touch - music good, but book and lyrics lack excitement.
BWW Review: AFTER YOU, Live at Zedel
After You is the first musical to be performed at The Crazy Coqs venue, deep under Piccadilly Circus at Brasserie Zedel in London's West End.
BWW Review: ALICE'S ADVENTURES UNDERGROUND, The Vaults
Following the sell-out run in 2015 at The Vaults deep under Waterloo Station, Les Enfants Terribles' and ebp bring their Olivier award nominated Alice's Adventures Underground back to celebrate the 150th anniversary of Lewis Carroll's beloved book.
BWW Review: ABIGAIL'S PARTY, Richmond Theatre
Mike Leigh wrote his most famous play, Abigail's Party, 40 years ago, as a reaction to the boom in consumerism after the war and as a general commentary at the absurdism of class aspiration.
BWW Review: NUCLEAR WAR, Royal Court
Nuclear War comprises elements of drama, dance, mime and song to create a dystopian vision of an alienating present that seemed both overly familiar and hazily unfocused.
BWW Review: THE PHILANTHROPIST, Trafalgar Studios
Christopher Hampton's 1969 take on Moliere's The Misanthrope is often played with actors older than their characters, but director Simon Callow has recruited some of TV's bright young things to play the solipsistic academics.
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