UK / West End Theater Reviews

The latest reviews and critic recommendations from UK / West End.

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Aliya Al-Hassan
Critic

Amber-Rae Stobbs
Critic

Caroline Cronin
Critic

Cheryl Markosky
Critic

Cindy Marcolina
Critic

Debbie Gilpin
Critic

Donald Hutera
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Franco Milazzo
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Gary Naylor
Critic

Guest Author
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Kat Mokrynski
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Kerrie Nicholson
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Matthew Paluch
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Mica Blackwell
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Michael Higgs
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Vikki Jane Vile
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BWW Review: YOU'RE HUMAN LIKE THE REST OF THEM, Finborough Theatre

by Gary Naylor — March 7, 2017

Three short plays introduce the writing of BS Johnson, a revered man of English letters whose influence resonates through the last 50 years.

BWW Review: THE DIARY OF A TEENAGE GIRL, Southwark Playhouse

by Debbie Gilpin — March 7, 2017

Based on the graphic novel of the same name, Alexander Parker and Amy Ewbank's production of The Diary of a Teenage Girl is the latest show in The Little at Southwark Playhouse.

BWW Review: A PROFOUNDLY AFFECTIONATE, PASSIONATE DEVOTION TO SOMEONE (-NOUN), Royal Court

by Cindy Marcolina — March 7, 2017

Debbie Tucker Green's latest work, a profoundly affectionate, passionate devotion to someone (-noun) has its premiere with an unexpected staging in the Royal Court's Jerwood Theatre Upstairs.

BWW Review: GASLIGHT, Richmond Theatre

by Aliya Al-Hassan — March 7, 2017

Patrick Hamilton's Gaslight had its premiere in Richmond Theatre in 1938 and so it seems suitable for it to end its UK tour in the same setting.

BWW Review: IONESCO - DINNER AT THE SMITHS', The Latvian House

by Gary Naylor — March 5, 2017

Ionesco's absurd theatre brought to life in a handsome production that is full of wit and humour, but never loses its avant garde character.

BWW Review: SNOW IN MIDSUMMER, Royal Shakespeare Company

by Emma Cann — March 4, 2017

Snow in Midsummer is a modern retelling of an ancient Chinese drama, which marks the start of an ambitious cultural project translating Eastern classics into English, and Shakespeare into Chinese.

BWW Review: BALLET BLACK TRIPLE BILL, Barbican

by Vikki Broad — March 4, 2017

This year's triple bill marks Ballet Black's sixteenth year since Cassa Pancho founded the company in 2001.

BWW Review: ARTHUR PITA'S STEPMOTHER/STEPFATHER, The Place

by Vikki Jane Vile — March 4, 2017

Arthur Pita returns to The Place with the dark but thrilling double bill Stepmother/Stepfather.

BWW Review: IN OTHER WORDS, The Hope Theatre

by Cindy Marcolina — March 4, 2017

In a space as small and potentially claustrophobic as The Hope Theatre, all you need to make a play with such a heavy theme go wrong is getting even a minimum detail wrong.

BWW Review: OTHELLO, Shakespeare's Globe

by Debbie Gilpin — March 3, 2017

The final Wonder Noir production to play in the Sam Wanamaker Playhouse is one of Shakespeare's tragedies: Othello.

BWW Review: I'M GONNA PRAY FOR YOU SO HARD, Finborough Theatre

by Cindy Marcolina — March 2, 2017

Following an acclaimed premiere Off-Broadway in 2015, I'm Gonna Pray For You So Hard sees its UK debut at the Finborough Theatre directed by Jake Smith.

BWW Review: PLASTIC, Ustinov Studio, Bath

by Tim Wright — March 2, 2017

It's ironic that this first production of The Ustinov Studio's German season should be concerned with that most British of subjects- class.

BWW Review: UGLY LIES THE BONE, National Theatre

by Marianka Swain — March 2, 2017

Jess strolls through fresh powder.

BWW Review: SWIFTIES, Theatre N16

by Gary Naylor — March 2, 2017

Swifties examines the obsessive nature of fandom, as dress-up and role play turns into something much more sinister in this reinvention of Jean Genet's The Maids.

WICKED Celebrates Its Latest West End Line-up

by Debbie Gilpin — March 1, 2017

Last night Wicked officially welcomed its new West End cast, including the return of Willemijn Verkaik to the role of Elphaba.

BWW Review: HAMLET, Almeida Theatre

by Gary Naylor — March 1, 2017

Hamlet anew in this technology infused but oh so human production of Shakespeare's great tragedy in which Andrew Scott gives us a warm, flawed, and eventually mad Prince.

BWW Review: KILLER, Shoreditch Town Hall

by Debbie Gilpin — February 27, 2017

Now playing in rep with The Pitchfork Disney, Killer is Philip Ridley's newest work; a darkly comic piece (quite literally) that pushes the boundaries of fear and suspense.

BWW Review: GROUNDED, Gate Theatre

by Kelly McElroy — February 27, 2017

Previously performed at The Gate in 2013 after a successful run at the Edinburgh Festival, Grounded returns to Notting Hill by popular demand.

BWW Review: THE WINTER'S TALE, London Coliseum

by Alexandra Coghlan — February 28, 2017

If a sad tale really is best for winter, then we've certainly been blessed this year.

BWW Review: SPEECH & DEBATE, Trafalgar Studios

by Marianka Swain — February 27, 2017

The misfits shall inherit the earth.

BWW Review: LA STRADA, Richmond Theatre

by Aliya Al-Hassan — February 28, 2017

Federico Fellini's Oscar-winning film La Strada has earned its place as a cinematic classic.

BWW Review: GALA FLAMENCA 2017, Sadler's Wells

by Jenny Gilbert — February 24, 2017

What could be more cheering in a dank dark London February than a blast of Spanish flamenco? Answer: a Sadler's Wells flamenco gala, a fistful of stellar talents for the price of one.

BWW Review: LIZZIE, Greenwich Theatre

by Debbie Gilpin — February 24, 2017

A rock musical about a suspected Victorian murderess - not your average night at the theatre, by any stretch of the imagination.

BWW Review: MADAM BUTTERFLY, King's Head Theatre

by Aliya Al-Hassan — February 24, 2017

The wonderful thing about fringe theatre is the variety and quality of what can be produced in a tiny space, with very little budget.

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