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Aliya Al-Hassan
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Review: PAT RASCAL: SPACE GRAVY, Etcetera Theatre
When entering the Etcetera Theatre to see Pat Rascal: Space Gravy, audience members are greeted by props scattered across the space and two metal chairs sitting in the centre. The show’s description even acknowledges the number of props, stating that they “may or may not fit in the Etcetera Thea...
Review: MOBY DICK, Barbican Theatre
With life-size puppets and cinematic stylings, Plexus Polaire’s Moby Dick is a dark and immersive plunge into Herman Melville’s epic story....
Review: AMY ANNETTE: THICK SKIN, Soho Theatre
In a glorious assault on the image obsessed and therefore resulting trauma of the Noughties, Amy Annette’s ‘Thick Skin’ Debut UK Tour opened at The Soho Theatre to a sell-out audience. Through familiar nostalgia, the mesmerising image of a Nokia 6110 model consumed the background, a game of �...
Review: ONE MAN MUSICAL, Underbelly Boulevard
If sacred cows make the best burgers, Underbelly Soho could soon become the most popular fast food joint around. One Man Musical’s latest outing is quickly becoming something of a word-of-mouth must-see and, while the marketing is understandably coy about who the “one man” is, it becomes clear...
Review: DAN AND PHIL: TERRIBLE INFLUENCE, London Palladium
There are two kinds of people in this world - those who are aware of the significance of lions and llamas and those who are not. Those who have inhaled Sharpie fumes putting cat whiskers on their faces and those who have not. Those who know who Dan and Phil are and those who do not. With three sold-...
Review: DEWEY DELL - THE RITE OF SPRING, Southbank Centre
The one thing we can always count on is a new reading of The Rite of Spring. Welcome to London the Dewey Dell, 2023 production at the Purcell Room on the Southbank.
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Review: CYMBELINE, Shakespeare's Globe
Shifting identities and hierarchies interweave like a spider’s web in Cymbeline. A pinch of added complication can’t hurt?...
Review: ONEGIN, Royal Ballet and Opera
Cranko took the predictable love melodrama - I want you, I don't, actually I do, well now I don’t - and turned it into a full-length, 3 act ballet. It divides people - some love, some less so. I definitely think it has strong moments throughout, and an overall, refined structure that can't be deni...
Review: MACBETH, In Cinemas
David Tennant and Cush Jumbo lead a first-rate cast in a raw, visceral, brutal and ultimately hopeful show filmed live at the Donmar Warehouse in London....
Review: CANNED GOODS, Southwark Playhouse
Erik Kahn’s play tested very positively in the States early last year and has gained even more resonance since then. Reviewing it on the day of the United States Presidential Inauguration, where Elon Musk gave a hasty Roman salute to Trump’s rapt audience, hit differently. In front of us, Charlo...
Review: A GOOD HOUSE, The Royal Court
A case of never being more than the sum of its parts, even if those parts have promise in themselves....
Review: ŁUKASZ TWARKOWSKI: THE EMPLOYEES, Southbank Centre
Polish production is powerful theare-making, but lacks heart and conviction in its storytelling...
Review: LAST RITES, The North Wall Arts Centre
Have you ever really stopped to consider the significance of sound, of speech, on everyday life… on theatre? Many of us take these things for granted, yet Ad Infinitum’s new play throws the realities of being deaf into sharp relief....
Review: CHLOE PETTS: HOW YOU SEE ME, HOW YOU DON’T, Soho Theatre
Comedians may have told Chloe Petts that comedy is subjective, but Petts is determined to prove them wrong. In How You See Me, How You Don’t, Petts wants every single person in the world to enjoy the show, whether they’re a young queer person or a Crystal Palace football fan - or both!...
Review: CIRQUE DU SOLEIL: CORTEO, Royal Albert Hall
A spectacular that puts the “fun” into funeral, Cirque du Soleil’s Corteo is their finest London outing in over a decade. ...
Review: THE LONELY LONDONERS, Kiln Theatre
Roy Williams’ tight adaptation of Sam Selvon’s 1956 rather meandering novel The Lonely Londoners continues that education. It was a hit when it played at the diminutive Jermyn Street theatre last year. Ebenezer Bamboye’s adaptation now comes to the Kiln Theatre, transporting you to a Bayswater...
Review: JENŮFA, Royal Ballet And Opera
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey. Look closer and you’ll discover a duality to each beguiling appearance....
Review: KYOTO, @sohoplace
After a stellar run in Stratford-upon-Avon, Joe Murphy and Joe Robertson’s RSC-fuelled project takes hold of London. Flashback to 1997, the United Nations are desperately trying to draft up an arrangement that might save the Earth. The deadlock on global warming hadn’t eased for years: each repr...
Review: LA PENDUE: LA MANÉKINE, Barbican Centre
Fusing together puppetry, live music and projections, MimeLondon’s opener La Manékine brings to vivid life one of the more gruesome of the Brothers Grimm’s tales....
Review Roundup: Did OLIVER! Leave Audiences Wanting More?
Cameron Mackintosh’s new production of Lionel Bart’s iconic musical, OLIVER!, which he has fully reconceived with director and choreographer Matthew Bourne, has now opened at the Gielgud Theatre....
Review: FIREBIRD, King's Head Theatre
Intimate, clever staging enhances a tearjerker of a show...
Review: OLIVER!, Gielgud Theatre
After blowing audiences away in Chichester, Matthew Bourne’s addictive version of Lionel Bart’s beloved OLIVER! lands in the West End in truly glorious form....
Review: THE DEVIL MAY CARE, Southwark Playhouse
The American production of George Bernard Shaw’s The Devil's Disciple was, famously, the first financial success for the Irish writer. Though originally set during the Revolutionary era, Director Mark Giesser adapts it to a later war, perhaps in an attempt to modernise its themes and draw a parall...
Review: THE MAIDS, Jermyn Street Theatre
French dramatist Jean Genet is a rarity on British stages, and I can see why. There are more popular writers that do what he does, only better. Genet’s 1947 The Maids is never stark enough to match the claustrophobic brutality of Beckett, nor darkly comic enough to out menace Pinter....
Review: THE MERCHANT OF VENICE 1936, Trafalgar Theatre
Oswald Mosley’s Blackshirts are getting a foothold in London’s East End. Shylock, here a single parent, requests a pound of flesh from Antonio, part of Mosley’s aficionados, in order to clear his debts. The demands of the Jewish moneylender who’s endlessly abused in public by the same people...
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