Our UK / West End Critics
View All »
Aliya Al-Hassan
Critic
Amber-Rae Stobbs
Critic
Caroline Cronin
Critic
Cheryl Markosky
Critic
Cindy Marcolina
Critic
Debbie Gilpin
Critic
Donald Hutera
Critic
Franco Milazzo
Critic
Gary Naylor
Critic
Guest Author
Critic
Kat Mokrynski
Critic
Matthew Paluch
Critic
Mica Blackwell
Critic
Michael Higgs
Critic
Vikki Jane Vile
Critic
Review: BONNIE & CLYDE, Garrick Theatre
Jordan Luke Gage and Francis Mayli McCann return to the roles and you can tell are incredibly comfortable with the characters. Their chemistry remains tangible....
Review: REMYTHED, VAULT Festival
ReMythed zhuzhes up a series of fables, giving it a queer spin, to put what many consider “modern concepts” in perspective and combating LGBTQ+ erasure. They rejig handed-down tales from all over the world, questioning identities, challenging heteronormativity as well as “traditional values”...
Review: FANBOY, VAULT Festival
Sellman-Leava’s piece was only a work-in-progress at the last pre-pandemic VAULT Festival. Since then, it’s had a run at Edinburgh last summer and a subsequent tour, growing into a surprisingly introspective and revelatory exploration of the effects of fanship. ...
Review: UNDER THE BLACK ROCK, Arcola Theatre
Tim Edge’s new play is technically stunning and infused with striking visuals, but a narrative let-down. Joseph Ed Thomas’ lighting and Kavanagh’s sound design are what makes Under The Black Rock....
Review: THE GREAT BRITISH BAKE OFF MUSICAL, Noël Coward Theatre
The trend for stage adaptations of already popular material shows no sign of relenting, as a musical version of everyone’s favourite autumn comfort watching comes to the West End. It transfers following a successful run at the Cheltenham Everyman last summer, and stars Haydn Gwynne and John Owen-J...
Review: THE BODYGUARD: THE MUSICAL, New Wimbledon Theatre
The Grammy Award-winning soundtrack was the film’s vehicle and remains indisputably good. The stage musical sensibly chooses to pivot the focus to the music, but the result is more like a concert of the Houston’s hits, with a paper-thin and often laughable stalker story thrown in....
Review: COPPELIA, Sadler's Wells
When Coppelius asks Swanhilda “do you derive more pleasure from running your finger along your lover’s skin or across the glass surface of your phone?”, Coppélia holds a brutal mirror up to modern society in a way no ballet has for quite some time....
Review: BRILLIANT JERKS, Southwark Playhouse Borough
Diverting comedy that never strays too far from some well-trodden paths...
Review: FRUITS, OR THE DECLINE OF A DISTANT MEMORY, VAULT Festival
Brazen experimentalism leans into performance art and blurs the lines of form and style with a non-narrative approach. They challenge the status quo chest first, challenging the very concept of a play to introduce ideas like naked existentialism, romantic disillusionment, unilateral desire, gender e...
Review: THE MERCHANT OF VENICE 1936, Watford Palace Theatre
A bold and accessible Merchant that commits to exposing the antisemitism that suffuses the play...
Review: RAT KING, VAULT Festival
A perplexing romanticisation of poverty and class divide with a stunning central performance by Jacob Wayne-O’Neill....
Review: SOMEONE OF SIGNIFICANCE, VAULT Festival
Unfortunately for writer Amalia Kontesi, this isn’t a great political play nor an exciting romantic drama....
Review: ABIGAIL'S PARTY, Theatre Royal Winchester
This new production proves that Mike Leigh's classic black comedy is still as sharp and devastating as ever...
Review: WOOLF WORKS, Royal Opera House
Featuring its ex-Principal Dancer Alessandra Ferri, the Royal Ballet revives its epic Woolf Works....
Review: AN ABSOLUTE FARCE OF A MURDER MYSTERY, The Drayton Arms Theatre
Such a lot of fun!...
Review: THE LONG RUN, VAULT Festival
Directed by VAULT Festival’s Head of Programming Bec Martin in her directorial debut, the play is dark in humour but not in atmosphere. The direct address establishes an immediate personal rapport and, by the end of it, you’ll wish you had a Katie Arnstein in your life....
Review: SNAIL, VAULT Festival
Bebe Sanders’ latest play is a naturally flowing monologue that ambles comedy, satire, brutal honesty, and allegory. She is effortlessly funny in a relatable tale about burnout and millennial despair....
Review: OKLAHOMA!, Wyndham's Theatre
There’s been much excitement about the West End transfer of Daniel Fish’s production of Oklahoma! Following a successful run on Broadway it was inevitable that the West End would be its next stop....
Review: SHIRLEY VALENTINE, The Duke Of York's Theatre
Willy Russell's Shirley Valentine is nearly forty years old and, despite being firmly set in the 1980's, its issues of loneliness, bravery and the need for personal fulfilment still resonate deeply....
Review: TRUTH'S A DOG MUST TO KENNEL, Battersea Arts Centre
Metaphysical meandering comes at an opportunity cost...
Review: HEDDA GABLER, Reading Rep Theatre
Henrik Ibsen’s Hedda Gabler has been a vehicle for many actresses to show off their dramatic chops. But when you have Diana Rigg, Ingrid Bergman and Ruth Wilson previously inhabit the titular role, it’s easy to see why. Often dubbed “the female Hamlet,” Ibsen’s titular story breathes new l...
Review: LOVE IN, VAULT Festival
Stepping into the VOID (a literal shipping container) for Love In is like entering another world. Once the metal door opens and you are greeted by your host, the Lover (Amanda Grace), in a gorgeous sunflower dress, you forget the outside world of Waterloo with its loud bars and graffiti....
Review: EGYPTIANS, Gulbenkian Arts Centre, University of Kent
Verse and music enhances a production that straddles millennia...
Review: BURN, VAULT Festival
Beresford-Knox introduces a cunning monarch with a steely gaze and flawless posture. Portrayed by Frankie Hyde-Peace in a magnificent performance, Mary owns a regal poise. She rarely explodes, but when she does, it’s with composure and intention. Joined by Kelvin Giles as the Archbishop, she boast...
Review: THE WALWORTH FARCE, Southwark Playhouse Elephant
Family memory is weaponised in this grime lined new production of Enda Walsh's 2006 black comedy...
Videos
TICKET CENTRAL
Buy Tickets
Tickets From $101
Tickets From $83
Tickets From $70
