PRINCE OF WALES THEATRE

by Matthew Paluch - March 31, 2026

Mayerling is an experience - let no one tell you otherwise. Kenneth MacMillan’s 1978 ballet delves into the true story of the 19th century Austro-Hungarian court, and specifically the experience of the heir apparent; Crown Prince Rudolf. ...

by Cheryl Markosky - March 28, 2026

What did our critic think of BOOK REVIEW: THE PLAYS OF HENRICK IBSEN, BY DAVID IRVIN at Bookshops?...

by Amber-Rae Stobbs - March 30, 2026

​There aren’t many times in your life where you can safely say you’ve watched a lip-sync routine to a song about being on Jobseeker’s Allowance, all the while having just watched a clown piece seemingly about how Year 7’s always have backpacks larger than them. However, Long Night Produc...

by Mica Blackwell - March 30, 2026

**** 'It would be hard to not fall for the charm of Jaja’s African Hair Braiding. A celebration of femalehood, Black culture and community, it’s filled with a vibrant joy and celebration in part thanks to a cast who share a wonderful chemistry. As client Jennifer says, it’s like being at home ...

by Cindy Marcolina - March 29, 2026

Henry V of England is one of those big roles for an actor. Alfie Enoch follows in the footsteps of Laurence Olivier and Tom Hiddleston as the king who led a battalion of tired and outnumbered soldiers to victory. Excellent performances may save it, but co-artistic director of the Royal Shakespeare C...

by Gary Naylor - March 27, 2026

Revival of 1935 play could have much relevance to today, but cannot find a route out of slow and dated writing...

by Michael Higgs - March 27, 2026

A new production by Natalie Abrahami and Michael Levine, The Turn of the Screw at the Royal Opera House haunts with eerie staging, finely judged performances, and Benjamin Britten’s still-chilling score....

by Franco Milazzo - March 26, 2026

When this Rigoletto first opened the Royal Opera House’s first full season after the long pandemic silence, it felt less like a return to normality and more like a statement of intent. To relaunch with Rigoletto, arguably Giuseppe Verdi’s bleakest work, was a bold, almost confrontational choice....

by Cindy Marcolina - March 27, 2026

When John Proctor is the Villain opened on Broadway last year, it lit a fire. Kimberly Belflower’s response to Arthur Miller’s The Crucible is more than play, it’s a movement. After shaking things up overseas, the piece is taking on London now (in the same venue that saw the U.K. premiere of M...

by Alexander Cohen - March 26, 2026

The high-water mark of 60s culture has been and gone, leaving a trail of detritus in which capricious rocker Maggie Frisby finds herself....