Theatre Reviews
A Tupperware of Ashes, National Theatre review - family and food, love and lossFriday, 04 October 2024
Queenie is in trouble. Bad trouble. For about a year now, this 68-year-old Indian woman has been forgetful. Losing her car keys; burning rice in the pan; mixing up memories; just plain blank episodes. At various times, she relives distant moments in her life with her husband Ameet, who died more than 20 years ago. Very soon she is diagnosed with Alzheimer’s. Read more... |
The Cabinet Minister, Menier Chocolate Factory review - sparkling tour de force of a farceTuesday, 01 October 2024
The stock of the late 19th century playwright Arthur Wing Pinero has just received a significant boost, thanks to the brilliant work of the actress Nancy Carroll – not only as a superb performer but as a dab hand with an adaptor’s pen. Read more... |
A Face in the Crowd, Young Vic review - lame rehash of a 1950s film satireMonday, 30 September 2024
It’s hard to work out why Kwame-Kwei Armah chose to end his tenure at the Young Vic by directing this soggy musical by Elvis Costello (songs/lyrics) and the American playwright Sarah Ruhl (book). Read more... |
Coriolanus, Olivier/National Theatre review - ambitious staging but the tragedy goes missingFriday, 27 September 2024
The National’s new production of Coriolanus has to be one of the most handsome to appear on the Olivier stage. But it has arrived minus a key item: a hero whose end is tragic. Read more... |
Here in America, Orange Tree Theatre review - Elia Kazan and Arthur Miller lock horns in McCarthyite AmericaWednesday, 25 September 2024
The clue is in the title – not Then in America or Over There in America or even a more apposite, if more misleading, Now in America, but an urgent, pin you to the wall and stick a finger in your face, Here in America. Read more... |
Waiting for Godot, Theatre Royal Haymarket review - humanity in high definitionTuesday, 24 September 2024
Modernism is us. Today. For the past two decades plays by Samuel Beckett and Harold Pinter – which once upon a time bewildered their audiences and gave critics apoplexy – have become big West End hits. The avant-garde is now commercial. The incomprehensible is our reality. Read more... |
The Truth About Harry Beck, London Transport Museum Cubic Theatre review - mapping the life of the London Underground map's creatorFriday, 20 September 2024
Iconic is a word the meaning of which is moving from the religious world into popular culture – win a reality TV show dressed as a teapot, and you can be sure that your 15 minutes of fame will be labelled iconic across social media. Not quite what Andrei Rublev had in mind 600 years ago. Read more... |
The Lightest Element, Hampstead Theatre review - engrossing, but fragmentaryThursday, 19 September 2024
British theatre has a proud heritage of science plays. From 1990s classics such as Tom Stoppard’s Arcadia (1993) and Michael Frayn’s Copenhagen (1998) to more recent examples such as Lucy Kirkwood’s Mosquitoes (2017) and Marek Horn’s Octopolis (2023), the trick lies in balancing intellectual material about often complex scientific subjects with dramatic flair. Read more... |
The Band Back Together, Arcola Theatre review - three is a dangerous numberMonday, 16 September 2024
We meet Joe first at the keys, singing a pretty good song, but we can hear the pain in the voice – but is that the person or the performance? When Ellie walks in, he leaps up like a cat on a hot tin roof, nervous as a kitten, and we know – it was the person. Read more... |
The Real Ones, Bush Theatre review - engrossing, enjoyable and quietly inspiringSaturday, 14 September 2024
Platonic love should be simple – basically you’re best mates. And without the complications of sex, what could go wrong? Waleed Akhtar, whose big hit The P Word was also performed here at the Bush, takes this idea and complicates it – by making it about a gay boy and a straight girl. Read more... |
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★★★★★
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
The Observer, Kate Kellaway
Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.
★★★★★
‘This final part of Florian Zeller’s trilogy is the most powerful of all.’
The Times, Ann Treneman
Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.
Book by 30 September and get tickets from £15*
with no booking fee.
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