Theatre Reviews
A Streetcar Named Desire, Almeida Theatre review - Patsy Ferran rises above fussy stagingFriday, 13 January 2023
It’s a long way from the dank chill of an English winter to the stultifying heat of a New Orleans summer, but we’ve been here before at this venue. Five years on from their award-winning Summer And Smoke, Rebecca Frecknall is back in the director’s chair and Patsy Ferran in the lead role for Tennessee Williams’ exploration of frailty and fear, A Streetcar Named Desire. Read more... |
Watch on the Rhine, Donmar Warehouse review - Lillian Hellman's 1940 play is still asking awkward questionsWednesday, 11 January 2023
We’re reminded, in a grainy black and white video framing device, that, as late as the summer of 1941, the USA saw World War II as just another European war. As brilliantly illustrated in Phillip Roth’s The Plot Against America, not only was such indifference to the rise of fascism more widespread than feels comfortable to reflect upon, but so, too, was a sympathy extended to the Nazis in their psychotic mission to make Germany great again. Read more... |
Best of 2022: TheatreTuesday, 27 December 2022
Where were the great new plays during 2022? That question underscored weeks of playgoing that turned into months, with very little new British writing announcing itself with real force. Read more... |
Christmas shows 2022 round-up - panto is properly backFriday, 23 December 2022
What joy it is to have pantomime and Christmas shows back with full audiences up and down the country – everything from local shows to star-driven productions, many of them postponed from 2020 but with an awful lot happening in between to provide the topical references. Read more... |
Mother Goose, Duke of York's Theatre review - Ian McKellen returns as the DameThursday, 22 December 2022
When Ian McKellen, one of our greatest Shakespearean actors, gave us his acclaimed Widow Twankey at the Old Vic in 2004, some wondered why he had waited till he was in his sixties to perform in a leading role in pantomime (second comic policeman at Ipswich in 1962 doesn't count). Well, he has made us wait again for his second tilt at a Dame, but it was worth it. Read more... |
Hakawatis: Women of the Arabian Nights, Sam Wanamaker Playhouse review - magical stories by candlelightMonday, 19 December 2022
Do you remember how the 1001 Nights ends? You know how it starts: Scheherazade has been married to a king who kills his brides the day after he marries them. She tells him a story so good that he simply has to know what happens next, and she survives the next day. This goes on for 1001 nights, until… what? Read more... |
As You Like It, @sohoplace review - music-filled, warm-hearted celebrationFriday, 16 December 2022
The scene is set onstage in the first minutes. And it remains a stage throughout this harmonious production. The action takes place in a severe court and a more liberal forest, but really the setting is always a place of imagination, a theatre. Jaques' most anthologised speech, "All the world's a stage ... " is its keynote: all the actors are players, in both senses of the word. Read more... |
Dolly Parton's Smoky Mountain Christmas Carol, Queen Elizabeth Hall review - Scrooge goes to TennesseeThursday, 15 December 2022
We’ve had 75 years to get used to Scrooge McDuck, so we can hardly complain if the Americans indulge in a little cultural appropriation and send Charles Dickens’ misanthrope to Depression-era Tennessee for another whirl on the catharsis-redemption ride. Read more... |
Sons of the Prophet, Hampstead Theatre review - perfect mix of pain and comedyThursday, 15 December 2022
Pain is, at one and the same time, something to avoid, and also something you can use. Kahlil Gibran, the Lebanese-American mystical author of the 1923 best-seller The Prophet, concludes that, despite suffering, “all is well”, but how true is that? In his award-winning play, which premiered in Boston in 2011, American playwright Stephen Karam examines the issues in a thoroughly original, brilliantly constructed and thematically compelling way. Read more... |
Kerry Jackson, National Theatre review - new writing nadirMonday, 12 December 2022
Is British new writing in deep trouble? With the Arts Council defunding venues such as the Hampstead Theatre, the Donmar and the Gate, and past masters such as Terry Johnson underperforming, the signs are not good. But what about the National Theatre, the country’s flagship — can it step up to fill the gap? 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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