Theatre Reviews
The Ocean at the End of the Lane, Duke of York's Theatre review - pure theatrical magicSaturday, 06 November 2021
This show has been a long time coming. Neil Gaiman had the first inklings of The Ocean at the End of the Lane when he was seven years old and living near a farm recorded in the Domesday Book. Several decades later, he wrote a short story for his wife, Amanda Palmer, “to tell her where I lived and who I was as a boy”, as he puts it in his programme notes. Read more... |
Pride & Prejudice* (*sort of), Criterion Theatre review - bursting with wit, verve, and loveThursday, 04 November 2021
“We haven’t started yet!” Hannah-Jarrett Scott, dressed in Doc Martens under a 19th-century shift, reassures us as she attempts to dislodge a yellow rubber glove from a chandelier in the middle of the set of Pride & Prejudice* (*sort of). Read more... |
Old Bridge, Bush Theatre review - powerful, poetic and profoundWednesday, 03 November 2021
Is the Bosnian conflict of 1992–95 the war that Europe forgot? Maybe, although most fans of new writing for the British stage will remember its massacres as the inciting incident for Sarah Kane’s 1995 modern classic, Blasted. Certainly, this genocidal struggle in the heart of Europe not only etched its horror on everyone who heard about it, but also continues to inspire drama. Read more... |
'Night, Mother, Hampstead Theatre review - despair in sotto-voceTuesday, 02 November 2021
‘Night, Mother remains a play of piercing pessimism, something that’s not necessarily the same as tragedy, though the two often run congruently. The inexorability of the development of Marsha Norman’s 1983 Pulitzer Prize winner certainly recalls the tragic arc of drama, but its sense of catharsis remains somehow limited. Read more... |
The Magician's Elephant, Royal Shakespeare Theatre review - family musical doesn't fully deliverSaturday, 30 October 2021
Trigger warnings have become commonplace in theatres these days, but few chill the blood like the description "a new musical" on a playbill. Read more... |
albatross., Playground Theatre review - interconnected intimaciesWednesday, 27 October 2021
"You need to get better at communicating", says one character to another in Isley Lynn’s albatross. Indeed, the same advice would fare well with many of those in the Anglo-American Lynn’s new play, where miscommunication plagues a range of relationships and chance encounters Read more... |
A Place for We, Park Theatre review - perceptive, but rather flabbyWednesday, 27 October 2021
I’ve lived in Brixton, south London, for about 40 years now, so any play that looks at the gentrification of the area is, for me, definitely a must. Read more... |
Vanara, Hackney Empire review - fine singing, but a plodding book and one-pitch score in this new musicalTuesday, 26 October 2021
Two tribes, both alike in dignity in fair Vanara, trade goods and insults in a post-apocalyptic world in which fire is known to The Kogallisk but not to The Pana. When The Oroznah, a shaman respected by both feuding factions, foretells a long winter to come, The Pana must do all they can to steal the fire from The Kogallisk in order to survive the long nights. Read more... |
The Shark Is Broken, New Ambassadors Theatre review - how Spielberg's first blockbuster almost didn't happenSaturday, 23 October 2021
Jaws was the Moby Dick of late 20th century capitalism, a fantasy about fear and the unknown for a society that had rarely felt more secure and powerful. Read more... |
Grenfell: Value Engineering, The Tabernacle review - bruising, necessary theatreWednesday, 20 October 2021
Grenfell: Value Engineering isn’t actually a play. It’s an edited version of the testimony heard by the Grenfell Tower Inquiry, particularly Phase 2, from January 2020 to July 2021. Along with director/producer Nicolas Kent, Richard Norton-Taylor has distilled the Inquiry’s proceedings into two-and-three-quarter hours of devastation. They show that tens, maybe even hundreds of people are responsible for the fire that killed 72 and injured almost as many. 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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