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aleks sierz

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Bio
Aleks is author of In-Yer-Face Theatre and Rewriting the Nation, co-editor of theatreVOICE website, and works as a journalist, broadcaster and theatre critic at large.

Articles By Aleks Sierz

Graceland, Royal Court review - quiet desolation is too literary

Thursday, 16 February 2023 Read more...

Phaedra, National Theatre review - stunning acting in stunning show

Monday, 13 February 2023 Read more...

Linck & Mülhahn, Hampstead Theatre review - problems as well as pleasures

Wednesday, 08 February 2023 Read more...

Lemons Lemons Lemons Lemons Lemons, Harold Pinter Theatre review - cool cast chills the drama

Thursday, 02 February 2023 Read more...

Two Billion Beats, Orange Tree Theatre review - lively, but overly idealistic

Wednesday, 01 February 2023 Read more...

Sound of the Underground, Royal Court review - loud and triumphantly proud

Monday, 30 January 2023 Read more...

Sons of the Prophet, Hampstead Theatre review - perfect mix of pain and comedy

Thursday, 15 December 2022 Read more...

Kerry Jackson, National Theatre review - new writing nadir

Monday, 12 December 2022 Read more...

Baghdaddy, Royal Court review - Middle-Eastern magic realism

Monday, 28 November 2022 Read more...

The Sex Party, Menier Chocolate Factory review - disappointing detumescence

Friday, 18 November 2022 Read more...

Super High Resolution, Soho Theatre review - the NHS at breaking point

Monday, 14 November 2022 Read more...

Mary, Hampstead Theatre review - compelling study of power politics

Wednesday, 02 November 2022 Read more...

‘Stripping naked the process of making theatre’: Martin Crimp talks about his latest play

Monday, 31 October 2022 Read more...

Marvellous, @sohoplace review - silly, singular and sentimental

Monday, 24 October 2022 Read more...

Ravenscourt, Hampstead Theatre review - strong, but slender

Saturday, 08 October 2022 Read more...

Jews. In Their Own Words, Royal Court review - calling out ancient prejudice

Thursday, 29 September 2022 Read more...

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This is a weird one: I do try and stay on top of pop culture, but for several years, Ethel Cain completely passed me by. You’d think I would have...

Weilerstein, NYO2, Payare / Dueñas, Malofeev, Edinburgh Inte...

NYO2 is a group of dazzlingly talented (and terrifyingly young-looking) 14-17 year olds from the USA, one of Carnegie Hall’s three national youth...

Edinburgh Fringe 2025 reviews - Monstering the Rocketman by...

Monstering the Rocketman by Henry Naylor, Pleasance Dome ★★...

theartsdesk Q&A: filmmaker Dag Johan Haugerud on sex, lo...

"First love is always both terrible and wonderful at the same time", says the 60-year-Norwegian dramatist-novelist-director...

Oslo Stories Trilogy: Dreams review - love lessons

Rising temperatures, prickling skin, longing’s all-consuming ache: first love’s swooning symptoms overtake 17-year-old Johanne (Ella Øverbye) in...

Album: Black Honey - Soak

The default setting for Brighton indie quartet Black Honey...

Káťa Kabanová, Glyndebourne review - emotional concentration...

Even more perhaps than straight theatre, opera seems to draw attention to the meaning behind what may on the face of it appear a simple story....

The Count of Monte Cristo, U&Drama review - silly telly...

Alexandre Dumas’ novel has been filmed an immeasurable number of times (there was a new French version only last year) and...

Edinburgh Fringe 2025 reviews: Lost Lear / Consumed

Lost Lear, Traverse Theatre ★★★...