“It’s True, It’s True, It’s True” at The Breach Theatre
Artemisia Gentileschi definitely had a hard time. Although she was an outstanding Renaissance...
Read MoreAleks Sierz FRSA is a British theatre critic. He is author of In-Yer-Face Theatre: British Drama Today (Faber, 2001), The Theatre of Martin Crimp (Methuen, 2006), John Osborne’s Look Back in Anger (Continuum, 2008) and Rewriting the Nation: British Theatre Today (Methuen, 2011). He has also written, co-authored with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). His latest book is Good Nights Out: A History of Popular British Theatre 1940–2015 (Methuen, 2019). Sierz has written for publications including Tribune, The Arts Desk and The Stage, as well as newspapers such as The Independent.
Posted by Aleks Sierz | 25th Apr 2020 | Documentary Theatre, Review, Theatre and Film, United Kingdom
Artemisia Gentileschi definitely had a hard time. Although she was an outstanding Renaissance...
Read MorePosted by Aleks Sierz | 23rd Apr 2020 | Adaptation, Directing, Germany, Review, Theatre and Film, Theatre and Gender, Transmedia
Virginia Woolf’s reputation has closely followed British cultural trends: in the interwar years...
Read MorePosted by Aleks Sierz | 14th Apr 2020 | Theatre and Art, Transmedia, United Kingdom
Armchair theatre-lovers rejoice. During the lockdown, the National Theatre is streaming a...
Read MorePosted by Aleks Sierz | 11th Apr 2020 | Review, Theatre and Politics, Transmedia, United Kingdom
It’s only been a week since London’s West End went dark and theatres closed all over the UK, but...
Read MorePosted by Aleks Sierz | 10th Apr 2020 | Review, Theatre and Politics, United Kingdom
With everyone in lockdown, observing physical if not social distancing, a story about isolation...
Read MorePosted by Aleks Sierz | 4th Apr 2020 | Review, Theatre and Politics, United Kingdom
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
Read MorePosted by Aleks Sierz | 19th Mar 2020 | Review, Theatre and Politics, United Kingdom
Since 2000, Esther Baker’s Synergy Theatre Project has worked with prisoners, ex-offenders and...
Read MorePosted by Aleks Sierz | 10th Mar 2020 | London, Review, United Kingdom
The idea of the perfect murder is a genre standard. The fantasy that you are so intellectually...
Read MorePosted by Aleks Sierz | 5th Mar 2020 | London, Review, Theatre and Dance, United Kingdom
Once radical theatre companies are increasingly celebrating anniversaries, as if to say, hey,...
Read MorePosted by Aleks Sierz | 28th Feb 2020 | London, Review, Theatre and Politics, United Kingdom
Caryl Churchill, Britain’s best living playwright, is enjoying a spate of high-profile revivals of...
Read MorePosted by Aleks Sierz | 26th Feb 2020 | London, Review, Theatre and Politics, United Kingdom
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
Read MorePosted by Aleks Sierz | 21st Feb 2020 | Review, Theatre and Politics, United Kingdom
Genetic engineering is in the news again. This follows the resignation of Andrew Sabisky as...
Read MorePosted by Aleks Sierz | 20th Feb 2020 | London, Review, Theatre and Politics, United Kingdom
Is this an angry island? Although the British national character (if there is such a thing) has...
Read MorePosted by Aleks Sierz | 19th Feb 2020 | London, Review, United Kingdom
History plays should perform a delicate balancing act: they have to tell us something worth...
Read MorePosted by Aleks Sierz | 18th Feb 2020 | London, Review, Theatre and Politics, United Kingdom
Last week, I went for the first time to Stoke Newington’s Tower Theatre, whose company has since...
Read MorePosted by Aleks Sierz | 17th Feb 2020 | London, Review, United Kingdom
No playwright has had greater influence on successive generations of theatre-makers than Samuel...
Read MorePosted by Aleks Sierz | 14th Feb 2020 | Essay, London, United Kingdom
“Fetch me ’ammer.” (Edward Bond, Saved) “Art is not a mirror held up to reality, but a hammer with...
Read MorePosted by Aleks Sierz | 12th Feb 2020 | Review, Theatre and Politics, United Kingdom
Total surveillance: this is the idea that every moment of our waking existence can be spied upon...
Read MorePosted by Aleks Sierz | 11th Feb 2020 | London, Review, United Kingdom
Your sweet tooth can get you into trouble. Lots of trouble. In this revival of Lucy Prebble’s...
Read MorePosted by Aleks Sierz | 6th Feb 2020 | London, Review, Theatre and Gender, United Kingdom
Tonight, I discovered the gasp index. Or maybe just re-discovered. The what? The gasp index. It’s...
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Olga Braga’s “Donbas” at Theatre 503: Complex… by Aleks Sierz 20th February 2026 
In the City of al-Sayyab, Theatre Still Speaks by Amir Al-Azraki 19th February 2026
Frantic Assembly’s “Lost Atoms” at the… by Aleks Sierz 9th February 2026
Terence Rattigan’s “Man and Boy” at the National… by Aleks Sierz 19th February 2026 
“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025 
