Reasons To Be Cheerful, Theatre Royal Stratford East
If any musical can attempt to live up to this title in these troubled times, it must be this show...
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London
Zoom Play: “Midnight Your Time” at The Donmar Warehouse
During the lockdown, the best online theatre, more or less, are shows that are specially created...
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Revisiting the National Theatre’s 2011 “Frankenstein”
So far, it could be said that the National Theatre is having a good lockdown. Every week, this...
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“#aiww: The Arrest of Ai Weiwei” at The Hampstead Theatre
London’s Hampstead Theatre has recently been very successful in bringing some of its best shows to...
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Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World
“The theatre is a device for empathy – its job is to create better people.” Those are the words of...
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E.V. Crowe’s “Shoe Lady” at the Royal Court
“Would you rather have one shoe or no shoes?” Viv is here to show us that missing only one shoe is...
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Gerald Moon’s “Corpse!” at the Park Theatre: Comedy Thriller In A Tight Spot
The idea of the perfect murder is a genre standard. The fantasy that you are so intellectually...
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“United Queendom”: When Immersive Theatre Meets Historical Reenactment Tour
United Queendom shines with potential. The location itself offers the thrill of being after hours in a royal palace, the expectations of whispers and court intrigue. Queen Caroline and Henrietta Howard bring a captivating tale and Les Enfants Terribles have a relevant lens to approach it and a bold aesthetic to make a memorable event. But I wished I had been part more of an immersive show than of a historical tour.
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Sally Abbott’s “I Think We Are Alone” at Theatre Royal Stratford East: Coolly Controlled Study of Loneliness
Once radical theatre companies are increasingly celebrating anniversaries, as if to say, hey,...
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An Interview with British Theatre-Maker and Comedian Jess Thom Co-Founder of Touretteshero
Touretteshero teams up with Battersea Arts Centre to make South London’s premier theatre space the...
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Churchill’s “Far Away” at The Donmar Warehouse
Caryl Churchill, Britain’s best living playwright, is enjoying a spate of high-profile revivals of...
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Tim Cowbury’s “The Claim” at Shoreditch Town Hall: Quietly Satirical Account of Political Asylum
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
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“Albion” Returns to The Almeida, but Falls Short of Its Political Aspirations
There is nothing wrong with Albion. But the fact that the play is now ‘returning’ to the Almeida...
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Antoinette Nwandu’s “Pass Over” at the Kiln Theatre
Antoinette Nwandu’s play Pass Over is a palimpsest. Its outer surface looks familiar: haunted by...
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Tony Kushner’s “The Visit” at the National Theatre
Now that’s what I call a star turn. Hitting the brakes on an express train, Lesley Manville lands...
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Williams and Dyer’s “Death of England,” National Theatre
Is this an angry island? Although the British national character (if there is such a thing) has...
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“The Welkin” at The National Theatre
History plays should perform a delicate balancing act: they have to tell us something worth...
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About “The Importance Of Being Earnest”
Last week, I went for the first time to Stoke Newington’s Tower Theatre, whose company has since...
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Samuel Beckett’s “Endgame” at the Old Vic: Starry Cast Tackle Modernist Classic
No playwright has had greater influence on successive generations of theatre-makers than Samuel...
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Petar Miloshevski’s Remarkable Solo – Being Beautiful, Passionate, in Love
An interview with Petar Miloshevski – A London-based actor, performer, theatre artist. Petar...
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