sat 15/06/2024

theatre reviews, news & interviews

Miss Julie, Park Theatre review - Strindberg's kitchen drama still packs a punch

Gary Naylor

You have to tiptoe around the edge of the set just to take your seat in the Park’s studio space for Lidless Theatre’s Miss Julie. There’s a plain wooden table, a few utensils on it, wooden chairs and a small cabinet – not much, but, we’re smack inside this 19th century country house kitchen, uncomfortably close to discomfiting passions.

Being Mr Wickham, Jermyn Street Theatre review - the plausible, charming roué gives his version of events 30 years on

Heather Neill

It is a truth universally acknowledged that an actor tends to take a sympathetic view of the character he inhabits, however morally questionable. Adrian Lukis, who played the handsome, roguish militiaman, George Wickham, in Andrew Davies's (still delightful) 1995 adaptation of Jane Austen's most popular novel, is no exception.

Marie Curie, Charing Cross Theatre review - like...

Gary Naylor

There are many women whose outstanding science was attributed to men or simply devalued to the point of obscurity, but recent interest in the likes...

Wedding Band, Lyric Hammersmith review -...

Helen Hawkins

Alice Childress’s Wedding Band has arrived at the Lyric Hammersmith like an incendiary bomb, a weapon that casts a bright light over its target even...

Accolade, Theatre Royal Windsor review - orgy-...

Ismene Brown

Times change, people don't. Does a knighthood sit well on a man who shags anonymous strangers in the Blue Lion out of hours? Emlyn Williams played...

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Lie Low, Royal Court review - short sharp sliver of pain

Aleks Sierz

Dublin Fringe Festival hit from 2022 comes to London’s main new writing theatre

Boys from the Blackstuff, National Theatre review - a lyrical, funny, affecting variation on a television classic

Heather Neill

The legendary small-screen drama still resonates in a new medium

First Person: LIFT artistic director Kris Nelson on delivering the best of international theatre to the nation's capital

Kris Nelson

LIFT2024 promises a characteristically broad and bracing array of global performance

The Harmony Test, Hampstead Theatre review - pregnancy and parenthood

Aleks Sierz

Taboo-tickling comedy about both conceiving a baby and life as empty nesters

Bluets, Royal Court review - more grey than ultramarine

Aleks Sierz

Katie Mitchell’s staging of Maggie Nelson’s bestseller is neither original nor beautiful

Romeo and Juliet, Duke of York's Theatre review - doomy and deathly, and much-hyped

Matt Wolf

Tom Holland reaches for the stars and makes it to the theatre's roof

Jerry’s Girls, Menier Chocolate Factory review - just a parade that passes by

David Nice

Three talented performers in a revue that doesn’t add up to much

Richard III, Shakespeare's Globe review - Michelle Terry riffs with punk bravado

Tom Birchenough

A female cast rips into toxic masculinity in a rebalanced treatment of villainy

Between Riverside and Crazy, Hampstead Theatre review - race, religion and rough justice

Aleks Sierz

Stephen Adly Guirgis’s Pulitzer-Prize winner finally makes it to London

Passing Strange, Young Vic review - exuberant pocket musical with a thoughtful core

Helen Hawkins

Giles Terera excels leading a livewire cast in an irreverent look at Black identity

Fawlty Towers: The Play, Apollo Theatre review - lightning strikes twice

Adam Sweeting

John Cleese's sitcom masterpiece makes seamless transition to the stage

People, Places and Things, Trafalgar Theatre review - a scintillating shot in the arm

Demetrios Matheou

Duncan MacMillan’s riotous reflection on addiction and recovery returns

Withnail and I, Birmingham Rep review - Bruce Robinson’s 1987 film makes for a theatrical hit

Guy Oddy

Withnail and Marwood fix up the Jag and head for Birmingham

Sappho, Southwark Playhouse Elephant review - a glitzy celebration of sapphic love

Jane Edwardes

Too much camp and not enough content in this tribute to the Greek poet

Twelfth Night, Regent's Park Open Air Theatre review - burlesque overwhelms the darker notes in this mixed revival

Heather Neill

Queer themes and music take centre stage in a café setting

Multiple Casualty Incident, The Yard Theatre review - NGO medics in training have problems of their own

Gary Naylor

Sami Ibrahim's play examines ethics in a war zone, but pivots to a gimmicky love story

Spirited Away, London Coliseum review - spectacular re-imagining of beloved film

Gary Naylor

Growing up with Chihiro/Sen is overwhelming, enlightening and beautiful

Laughing Boy, Jermyn Street Theatre review - impassioned agitprop drama

Saskia Baron

Strong ensemble work highlights the plight of people with learning disabilities

Minority Report, Lyric Hammersmith Theatre review - ill-judged sci-fi

Demetrios Matheou

Philip K Dick’s science fiction short story fares far better on screen

Two Strangers (Carry A Cake Across New York), Criterion Theatre review - rueful and funny musical gets West End upgrade

Jane Edwardes

A Brit and a New Yorker struggle to find common ground in lively new British musical

Testmatch, Orange Tree Theatre review - Raj rage, old and new, flares in cricket dramedy

Gary Naylor

Winning performances cannot overcome a scattergun approach to a ragbag of issues

Banging Denmark, Finborough Theatre review - lively but confusing comedy of modern manners

Helen Hawkins

Superb cast deliver Van Badham's anti-incel barbs and feminist wit with gusto

London Tide, National Theatre review - haunting moody river blues

Aleks Sierz

New play-with-songs version of Dickens’s 'Our Mutual Friend' is a panoramic Victori-noir

Machinal, The Old Vic review - note-perfect pity and terror

David Nice

Sophie Treadwell's 1928 hard hitter gets full musical and choreographic treatment

Footnote: a brief history of British theatre

London theatre is the oldest and most famous theatreland in the world, with more than 100 theatres offering shows ranging from new plays in the subsidised venues such as the National Theatre and Royal Court to mass popular hits such as The Lion King in the West End and influential experimental crucibles like the Bush and Almeida theatres. There's much cross-fertilisation with Broadway, with London productions transferring to New York, and leading Hollywood film actors coming to the West End to star in live theatre. In regional British theatre, the creative energy of theatres like Alan Ayckbourn's Stephen Joseph Theatre, Scarborough, the Bristol Old Vic and the Sheffield theatre hub add to the richness of the landscape, while the many town theatres host circling tours of popular farces, crime theatre and musicals.

lion_kingThe first permanent theatre, the Red Lion, was built in Queen Elizabeth I's time, in 1576 in Shoreditch; Shakespeare spent 20 years in London with the Lord Chamberlain's Men, mainly performing at The Theatre, also in Shoreditch. A century later under the merry Charles II the first "West End" theatre was built on what is now Theatre Royal Drury Lane, and Restoration theatre evolved with a strong injection of political wit from Irish playwrights Oliver Goldsmith and Richard Brinsley Sheridan. Catering for more populist tastes, Sadler's Wells theatre went up in 1765, and a lively mix of drama, comedy and working-class music-hall ensued. But by the mid-19th century London theatre was deplored for its low taste, its burlesque productions unfavourably contrasted with the aristocratic French theatre. Calls for a national theatre to do justice to Shakespeare resulted in the first "Shakespeare Memorial" theatre built in Stratford in 1879.

The Forties and Fifties saw a golden age of classic theatre, with Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud starring in world-acclaimed productions in the Old Vic company, and new British plays by Harold Pinter, John Osborne, Beckett and others erupting at the English Stage Company in the Royal Court. This momentum led in 1961 to the establishing of the Royal Shakespeare Company in Stratford, and in 1963 the launch of the National Theatre at The Old Vic, led by Olivier. In the late Sixties Britain broke the American stranglehold on large-scale modern musicals when Andrew Lloyd Webber and Tim Rice launched their brilliant careers with first Joseph and the Amazing Technicolor Dreamcoat and then Jesus Christ Superstar in 1970, and never looked back. The British modern original musical tradition led on to Les Misérables, The Lion King and most recently Matilda.

The Arts Desk brings you the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures, actors and playwrights. Our critics include Matt Wolf, Aleks Sierz, Alexandra Coghlan, Veronica Lee, Sam Marlowe, Hilary Whitney and James Woodall.

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