Thursday, March 3, 2022
Daniel Evans coaxes out some beautiful performances from his ensemble in this experimental new play at the Dorfman
SOURCE: The Independent at 07:06AMSaturday, February 5, 2022
With her National Theatre production, Emma Rice does a fairly remarkable job in making the text as lucid as it is, even if depth of character is sacrificed for breadth of narrative
SOURCE: The Independent at 07:33AMWednesday, February 2, 2022
Caryl Churchill’s dystopian play has been shorn of its sharper absurdist edges – but Essiedu and Lennie James offer a series of delicately drawn character studies
SOURCE: The Independent at 07:18AMFriday, January 21, 2022
The Piccadilly Theatre’s adaptation of Baz Luhrmann’s film is at its most enjoyable when it eschews such concepts as ‘characterisation’ and ‘narrative’ and throws itself entirely…
SOURCE: The Independent at 02:33AMWednesday, November 24, 2021
Moira Buffini’s play is weighed down by outdated jokes and an oversimplification of modern politics
SOURCE: The Independent at 06:03AMTuesday, October 5, 2021
Greg Hersov’s direction doesn’t have the requisite drive needed to make this play feel genuinely urgent
SOURCE: The Independent at 04:12AMWednesday, September 8, 2021
The stage adaptation of Disney’s smash will leave you dazed and breathless, if a little hollow
SOURCE: The Independent at 07:48PMSunday, April 4, 2021
This sumptuous new version was originally intended for a stage run in 2020 before being adapted for the screen
SOURCE: The Independent at 06:18PMSunday, December 13, 2020
As dazzling as the iconic show may be, it fails to fulfil its aim of portraying Henry VIII’s wives as individual women with beating hearts
SOURCE: The Independent at 08:32AMWednesday, December 9, 2020
Finally performed on the socially distanced main stage space, Alice Hamilton’s production of Pinter’s one-act play is fittingly, uncannily claustrophobic
SOURCE: The Independent at 07:32PMTuesday, October 6, 2020
<p>Jonathan O’Boyle’s beautifully judged production has now been remounted for the Covid age, with Perspex dividers between each seat</p>
SOURCE: The Independent at 06:06AMTuesday, September 1, 2020
<p>It seems sometimes like writer David Hare is attempting to explain the situation to someone who has completely missed the pandemic — rather than engage with an audience who are li…
SOURCE: The Independent at 06:06AMFriday, March 13, 2020
It wouldn’t be fair to just call Freedom Hi 自由閪 a play. A collection of writing and performance by several UK-based Hong
SOURCE: The Stage Registration at 12:35PMThursday, February 6, 2020
Florencia Cordeu’s family history is etched on to cassette tapes. An aural (or perhaps oral) history imprinted into plastic and tape, which
SOURCE: The Stage Registration at 10:00AMWednesday, January 22, 2020
Miriam Battye’s London Royal Court debut is a springy, if wobbly, exploration of contemporary womanhood. In an effort to extricate themselves from
SOURCE: The Stage Registration at 09:12AMFriday, January 17, 2020
Julie Tsang’s psychological thriller exists in the shadows. As Kevin, a seemingly amiable young repairman, attempts to patch-up the shambling, elderly Li
SOURCE: The Stage Registration at 07:36AMWednesday, January 8, 2020
Alexandra Wood’s new play is the equivalent of flipping through a family photo album. It’s a rush of snapshot moments that layer
SOURCE: The Stage Registration at 06:50AMThursday, December 12, 2019
Everyone loves a party. Gary and Nicky are throwing one for Mark at their flat – except Gary’s boss, Victoria, has tagged
SOURCE: The Stage Registration at 08:53AMTuesday, October 15, 2019
Sabrina Mahfouz is quick to undercut A History of Water in the Middle East’s affected title. “Highly condensed and highly edited”, she
SOURCE: The Stage Registration at 07:48AMWednesday, October 9, 2019
Samuel Gallet’s adaptation of Klaus Mann’s 1936 novel tracks the rise of far-right ideology in an unnamed European country through the lens
SOURCE: The Stage Registration at 06:49AMMonday, October 7, 2019
The final part of Bertrand Lesca and Nasi Voutsas’ unofficial trilogy – following Eurohouse and Palmyra – once again sees them exploring
SOURCE: The Stage Registration at 09:46AMMonday, September 30, 2019
Birmingham, 1979, and “British music’s become a battleground for a race war,” Robin French’s gig-theatre piece tells us. Denise (a winsome Lauren
SOURCE: The Stage Registration at 12:34PMMonday, September 23, 2019
The bright yellows soaking Shida’s promotional material might lead you to believe that it’s a feel-good shot of sunshine in the dank
SOURCE: The Stage Registration at 06:24AMTuesday, September 17, 2019
Two lost souls meet in an anonymous hotel room. Lucia, an unhappily married businesswoman, has paid Angel, a visually impaired young man,
SOURCE: The Stage Registration at 10:25AMFriday, September 6, 2019
There’s magic to be found deep in the bowels of Alexandra Palace. At least, that’s what RIFT’s production would like you to
SOURCE: The Stage Registration at 11:50AMFriday, July 19, 2019
For a play all about relationships, Ryan Craig’s Games for Lovers has an astonishing lack of heart. It follows the trials and
SOURCE: The Stage Registration at 06:12AMMonday, July 8, 2019
“It’s your actions that make you white, not your skin colour,” a character heatedly tells Gabriel Bisset-Smith’s Lysander at the climax of
SOURCE: The Stage Registration at 07:51AMThursday, July 4, 2019
The power of Brenda Russell, Allee Willis and Stephen Bray’s 2004 musical, based on Alice Walker’s seminal tale of black womanhood and
SOURCE: The Stage Registration at 05:30AMWednesday, June 26, 2019
Incoming Festival was started by two critics Eleanor Turney and Jake Orr. They tell Ava Wong Davies about supporting mid-career artists, engaging
SOURCE: The Stage Registration at 11:30AMMonday, June 3, 2019
A streak of pain runs through Simon Stephens’ 2004 play. Taking the form of an elliptical series of duologues, Country Music drops
SOURCE: The Stage Registration at 10:34AMFriday, May 31, 2019
Emma Hemingford’s intriguing debut play sets out to explore traditional heteronormative gender roles through the lens of one couple’s relationship. In Flinch,
SOURCE: The Stage Registration at 12:24PM 
