All stories by Frey Kwa Hawking on BroadwayStars

Monday, May 13, 2019

Bromley Bedlam Bethlehem review at Old Red Lion, London – ‘sensitive exploration of depression’ by Frey Kwa Hawking

It runs in the family. Sarah’s estranged father recently killed himself. Her son is also beginning to struggle with his mental health.

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Friday, March 8, 2019

Review: The Ridiculous Darkness at the Gate by Frey Kwa Hawking

Incredibly close: Frey Kwa Hawking writes on Anthony Simpson-Pike and Nina Segal's 'irreverent and feral' adaptation of Wolfram Lotz's radio play about colonialism. The post Review: The Rid…

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Saturday, March 2, 2019

Review: Kourtney Kardashian at BAC by Frey Kwa Hawking

'Rich people acting out their little dramas': Frey Kwa Hawking writes on Sleepwalk Collective's final show in their Kardashian trilogy, a deconstructed, live-art opera. The post Review: Kou…

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Wednesday, February 6, 2019

Review: Superhoe at Royal Court by Frey Kwa Hawking

"A long, slow slide into horror after horror" – Frey Kwa Hawking writes on Nicôle Lecky's narrative of a young woman suffocated by anxieties. The post Review: Superhoe at Royal Court app…

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Thursday, January 31, 2019

Call It a Day review at the Yard Theatre, London – ‘a dreamy, playful meditation’ by Frey Kwa Hawking

What do we share with each other? Even those who are as radically different from us as we can imagine? In this

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Monday, January 28, 2019

Review: Welcome to the UK at The Bunker by Frey Kwa Hawking

'Theatre that refuses to form an orderly queue': Frey Kwa Hawking reviews Borderline's playful satire of the UK's labyrinthine immigration system. The post Review: Welcome to the UK at The …

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Wednesday, January 16, 2019

Review: Stop and Search at Arcola Theatre by Frey Kwa Hawking

'Moments of compassion and trust": Frey Kwa Hawking writes on Gabriel Gbadamosi's wide-ranging, but opaque new play. The post Review: Stop and Search at Arcola Theatre appeared first on Exeu…

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Monday, January 14, 2019

Review: Coming Clean at Trafalgar Studios by Frey Kwa Hawking

Fun on the side: Frey Kwa Hawking writes on Kevin Elyot's debut play about nonmonogamy, as it transfers to Trafalgar Studios. The post Review: Coming Clean at Trafalgar Studios appeared firs…

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Saturday, December 22, 2018

Review: Bottom at Soho Theatre by Frey Kwa Hawking

Willy Hudson's solo show explores 'the arbitrariness of what we expect young gay people to have instantly figured out, before they even come out', writes Frey Kwa Hawking The post Review: Bo…

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Thursday, December 13, 2018

Dialektikon, Park Theatre, London – ‘moments of beauty’ by Frey Kwa Hawking

Miranda’s world is dark. Beyond early hints at an abusive dad, and a nan who endured hardship as an immigrant and is

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Monday, December 10, 2018

Review: Return to Elm House at Battersea Arts Centre by Frey Kwa Hawking

A magical immersion in the history of Battersea: Frey Kwa Hawking writes on Sarah Golding's 'gentle and very different Christmas show' The post Review: Return to Elm House at Battersea Arts …

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Queer Migrant Takeover by Frey Kwa Hawking

As Brexit looms, a series of live art parties are creating space to explore multicultural LGBT+ experiences. The post Queer Migrant Takeover appeared first on Exeunt Magazine.

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Thursday, December 6, 2018

Review: The Band at Theatre Royal Haymarket by Frey Kwa Hawking

A bewildering tribute: Frey Kwa Hawking writes on Gary Barlow's Take That! musical. The post Review: The Band at Theatre Royal Haymarket appeared first on Exeunt Magazine.

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Wednesday, December 5, 2018

Jack and the Beanstalk review at Queen’s Theatre, Hornchurch – ‘plays it safe’ by Frey Kwa Hawking

Penned by Andrew Pollard, Martin Berry’s panto for Queen’s Theatre Hornchurch is a rather by-the-numbers affair. Though the fairground setting allows for

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Wednesday, November 21, 2018

Review: Love-Lies-Bleeding at Print Room by Frey Kwa Hawking

'Quiet and considered': Frey Kwa Hawking reviews Jack McNamara's production of Don DeLillo's play about a man in a vegetative state The post Review: Love-Lies-Bleeding at Print Room appeared…

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Tuesday, November 20, 2018

Cuckoo review at Soho Theatre, London – ‘snappy dialogue’ by Frey Kwa Hawking

Lisa Carroll’s play Cuckoo is a witty study of the mess and complexity of adolescent friendship. When word gets out that a

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Friday, November 16, 2018

Review: Super Duper Close Up at The Yard by Frey Kwa Hawking

'a bit like being occasionally struck by lightning': Frey Kwa Hawking writes on Made in China's fast-talking new show. The post Review: Super Duper Close Up at The Yard appeared first on Exe…

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Friday, November 9, 2018

Yerma review at Cervantes Theatre, London – ‘a poised production’ by Frey Kwa Hawking

Federico García Lorca’s Rural Trilogy at the Cervantes Theatre ends with a considered and confident production of his “tragic poem” Yerma, performed

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Saturday, October 27, 2018

Forgotten 遗忘 at Arcola Theatre by Frey Kwa Hawking

'an offering to just a few of those history missed over': Frey Kwa Hawking reviews Daniel York Loh's new play about the Chinese Labour Corps The post Forgotten 遗忘 at Arcola Theatre appea…

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Friday, October 26, 2018

Burgerz review at Hackney Showroom, London – ‘a call for compassion’ by Frey Kwa Hawking

Two years ago, trans activist and performance artist Travis Alabanza had a burger thrown at them along with a transphobic slur. No

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Monday, October 15, 2018

Review: The Inheritance at Noël Coward Theatre by Frey Kwa Hawking

As Matthew Lopez's gay epic transfers from the Young Vic to the West End, Frey Kwa Kawking writes on its sprawling, compassionate glory. The post Review: The Inheritance at Noël Coward Thea…

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Wednesday, October 3, 2018

Review: Mrs Dalloway at Arcola Theatre by Frey Kwa Hawking

Frey Kwa Hawking reviews Forward Arena's transporting adaptation of Virginia Woolf's 'slim, dense, irrepressible novel' The post Review: Mrs Dalloway at Arcola Theatre appeared first on Exeu…

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Friday, September 28, 2018

The Lesson review at Hope Theatre, London – ‘a watertight production’ by Frey Kwa Hawking

First performed in 1951 – and in permanent repertory at the Theatre de la Huchette in Paris ever since – Eugene Ionesco’s

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Thursday, September 27, 2018

Review: Poet in da Corner at Royal Court by Frey Kwa Hawking

The question of ownership: Frey Kwa Hawking reviews Debris Stevenson's autobiographical ode to grime. The post Review: Poet in da Corner at Royal Court appeared first on Exeunt Magazine.

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Thursday, September 13, 2018

Review: The Woods at Royal Court by Frey Kwa Hawking

Frey Kwa Hawking reviews a play that 'doesn’t make conventional sense, but a kind of sense you feel intuitively.'  The post Review: The Woods at Royal Court appeared first on Exeunt Magaz…

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Monday, September 10, 2018

Blood Wedding review at Omnibus, London – ‘a hurried staging’ by Frey Kwa Hawking

A grief-stricken mother reluctantly prepares for her son to marry, but trouble waits outside the bride’s house – and he’s on a

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Monday, September 3, 2018

Caterpillar review at Theatre503, London – ‘natural, funny new writing’ by Frey Kwa Hawking

Theatre503’s latest is a finalist of the venue’s Playwriting Award for new writing in 2016, and Alison Carr’s ear for natural, funny

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Tuesday, August 28, 2018

Review: Pericles at National Theatre by Frey Kwa Hawking

Makes a seemingly little play vast: Frey Kwa Hawking reviews the Public Acts production of Shakespeare's Pericles. The post Review: Pericles at National Theatre appeared first on Exeunt Maga…

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Wednesday, August 22, 2018

Much Ado About Nothing review at Gray’s Inn Hall, London – ‘accessible and diverting’ by Frey Kwa Hawking

Antic Disposition’s latest Shakespeare production situates the characters of Much Ado About Nothing in rural France after World War II. With a

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Sunday, August 19, 2018

Tom Wells: “We want to bring people in” by Frey Kwa Hawking

Playwright Tom Wells chats to Frey Kwa Hawking about gay representation in theatre, making work outside London, and the power of panto. The post Tom Wells: “We want to bring people in&…

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Friday, August 3, 2018

Riot Act review at King’s Head Theatre, London – ‘verbatim theatre at its best’ by Frey Kwa Hawking

Alexis Gregory’s Riot Act fits into a long tradition of gay solo performances, and with this tribute to the work of gay

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