Review: No But… Where Are You Really From?
A profoundly relevant exploration of identity, belonging, and everyday racism
Genre: Biographical Drama 0
Review: 1 Night at Ford’s Theatre
n interesting exploration of the assassination of Lincoln framed within a night at PT Barnum’s circus, performed as musical theatre.
Review: Clean Living Under Difficult Circumstances
Absorbing and attracted a sold-out brief run. Factually realist, but liminally fantastical, it wields potential for serious sly fun, and real drama.
Review: Operation Mincemeat
This is the finest new musical I’ve seen for many years. End of. The hype, the Oliviers and Tony call it right. See it.
Review: The Dasslers
The Dasslers wields a potential beyond its current limitations – both in this brief production and in its current form. And Radford, clearly setting out his dramatic stall in history’s cross-currents, is a voice to watch.
Review: The Love We Think We Deserve
It could grow into something both exceptional and even more necessary.
Review: Neddy Goes to Glasto
Corrina O’Beirne masters the demotic, the lyrical, the witty and metaphorical, all at once. A must-see.
Review: Ashes and Diamonds
Exceptionally humane, humanly absorbing. It’s always 11.15. Till it isn’t
Review: Evangeline
First-rate Fringe music-theatre. Artistic content, particularly songs and verse, as well as direction and acting ensures this will clearly travel. Do see it.
Review: Magic
Brave, timeless, and troubled, Magic sometimes refuses to give up its secrets too. Absorbing.
Review: Two Halves of Guinness
As a gentle voyage around the frothy half of Guinness we know, and the dark we don’t, it deserves awards, and another tour.
Review: Playhouse Creatures
This version is never done because the all-female five-hander is easier: so do see it. A triumph.
Review: The Ballad of Johnny & June
That rare event: a new musical with classic inscribed on it. Outstanding.
Review: Vincent in Brixton
An outstanding revival, not least for the quiet blaze between Niamh Cusack and Jeroen Frank Kales, but with a revelatory supporting cast
Review: Dear Liar
Stella Powell-Jones and her team make the strongest possible case. A must-see for all lovers of theatre, wit, and wincing put-downs.
Review: Glorious!
Wendi Peters sends you out singing: with all the right notes in the wrong order. Solidly recommended.
Review: The Gambler
Chiten Theatre intensifies to a point of light here something barbarous, atavistic, and goes to the heart of nihilism. Still outstanding.
Review: The Lion in Winter
In the main a stupendous feat: two leads at the top of their game and three superb, beautifully detailed actors inhabiting the sons; with two fine supporting ones as siblings Philip and Alais. A must-see.
Review: Mrs President
Mrs President will continue to haunt and I suspect, develop. Be haunted though.
Review: Safe Haven
There’s a perennial feel not just to the humanity at the play’s core; but the work itself. In these dark days, a must-see.
Review: Our American Queen
Klingenstein’s attentive, witty above all brilliant re-imagining of two remarkable young people. Exceptional.
Review: Sunny Afternoon
Joe Penhall’s book is outstanding and frankly puts most musical biopics in the shade. His wit and deft charactering of core band and satellites who interact with the complexity of a play, the way the songs move the narrative. Ray Davies’ storytelling and songs are self-recommending. Sunny Afternoon still deserves those awards.
Review: The Mask Policy
Tianjiao Tan’s crafted a unique, witty take on an industry with little exposure as it were. A revelation.
Review: Forbidden Places
Tom Stoppard dying the day before recalled Leopoldstraat to many. No-one expected this harrowing slant successor. No wonder the audience were on their feet. Outstanding.
Review: Jobsworth
A must-see one-person coffee-black comedy, it lasts a full 90 minutes. Libby Rodliffe is a phenomenal performer. And uproarious.
Review: We Are the Lions, Mr Manager
At a time of racialised targeting – a distraction technique born of the very forces Jayaben Desai fought – Grunwick speaks with startling relevance.
Review: Wyld Woman: The Legend of Shy Girl
For Isabel Renner’s witty one-liners, production values and above all her own performance, this show ends up highly recommended.
Review: Keep Your Sunny Side Up
In nearly every way exceptional. Hampshire is consummate and sets off Rouselle as worthy to inhabit Fields.
Review: Who Do They Think They Are?
A finely-written show, with tensions wrought individually to a satisfying whole.
Review: Adrian Lukis Being Mr Wickham
There’s nothing more charming or endearing in the West End this summer.
Review: Mussolini
"An intelligent and technically remarkable portrait of the dictator as a clown and mime-artist"
Review: ADHD? WTF is ADHD!
Emma Wilkinson-Wright is unnervingly close to the pulse of how real this is. A hidden gem.
Review: This SH*T happens all the time
A stunning one woman show with a riveting actress and an important message.
Review: Sean Daniels The White Chip
The most entertaining life-saver you’ll see, whether you need it or not.
Review: Tim Price Nye
Through choreographic sweep, Tim Price crafts a necessary, traditional warning. A must-see with the finest last line since Good.
Review: Claire Dowie See Primark and Die Finborough
There’s more than a touch of Ken (even more, Daisy) Campbell about the way Dowie structures her circular storytelling. Here it’s at its most consummate, most artful and repays re-reading to catch Dowie at your throat.
Review: Mario Banushi Taverna Miresia
Not even the world theatre powerhouse of the Coronet has hosted anything like this. Mario Banushi must be seen.
Review: Charlie Josephine: I, Joan
Daisy Miles, supremely, Laurits Hiroshi Bjerrum and Rhys Bloy excel in a fine cast and prove this clarion of a play can rise again triumphantly.
Review: Billy Barrett and Ellice Stevens After The Act Royal Court Downstairs
Most of all this musical is necessary. With four outstanding multi-roling performers, a message both affirmative and defiant; and with a fierce joy that makes it a must-see.
Review: Tim Coakley In Search of the Dance
Tim Coakley has a potential minor masterpiece on his hands, as he searches for that perfect crashed chord.
Review: Playhouse Creatures
When Doll Common claims “Life’s like a storm. Don’t get in its way” one thinks of the stoicism of those in the eye of it, and their audience. A consummate revival.
Review: Flutter-Bye
Since this play and Allison Ferns have a lot of legs, it’ll be worth coming back to see it run.
Review: Jane Upton (the) Woman
A ground-breaking play, fully deserving of its London run. Catch it there.
Review: Belly of the Beast
Belly of the Beast should be a set text in schools. And should definitely tour there.
Review: Ballet Shoes
A paean to wonder and possibility, dreaming to some purpose. Like other winter growths, this should prove a hardy perennial, evergreen as the book.
Review: Ruari Conaghan Lies Where It Falls
Ruari Conaghan has nowhere to hide in every sense. He exudes the charismatic of 100 watts cosplaying a glowing 40, then hits you between the eyes
Review: The Ungodly
The Ungodly which playwright Joanna Carrick also directs is different, and special. No wonder it transfers to Off-Broadway next spring. An outstanding piece of theatre.
Review: Beryl Cook: A Private View
A further triumph in Kara Wilson’s groundbreaking fusion of words and paint.
Review: Giant
Giant is both a magisterial debut and a landmark work for braving a terrain littered with - as Tom says - "booby traps... And surprise surprise - boom."
Review: Gareth Strachan Project M.E. The Rock Inn Pub
Strachan proves he can pull together serious talent who believe in his work. It’s a step up in all directions
Review: The Unlikely Secret Agent
How it ends I urge you to discover in this sizzling paean to humanity.
Review: Precious Cargo
Precious Cargo brings to light a key part of history that must not be forgotten.
Review: The Years
This production reminds us it’s often the least theatrical, least tractable works that break boundaries, glow with an authority that changes the order of things.
Review: The Promise
Clare Burt’s Wilkinson, racking asthmatically across the play, is indelible, crowning the evening in an arc of sacrifice, Essential theatre-going, an education.
Review: Crown of Straw
A hint, a soupcon, a mint, from a rehearsed reading o muckle glister tae follae.
Review: Kafka
It’s Klaff’s improvisatory edge, founded on absolute technique and clear-headed text, that finds an exit where none was signposted. Magnificent.
Review: The Hills of California
For nearly any other playwright, this would count as something of a masterpiece.
Review: The Kite Runner
Spellbindingly translated to the stage and here with more power even than before. Don’t miss it.
Review: You’re Not Doing It Wrong If No-one Knows What You’re Doing
How families shape you - until you find your own particular shape
Review: Sappho
A bit of theatrical democracy invoking pre-democracy crafts an exquisite irony for a rainy afternoon. Do see it.
Review: Kunstler
An outstanding production persuading us such a self-narrating show can enthral as well as inform. A hidden gem.
Review: I Hope Your Flowers Bloom
A gentile evening with a fantastic narrative about love from a male perspective.
Review: Little Women
There’s heartbreak and joy here. If you don’t know it, be surprised and moved at this hidden fringe gem, realised by this team in delicately-cut facets.
Review: Laughing Boy
Stephen Unwin directs his own play as a sweep of storytelling, laughter and devastation.
Review: The Motive and the Cue
An extraordinary production. Thorne’s vision is capped by a riveting performance by Gatiss, who glows with the still, sad music of Gielgud’s humanity.
Review: Good-Bye
Wholly absorbing, wholly other, it’s a gem of the Coronet’s dedication to world theatre.
