Review: After All These Years
Giles Cole’s extending from one wistfully comic short to a three-act Chekhovian elegy for the dance of age, is in a defining league of its own. A superb play, it will now reach the West End.
Genre: Drama 0
Review: Suddenly Last Summer
A flawless production, where Lawrence gives one of the three or four finest performances I’ve seen this Fringe: in other words, phenomenal.
Review: Chemistry
Chemistry is a consummate production. Yet again Sam Chittenden reminds us how theatre can punch holes into the future, partly to ensure they never happen.
Review: Lovefool
Though it might be red-topped as a Fleabag for the abused, it’s so much more excoriating. It’s also a work profoundly moving, necessary and – particularly for Gintare Parulyte - an act of courage. Lovefool’s on till May 26th; do rush to this 55-minute must-see.
Review: Brontë
This is what theatre means. BLT and Nettie Sheridan strike gold with emerging talent here, starting their professional careers. It’s to Sheridan’s choreography too we owe a seamless ensemble production. Familiar BLT names blaze with a new fire and in every way there’s synergy between physical exuberance and indelible characterisation. Outstanding.
Review: Awful People
As someone who lists one of her pastimes as ‘spite’ Julie Burchill - who’s written the play Awful People with Daniel Raven – seems in remarkably forgiving mode. It’s a benign intergenerational tussle. Burchill and Raven have built up chuck-lists of late boomer assumptions. When the crisis arrives, outcomes are well-devised and pacy.
Review: The Burning of a Sicilian Whore (Blood Rain)
The tale of a seventeenth century courtesan, turned poisoner
Review: Best of Enemies
James Graham longs for reconcilement. Here, robbed of one he plays off the temperaments of each debater, creating a timeless no-place where each graciously concedes points. It still leaves us with Graham’s profound insight into the nature of the monster both supremely articulate men created: an inarticulate spectacle and theatre of cruelty. A must-see on Encores.
Review: A Midsummer Night’s Dream
Enough questions with the child, cruelty and othering, to raise questions that don’t dissolve in a dream. Yet there’s light enough to resolve this too. A warmth between the lovers somehow drags us out from the mask of branches Terry revealingly doffs at the end. Absorbing and a must-see.
Review: Wagatha Christie
The brilliance of movement, lighting, script-editing and strong performances, with physical jokes make this a greater thing than it might be. But to wish for something more human falls into the very intrusiveness that gave rise to the trial. It’s a tribute to Wagatha Christie – and Liv Hennessy – that it raises that paradox.
Review: A Manchester Girlhood
Julia Pascal’s A Manchester Girlhood is a rich work, a slice of generations happening. Rosie Yadid’s musical arrangements furnish the greatest amplification of this lighting-sketch of heritage, rendering soul and hope, the essence of generations.
Review: The Vortex
James tears into Williams impelling the final scene with classic ferocity, though ending on a question-mark. Both exquisitely pointed, and glaring with pulsing, contained energy, the effect’s like a journey to the edge of a long night. A triumphant opening to the 2023 Chichester season.
Review: The Motive and the Cue
An extraordinary production. If it’s a homage more magnificent than wholly revealing, it doesn’t stint on a riveting performance by Mark Gatiss, who glows with the still, sad music of Gielgud’s humanity.
Review: The Circle
In short, consummate, with luxury casting, deft rethinking but still faithful to the original as it refreshes it: the finest revival of Maugham – till the next one in Tom Littler’s hands, perhaps.
Review: The King’s Speech
Outstanding. Direction is revelatory, the musical cues from Logue’s own methods culminating on the finest single scene I’ve witnessed at BLT. Even if you’re from the Republic of Brighton and Hove, do push your way to the front for this one. A study of how a Republican humanises a man mired in the cerements of his own subjection holds lessons for us yet.
Review: My First Time Was in a Car Park
Compelling story telling about the First Time and its aftermath
Review: Anna & Marina
Dovetailing invention and quotation triumphs. It’s a narrative of thrust and weave as well as tone. Overall it's terrific: one of Richard Crane’s very best works. If you care for gripping drama, can be drawn by hypnotic verse and superb acting, haste over to this unique hour.
Review: The Way Old Friends Do
In a show celebrating the revival of friendship, twice, through the love of a non-binary ABBA tribute band, it’s good to know who you can rely on. You can rely on this scintillating, bittersweet play too. Absolutely recommended.
Review: The Retreat
It’s extraordinary this play’s waited 27 years to arrive. But that’s true of three plays mounted by the Finborough this year alone. Another reason to beat a path there.
Review: Jules et Jim
A thoroughly worthwhile, and in several senses heady undertaking. And certainly worth seeing.
Review: Dancing at Lughnasa
A flawless cast and creative team gather to a point in Josie Rourke’s often meticulously faithful revival, and disperse. This is the only play this year I’d willingly see again soon. Outstanding.
Review: Good
C. P. Taylor’s Good shows – supremely - how a liberal without developed conscience gets sucked in. It interrogates each of us, especially polite liberals who might say “I’m not political, I’m not interested in politics.” Politics is interested in us. And authoritarianism beats us into a dead-march. And unless we resist to a point of danger, we’ll fall in. A groundbreaking production of this timelessly urgent play.
Review: Quality Street
Don’t miss this exquisite confection. After this production, there’s possibly no return to the original. It’s a rethinking paying homage to both the sentiment, which it never upstages, and the brand and its factory-workers the comedy gave its name to.
Review: Home, I’m Darling
There’s a clever containment in Home, I’m Darling that reminds us yet again of Laura Wade’s lucidity and power. Since she’s written it, it seems more like a prophesy.
Review: Phaedra
Stone suggests only someone as demonstrably damaged and damaging as Helen (Phaedra), in other words a politician, might pursue self-destruction so relentlessly; and devastate so many. It’s brilliantly achieved elsewhere than with the core relationship.
Review: You Bury Me
An essential play so rich in its one-hour-forty you emerge dazed with possibilities. Director Katie Posner hopes it’ll change you. So do I.
Review: The Only White
A vital play that needs to seen. See it here and subsequently a well-deserved transfer or revival.
Review: Pussycat in Memory of Darkness
Neda Nezhdana’s play is a world: not simply a map of pain and war footage. Both essential and in the mesmerising Kristin Millward’s and Polly Creed’s hands, with this team, it’s almost a compulsory visit.
Review: SAP
SAP will endure as both a superb play and key witness in a struggle for acceptance, to be heard. See it.
Review: Sugar Coat
Essential theatre. Five singer-actors, memorably punchy music, witty and heartbreaking – most of all groundbreaking – storytelling. 90 minutes of this and you’ll know just what to do with the patriarchy.
Review: The Winter’s Tale
An enormously satisfying reading that happens to be groundbreaking. It’s Sean Holmes’ finest production yet.
Review: Lemons Lemons Lemons Lemons Lemons
Think Nick Payne’s Constellations meets Duncan Macmillan’s Lungs. If you love new theatre, queue for returns.
Review: Beginning
Beginning is the kind of play we all know we need: wincingly heartwarming, devastatingly joyous. It’s quite wonderful. Don’t miss it.
Review: Dance of Death
A hectic in the blood of 20th century drama. Its just here the hectic is realised like never before.
Review: BLACK SUPERHERO
Sharp, shapely dialogue, sizzling humour, ambitious theatricality a compelling story wrapped in baggy metaphors. There’s never a moment when the play’s proved less than engaging, sometimes riveting. A must-see debut play.
Review: Wish You Were Dead
There’s a good enough story for this to be recalibrated. Though If you’re a James fan, you’ll need to see this.
Review: Mad(e)
A mind-altering experience, and in writer and director one of the most inspiring partnerships I’ve seen
Review: The Journey to Venice
Wiebke Green possesses the measure and tempo as well as delicacy of Bjorn Vik’s work. An exquisite gem worth seeing more than many larger, longer, louder shows.
Review: Titus Andronicus
One of the Globe’s most lucid recent productions; and the most consistently-realised aesthetic. It knows what it is: a stunningly thought-through, musically inspired production.
Review: Graceland
Understanding traumatic narrative from the outside: seeing through a skylight, darkly. An impressive debut
Review: Romeo and Julie
A gentle, heart-warming, occasionally hilarious play, and strikes a fresh redemptive note in Gary Owen’s work. Callum Scott Howells and Rosie Sheehy blaze across this play like meteors inexorably entering the earth’s orbit, seemingly doomed to break up or worse. And did I say it showers screamingly funny one-liners too?
Review: Duet For One
Kempinski has crafted an enduring drama of what it’s like to lose the joy of a life worth living.
Review: Steel Magnolias
Uniquely moving, it’s a night worth anyone’s time, and its truths that resonate long after the curtain.
Review: The Emergence Festival
A fascinating evening of well-considered works that augur well for many with a real future in the arts.
Review: The Shawshank Redemption
The Shawshank Redemption returns in an even stronger production than in 2015: sharper, more visceral, and with a stronger set and sound, frames even more resonant performances
Review: Farragut North
The finest UK production of this play, certainly the best drama in Brighton this month.
Review: In the Net
See In the Net for its ambition, its occasionally gorgeous language, Offie-worthy lighting and in Carlie Diamond, an actor to greet and watch, making I predict one of the most assured debuts of the coming year.
Review: Watch on the Rhine
Hellman’s uneasy drama, reaching out to our own quandaries, has answers that stay news. A must-see.
Review: Irrelevant
Keith Merrill and Debbie Chazen have crafted an Everywoman (and man) for whoever’s gifted yet still never makes it. Look forward to a lot more of this kind from Merrill’s Le Gallienne.
Review: Salt-Water Moon
In exquisitely caught Newfoundland accents, Bryony Miller and Joseph Potter craft a hypnotic, unfamiliar, unforgettable world in David French’s gaunt lyric of a love-song. Their chemistry’s palpable.
Review: Django in Pain
Poignant, charming and meaningful play that is imaginative and vibrant in vision and message.
Review: Nan in Love
Podcast 2 of 3, explores with aural joy, the mystery of why a great never got published for 40 years
Review: Hakawatis Women of the Arabian Nights
Original, bawdy, exploratory, seductive and elegaic in equal measure. A Faberge egg, continually hatching.
Review: 12:37
The Finborough produces marvels, though this one, without losing its dazzling, tight DNA, deserves the widest possible transfer.
Review: David Copperfield
A paean to live theatre; soaring seasonal spirit, struck with tenderness, joy, sorrow, plangent affirmation.
Review: The Snow Queen
A fantastic experience of their very first live performance of a vivacious and proud group of very able people.
Review: Dinner With Groucho
McGuinness produces one of his finest works wrought from the sawdust of others and rendered it the burst of stars that irradiate the end.
Review: The Massive Tragedy of Madame Bovary!
An outstanding revival, full of fierce fun, pathos and a massive tragedy for Christmas, wrapped in red bon-bons.
Review: Sarah
An unnerving testing of that space between naturalism and hallucination, redemption and blank unknowing, studded with a language that flies off the page.
Review: Here
A major talent with a distinct voice, and the consummate assurance to express it with stamp and precision
Review: Pericles
Kelly Hunter’s team have wrought a miracle of flight, realised by an outstanding cast who here at least, make us rank Pericles with Shakespeare’s other late Romances.
Review: An Inspector Calls
Still an outstanding production we might take for granted, Stephen Daldry has overhauled it, and crafted new touches of comedy and music-hall exaggeration.
Review: Nan Makes History
A beautifully gentle introduction into a classic journey exploring the works of a classic Scots writer
Review: Enough of Him
A poignant and personal confrontation of our colonial past with uncomfortable truths we need to confront, or we shall never move on.
Review: The Seagull
A Seagull for the initiated, a meditation rather than the play itself, it’s still a truthful distillation, wholly sincere, actors uniformly excellent
Review: Downs With Love
A brilliant piece of social commentary which uses the right people to examine the wrong things.
Review: The Solid Life of Sugar Water
What theatre can do, how it can change us, how completely different it is from any other experience, has few examples that come close to this.
Review: Noises Off
An outstanding must-see, even for those who might have seen Noises Off more than once before.
Review: The Crucible
A Crucible of searing relevance; by grounding it in its time, it scorches with clarity.
Review: Short Plays 2022 New Venture Theatre, Brighton
Absorbing and a small feast of theme, acting and writing style.
Review: Lost in the Willows
As a definitive staged version of Kenneth Grahame’s life, it will certainly hold the stage in its subsequent tour.
Review: Dracula
Robert Hamilton’s novel stage version of Dracula should be published and used widely
Review: The Revlon Girl
The Revlon Girl is a masterpiece of displacement as ritual. Tess Gill’s directed many fine shows for BLT, but she’s never bettered this.
Review: Love All
Another first-rank revival from JST, specialists in rediscoveries: a fitting end to Tom Littler’s tenure.
