Genre: Theatre 0
Review: Murder, Margaret and Me
Brave, bold and really worth seeing above much else: even in a busy Festival.
Review: Allegra
As an example of a Peter Quilter soufflé, this is the best of his I’ve come across; and Maureen Lipman gleams with a supreme gravity-defying performance. Irresistible.
Review: Teatro dei Gordi: Visite
As ever, the Coronet and its guests have scored something unique in the British theatre-world.
Review: Are you even Indian?
A British-born Indian woman and an Indian-born man love, spar and dance
Review: When Gary Left Annie (Almost)
A beautifully written romantic comedy with a slightly neurotic, awkward energy that makes ordinary people feel strangely lovable.
Review: Jane Eyre
Polly Teale has released the daemons, but Nettie Sheridan’s ensemble has delivered Jane Eyre’s feeling to a pitch remarkable even for BLT.
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: History has no safe word
A haunting journey through Pompeii, power and the voices that refuse to stay buried.
Review: Flush
Timely, timeless and as real as a selfie you might wish you’d never taken when you look again. 80 minutes blink by, but you won’t miss it. Stunning.
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: Escaped Alone
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
Review: Magic
Brave, timeless, and troubled, Magic sometimes refuses to give up its secrets too. Absorbing.
Review: Fate Train
A play not just about Myth. Its about how we carry grief,how stories help us to survive it,and how art can turn something painful into something shared.
Review: Kohlhaas
How far would you go for justice? A gripping solo-performance and a story for our times.
Review: Mind and Breathe
Brecht meets Beckett in this sharp combination of existential exploration and jet black humour
Review: The Final Episode
Two original twists, a fine, fresh writer/performer/director and something I certainly look forward to seeing developed.
Review: Uccelini
A rich, suggestive and above all probing work about how we live with our ghosts so we can live with each other.
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: Carmen
A must-see for anyone compelled by ballet; something we’re not likely to see in Brighton for years.
Review: Between the River and the Sea
Recognizing humanity is a mingled yarn mightn’t sound revelatory. Nor what we want to take away. But it’s what we need.
Review: The Waves
A mostly outstanding – and theatrical - adaptation of an almost impossible-to-adapt novel.
Review: The Choir of Man
The Choir of Man brings us joy whilst bursting with talent. But it’s a timely reminder of what’s at stake.
Review: Playhouse Creatures
This version is never done because the all-female five-hander is easier: so do see it. A triumph.
Review: Iphigenia
Pacing is fleet, inexorable, even with those frozen minutes of contemporary video. Unmissable.
Review: Heart Wall
One of the most remarkable reveals in recent theatre, and makes this play an absolutely compelling must-see.
Review: The Ballad of Johnny & June
That rare event: a new musical with classic inscribed on it. Outstanding.
Review: John Proctor is the Villain
The apotheosis is both thrilling and more than timely. At a moment where feminism is being closed down, this needs screaming
Review: Two
As fine a revival as you’re likely to see in London or the South. It's a classic that, like Road, is more political as it ages gracefully.
Review: A Doll’s House
The end, a question-mark, leaves a silence where you might hear a door banging three streets away.
Review: Waitress
Hope Fletcher raises soaring music theatre, an ounce of gold in the throat and stars six inches above it.
Review: Falstaff
Mike Stoneham deserves acclaim for this one-man tour-de-farce, that keeps the Rabelaisian fires burning.
Review: Edward II
Alex Pearson has devised an Edward II that’s fleet, clear, crisply compelling and as sly as Marlowe: something other productions could profit from.
Review: The Authenticator
Absorbing, playfully swerving from where it might travel, The Authenticator mildly frustrates, mostly digs you in the ribs with questions. And thoroughly entertains.
Review: A Rollicking Dream of Midsummer
A Dream of Midsummer is a high-energy spin-off of Shakespeare’s A Midsummer Night's Dream, that works best if you know the original..
Review: Pack of Lies
This one-time hit though now rarely-staged Olivier-winning play is worth tracking down; and you’ve a little more time to find it in Southwick.
Review: The Old Ladies
A small classic, if not on the scale of The Truth About Blayds, it’s yet another gem. And a must-see.
Review: Summerfolk
We need Summerfolk. Sided and slant, this version is a must-see. And almost as much as Chekhov, we need more Gorky.
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: The Crucible
One of Lewes Little’s finest of recent years; which often happens when they’re ambitious.
Review: The BFG
Evans and his team have transported the magic so completely it’s taken up residence. Both outstanding and a delight
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: The Constant Wife
An outstanding revival and adaptation, a faultless cast, an award-winning set too. Brighton has been lucky in its last three productions. This though is the gem. Outstanding.
Review: The Shitheads
Aa a blazing new voice though The Shitheads packs a flinty punch; and paradoxically heralds a vivid poetic talent. A must-see.
Review: Deep Azure
One of the few moments of Peter Brooks’ term “Holy Theatre” has arrived at the Wanamaker. A must-see.
Review: Embarrassed Naked Female (this show contains nudity)
When life gives you stalkers, make a show with their creepy messages
Review: The Story of Peer Gynt
The Norwegian Ibsen company - and here Kåre Conradi - are doing for Ibsen what Conor Lovett and Gare St Lazare are doing for Beckett. And both are to be found at the Coronet.
Review: After Miss Julie
Provocative, absorbing take on Strindberg’s 1888 masterpiece. Fine cast led by Liz Francis make much of demob denouements.
Review: Glorious!
Wendi Peters sends you out singing: with all the right notes in the wrong order. Solidly recommended.
Review: The Tempest
Orlando Gough’s music stamps this production, and makes the pulleys of reinvention sing despite themselves. For that and the sweep of decolonised languages, a must-see.
Review: Jerusalem
This flawless production of weight and substance calling on NVT’s resources is a triumph.
Review: 1.17am, or until the words run out
A cracking debut that picks you up and never lets go. Like any play that gifts us believable characters, it leaves you wondering what life, not just Hunter Gordon, will do with them. Highly recommended.
Review: Arcadia
As bright as stained crystal and warm as the filament Thomasina reaches for: outstanding.
Review: Dance of Death
Strindberg to live with? Who’d have thought of that? An outstanding must-see. If you can’t get there, tune in to the livestream. This demands a wider audience.
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: Midsomer Murders
Don’t miss this. You’ll be surprised. Particularly if you think you know the badgers.
Review: American Psycho
If you can queue, you’ll be in good company. Jean queued for Les Mis at 6.30 am.
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: Cable Street
This is an event. Break in (without breakages!) if you have to, to see this. You’ll be standing in the aisles to swarm the barricades.
Review: The Gospel According to Jesus, Queen of Heaven
Jo Clifford's classic text performed in a relaxed atmosphere.
Review: The Prince of the Underground
An impressive piece of solo performance which encapsulates the courage and nervousness of someone facing authority
Review: More than Conquerors The Centre for Contemporary Arts Glasgow
A genteel, rather than gentile, musing on the significance of faith that opens up some very interesting and nuanced questions
Review: Guess How Much I Love You?
Rosie Sheehy and Robert Aramayo are phenomenal and wholly believable. Norris’s next play will be worth seeking out, after such an outstanding debut.
Review: The Olive Boy
An extremely fine, and important one-person play, brimming with comedic gambits to open the floodgates.
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.
