Review: Ibsen Ghosts
A triumph of staging, fine acting and in Sarah Tansey a central performance to rival any Helene Alving I’ve seen.
Genre: Theatre 0
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: Timberlake Wertenbaker Little Brother
bsorbs and remains indelible. Stella Powell-Jones is helming a quietly radical shift in Jermyn Street. And she’s taking the audience with her.
Review: Jonathan McLean Touching it Makes Baby Jesus Cry: The Musical
This can sing all the way to Edinburgh: just stopping off to be publicly burned, along with Jonathan McLean, in the Vatican itself.
Review: Athena Stevens Diagnosis
Over 50 minutes, a compelling, unique and disturbing vision unravels: prophesying prophesy is invisible. That’s why as many as possible should see it.
Review: Stephen Sondheim, David Ives Here We Are
Altogether this mightn’t be in the top tier of Sondheim musicals, but it’s one of the most interesting, even profound, and Sondheim exits with a rapt question-mark. Unmissable.
Review: Songs of the Wayfarer
An interesting exploration of travel and its many forms whilst on crutches with a multi-layered explanation and exploration of the effect it has upon you.
Review: Jon Fosse Einkvan
An opaque, compelling gem from Det Norske Teatret and its director Horn; and the wonderful Coronet.
Review: Jez Butterworth Parlour Song
A probing revival, James Hadrill’s production and Emily Bestow’s set inject a haunting into these people. A cooling tower about to implode: it’s Naveed Khan’s gaunt intimation of Ned’s soul that lingers.
Review: Robert Khan and Tom Salinsky The Gang of Three
The wittiest, wisest play I’ve seen this year, it deserves a long run, not least so we can absorb its lessons. Unmissable.
Review: Corrina O’Beirne With Ruby & I
Corrina O’Beirne ‘s a name to seek out in future and in Kempell and her cast and creatives, she’s found first-rate advocates. 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: Heather Alexander Becoming Maverick
Heather Alexander has arrived as a creative, not simply re-creative force. A cause for dark celebration.
Review: Samuel Rees and Gabriele Uboldi Lessons on Revolution
It’s intersectional, it’s personal, it’s interactive: all great reasons to see this play: unless you’re a board member of BP, or the government.
Review: Helen Edmundson The Heresy of Love
A brave undertaking – typical of Gerry McCrudden and his teams - and a rare opportunity to see this superb, all-too-topical play.
Review: The Brightening Air
Redemption has long been a McPherson theme. Here, you have to dig as deep as that well, and bring in a lot of muck. Drinking it off isn’t always best-timed. Or by the right people. McPherson is haunted and haunter.
Review: Murder on the Orient Express
Even if you don’t like Christie it’s worth seeing not just for an exceptional – and exceptionally-acted – production, but for moral questions that now, as in 1934, need answers in the face of dictators.
Review: Heisenberg
If flawed it’s a fascinating, intimate piece given new life and with luck a new performing tradition. The most compelling two-hander now playing.
Review: The Inseparables
A transfixingly beautiful production, with often superb acting, especially from Lara Manela
Review: Tending
Essential theatre, essential witness and mandatory for anyone who wants to know how human we have to be, from beginning to end.
Review: Rocky Horror Show
An excellent revival. The strength of this cast led with a special wit by Clune makes it absolutely worth seeing however many times you have. Otherwise, just see it!
Review: The Beauty Queen of Leenane
This is stark theatre. Some will hate Martin McDonagh, and some already love him. I’d say you must see this, where it all started.
Review: All the Happy Things
It’s impossible to believe Sienna doesn’t believe Emily’s not part of this at some level, and by the end, you’ll think so too.
Review: The Shark is Broken
Essential theatre for anyone who enjoys new plays with more wit than several comedies. A must-see.
Review: Lula Mebrahtu I Am – OommoO
Everything you’ve heard is true. Lula Mebrahtu is memserising, and I Am – OommoO like its creator has vast potential.
Review: The Importance of Being Oscar
Alastair Whatley takes the joy of the sorrow, and makes it his own. Unmissable if you can squeeze in.
Review: Calamity Jane
See this for the onstage musicians and above all Carrie Hope Fletcher giving Calamity soul as well as heart. Highly recommended.
Review: The Secret Garden/Bleak Expectations
Deliciously wholesome satire, this is a deliriously-paced, superbly-acted production.
Review: The Kelton Hill Fair
A mix of a brutal Brigadoon and the whimsy of the Wonderful World of Dissocia, this is a keen addition to the development of Scottish narrative.
Review: Dr Strangelove
Steve Coogan reigns supreme, and a cast like John Hopkins then Giles Terera are a gift to both Coogan and the show.
Review: Double Act
Death & Co. The Laurel and Hardy of Suicide, the Little and Large of it Do see this timely, painfully funny, and absorbing new play.
Review: Dear England
With its nimbus of inevitability as national storytelling, it’s still groundbreaking.
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: Men’s Business
A quietly phenomenal, ground-breaking play, blistering in sumps of silence. See it.
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: Cry-Baby
Easily the most joyous musical we’ll see this side midsummer, Cry-Baby in this production blazes fit to set another fire in Dalston
Review: Jane Upton (the) Woman
A ground-breaking play, fully deserving of its London run. Catch it there.
Review: Perfect Arrangement
There’s never been a more urgent time for this gem of a work: a small hybrid classic that’s never been produced in the UK before. See it now.
Review: Macbeth
ETT’s gallimaufry stimulates, frustrates, occasionally fascinates. A more selective through-line would have revealed a mineral gleam, a new earth of tyranny.
Review: Alterations
We must be grateful for this compelling revival, and wait for more from the National’s Black archive.
Review: Peter James Picture You Dead
Twists are delicious. If you enjoy Peter James, or thrillers with a light touch, don’t hesitate. Solidly recommended.
Review: One Day When We Were Young
This grips anyone who can’t let first love go, anyone who stares homeward even now, wild with all regret. Unmissable.
Review: Teatro dei Gordi: Pandora
It begs questions: what couldn’t we do, if placed outside our own comfort station in life? Essential theatre. essential questions. A gem.
Review: Son of a Bitch
Anna Morris heightens tragedy and misogyny with gags, humour and farcical horror. Do catch this fleeting gem, running for just two more weeks before it touches down
Review: Khawla Ibraheem A Knock on the Roof
What and who can you choose is something more people are forced to decide as the century rolls. But Mariam’s plight is specific, ongoing, now far worse and essential viewing.
Review: Confessions of a Shinagawa Monkey
An astonishing theatrical vision blended with a fascinating story that combines into an exceptional evening of theatre.
Review: Charlie and the Chocolate Factory
Brighton Theatre Group is a chocolate factory all on its own. Nothing in Wonka is as magical as the vision, reach and grasp of this company. It’s perhaps their finest production yet.
Review: Vaughan Williams, J.M. Synge Riders to the Sea
Betteridge’s prologue is certainly worth seeing even if you know the work, and won’t need persuading. And after the opera, the rest is surf, and silence.
Review: Outlying Islands
A first rate-revival of a small classic. Do seek out this rare, dream-like play.
Review: The Last Laugh
This is a must-see. Never outstaying its welcome, you can leave this show after 85 minutes, but stay for that Q&A. I envy everyone the night I won’t be there for it.
Review: Birdsong
If you think on peace in these distracted times, love theatre, can absorb it at its most epic, then this will thrill and overwhelm you. A must-see.
Review: Dan O’Brien The Voyage of the Carcass; Emily Jenkins Bobby & Amy
Dan O’Brien’s piece is for dedicated farceurs. By itself outstanding, it’s hoped by several Emily Jenkins’ Bobby & Amy have a postlude of its own, with this team and these two young actors pitched at this moment in their careers.
Review: The Gift
How far you’d go to pursue either vengeance or to resolve one, asks just such questions of how we choose to box up our lives. The Gift is for all of us.
Review: Mark Tournoff: A Word With the Bird
Mark Tournoff’s an engaging and modest MC. The talent he promotes remains and makes visits worthwhile.
Review: Macbeth
A bold imagining of the Scottish play in a Scottish venue deep in the heart of theatricality.
Review: Macbeth
It’s still a phenomenal feat and even if you know Macbeth, it’s still a must-see for how a quintessence can be dusted off.
Review: Cymbeline
One of the most uneven of late plays, its heights have to be seen; and though there’s pitfalls, this absorbing production surmounts most. A feat.
Review: A Good House
A play deeper than the satire which propels it. And subtly layered enough to brush the epic. A stunning smack between the eyes and a must-see.
Review: Hotel Otori Skin-Okubo
A highly innovative and enticing piece of theatre which examines our relationship not only to our families, but to the way in which the emergence of new ideas and dawns should be embraced.
Review: The Devil May Care
Do see this particularly for an outstanding performance from Burrows and an exceptionally fine one from Woodhouse. This adaptation remains an exhilarating reminder of what a difference a century makes.
Review: Belly of the Beast
Belly of the Beast should be a set text in schools. And should definitely tour there.
Review: Pinocchio
A traditional panto which may lack in personnel, makes up for in huge personalities that delights and gives gallus gusto.
Review: Treasure Island
First-rate youth theatre, creatives and cast excel: detailed, funny, not to be taken over-seriously, then quite a bit more so.
