Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
Good writing doesn’t have to explode off the stage, but can gently lull you with buckets of charm and laser point focus.
Terry’s Richard is a hyper masculine misogynist grunting, lumbering, and bruising his way to the throne.
Sparks fly in this plucky grime infused play, but it doesn't quite catch fire
An excellent cast are let down by self-obsessed direction.
It ought to echo with eerie prescience in 2024 as an ever-closer prophecy for an age where AI and algorithms will dictate the minutiae of our lives. But David Haig's new stage adaption is more like a cyberpunk-themed orgy at Printworks.
Nadine Sierra’s enthralling central performance helms this nerve-jangling revival.
A cathartic and powerful moment, a veinous fist unclenching.
Aesthetically malnourished, London Tide lacks the lustrous life blood that so warmly floods through the veins of Dickens’s literary world.
Ian McKellen is a mesmerizingly athletic Falstaff in Robert Icke's iconoclastic fusion of Henry IV parts 1 and 2
Lovingly snug, like you’ve been invited to into the warm for a cup of tea and a biscuit on a rainy day.
This slathered-in-schmaltz hagiography is like watching the Zone of Interest: you know the disturbing stuff is always just out of view.
Tyrell Williams' award winning play is triumphantly promoted up a league to the West End after two runs at the Bush Theatre
Billy Crudup's mercurial talent keeps this flaccid show afloat
Where does a body start and a human being end? The story of Charles Byrne, the so-called “Irish Giant” is the diving board off of which Composer Sarah Angliss’ debut opera leaps
“The city has eyes and it watches your every move.” There’s no time for welcomes for newly arrived Trinidadian immigrant Galahad. Only warnings from street-smart fellow immigrant Moses. The latter has taken the former under his wing; together they will traverse the twisting streets and interminable bustle of 1950s London.
It’s odd to watch an opera where the actual opera is an afterthought. At least that’s how it feels watching Simon McBurney’s The Magic Flute. His revival production sizzles with circus spectacle, high tech pageantry, and boundary breaking chutzpah. But underneath it all you’ll be hard pressed to find the warmth of a beating heart.
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