Review: MORE LIFE, The Royal Court
by Alexander Cohen - Feb 13, 2025
Botox and Ozempic can make anyone beautiful and AI will outthink us all. What is left for the human race? That’s the question that’s unravelled in More Life
Review Roundup: THE YEARS Makes Its West End Transfer
by Aliya Al-Hassan - Feb 10, 2025
The five-star sold out production of The Years has transferred to the West End for 12 weeks only. Based on Nobel Prize winner Annie Ernaux’s fearless masterpiece, five actors create an unapologetic portrait of a woman shaped by her rapidly-changing world.
Review: THE YEARS, Harold Pinter Theatre
by Alexander Cohen - Feb 10, 2025
Critics raved about its initial run at the Almedia last year. Can it make the leap from intimate space to grand West End playhouse?
Review Roundup: ELEKTRA, Starring Brie Larson
by Aliya Al-Hassan - Feb 6, 2025
Starring Brie Larson, Daniel Fish directs the first major revival in over a decade of Sophokles’ electrifying and timeless play, Elektra, with a translation by poet Anne Carson, at the Duke Of York’s Theatre.
Photos: THE YEARS at the Harold Pinter Theatre
by Stephi Wild - Jan 30, 2025
Internationaal Theater Amsterdam’s new Artistic Director Eline Arbo returns to direct her five-star, sold out adaptation of Nobel Prize winner Annie Ernaux’s critically acclaimed semi-autobiographical novel The Years. Check out all new photos here!
Photos: RSC's EDWARD II in Rehearsals
by Stephi Wild - Jan 27, 2025
All new rehearsal photos have been released for the RSC’s production of Christopher Marlowe’s rarely performed tragedy, Edward II, which runs in the Swan Theatre, Stratford-upon-Avon beginning next month.
Review: THE INVENTION OF LOVE, Hampstead Theatre
by Alexander Cohen - Dec 17, 2024
Don’t be fooled. It’s midwinter and a rotund man with a big white beard is centre stage. But this is no schmultz-fest panto. It’s Simon Russell Beale as A.E Housman in Blanche Mcintyre’s sober new production of Tom Stoppard’s portrait of the artist as an old man, The Invention Of Love.
Review: ALICE IN WONDERLAND, Brixton House
by Franco Milazzo - Nov 27, 2024
Alice In Wonderland? More like Alice Goes Underground as Poltergeist Productions’ take on the Lewis Carroll classic sees our heroine trapped on a tube.
Review: WOLVES ON ROAD, Bush Theatre
by Gary Naylor - Nov 17, 2024
Director, Daniel Bailey, follows up his hit Red Pitch with a play that cannot locate the detail it needs to step out of a generic plot
Review: BRACE BRACE, Royal Court Theatre
by Katie Kirkpatrick - Oct 12, 2024
Digging deep into human nature, Oli Forsyth’s Brace Brace combines the pace and excitement of a thriller with an unexpectedly perceptive intelligence. Ambitiously designed and skillfully directed, it’s a deeply engrossing piece of theatre writes our critic.
Review: KING TROLL (THE FAWN), New Diorama
by Josh Maughan - Oct 9, 2024
This co-production between the New Diorama Theatre and Kali Theatre is a visceral investigation of how migrant communities transform under the layers of anger, fear, and resilience they adopt - products of survival in a vexatious state.
Review: NOWHERE, Battersea Arts Centre
by Cindy Marcolina - Oct 5, 2024
The world is a dark place. Every day, we seem to edge closer to the start of another global conflict. Nowhere is safe. War and destruction have become steady protagonists on our television screens, to the point where we’re growing increasingly desensitised to violence.
Review: THE REAL ONES, Bush Theatre
by Katie Kirkpatrick - Sep 13, 2024
At once intimate and expansive, The Real Ones follows the friendship of Zaid and Neelam from age nineteen to thirty-six. Once kindred spirits, moving in sync, they fall out of step when the harsh reality of adult life sends them in different directions. Waleed Akhtar (Olivier winner for The P Word) pens a sharply observed look into whether platonic love can last.
Review: DEATH OF ENGLAND: CLOSING TIME, @sohoplace
by Alexander Cohen - Aug 29, 2024
It only premiered last October, but Death of England: Closing Time, the final chapter in Roy Williams and Clint Dyer’s state of the nation triptych, not only retains its spine-frosting freshness, but feels more dangerous than ever.