The latest theatre news, West End reviews, show guides, and behind-the-scenes features from British Theatre's editorial team.
What pleasure the play offers comes in the characters Hare has carved from fragments of history. Roger Allam, almost unrecognisable as John Christie, does a superb job, totally transforming himself into a funny, fussy, oddly dressed Opera lover. He makes eccentricity part of t…
Stephen Collins
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Stephen Collins
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O’Neill’s play has lost none of its power or resonance. It still feels as shocking and new today as no doubt it did in 1922. Jones’ revelatory and evocative …
Stephen Collins
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Cabnet's clear and perceptive direction is sound for the most part, and there is an emphasis on visual aspects of the production which make it something spec…
Stephen Collins
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There are many ways to read the play, but the most obvious is probably correct. Sylvia is a metaphor for a trophy girlfriend; she is someone Greg can use to …
Stephen Collins
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Despite some rough edges this was a continually thoughtful and engaging production that is targeted very deftly at those coming to the play for the first tim…
Tim Hochstrasser
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Hare's adaptation, the best of the three in the Season, is crisp, charming and comical, thereby magnifying the effect of the more tragic aspects. It's a mark…
Stephen Collins
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Evocations of famous films can tip over into parody or unintended comedy very easily but thanks to the skill of the writing and the carefully graded, fully i…
Tim Hochstrasser
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Michael Riedel is to be congratulated on this great history of Broadway. It’s a riveting read for any fan of musical theatre on the Great White Way. It bring…
Douglas Mayo
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There was a charming mix of reverence and irreverence as well, making the audience feel specially entertained and complicit with the in-jokes. The warm up pr…
Stephen Collins
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Another sumptuous production of a superb Hare adaptation of an unwieldy and slightly schizophrenic early Chekhov work, made just that much more glorious by a…
Stephen Collins
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Titus Andronicus is not one of Shakespeare’s finest plays, but Arrow and Traps’ Theatre Company do a splendid job with their adrenaline fuelled, and often ni…
Matthew Lunn
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Mark Jagasia not only fails to carry that stick, but it’s too heavy for him to pick up in the first place. “Clarion,” now playing at the Arcola, is the broad…
Editorial Staff
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Honesty, as David Hare points out, is the dominating theme of Ivanov. It is also the dominating principle adopted by Jonathan Kent as the guiding light for h…
Stephen Collins
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Biopics are not easy to get right, however despite two sterling efforts at The White Bear, neither of them really hit the mark. Whilst it will no doubt be of…
Danny Coleman-Cooke
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There are two ways in which Karam's work steps up to the mark: the dialogue is believable and genuine, splendidly touching in places; the narrative is uncomp…
Stephen Collins
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Director Brandon Force and movement director Liam Steward-George deserve great credit for creating such a dynamic and detailed production with continual visu…
Tim Hochstrasser
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Dames at Sea, the work of George Haimsohn and Robin Miller (Book and Lyrics) and Jim Wise (Score), is well known as the off-Broadway hit from 1968 which laun…
Stephen Collins
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