That Is Not Who I am. Royal Court Theatre.
That Is Not Who I Am is a partially-successful exploration of how the internet conspiracy theories can overwhelm seemingly normal lives. [...]
A Doll’s House, Part 2. Donmar Warehouse.
Hang on to your mutton-chop whiskers Torvald because the bitch is back. Hnath’s homage to Ibsen captures the original’s zeitgeist perfectly. [...]
Jitney. The Old Vic.
Jitney is not the best of August Wilson’s Pittsburgh cycle, but the Old Vic’s excellent cast draws out all its strengths. [...]
Tony! Park Theatre.
Harry Hill and Steve Brown’s satire on the Blair years has some watchable moments but feels two decades out of date. [...]
The Still Room. Park Theatre.
Sally Rogers’ highly watchable debut comedy has some great lines and gets the early 80s tone of seedy decay just right. [...]
Rainer. Arcola Theatre.
Wilkinson’s one-woman show about a delivery rider boasts a great performance, but the story is thin, and the ending feels hackneyed. [...]
The Haunting of Susan A. Kings Head Theatre.
Mark Ravenhill’s entertaining new play at the King Head Theatre is part ghost story and part homage to the venue itself. [...]
Britannicus. Lyric Hammersmith.
Wertenbaker’s 2011 adaptation of Racine’s masterwork Britannicus feels fresh and urgent in Atri Banerjee’s stonkingly good revival at the Lyric Hammersmith. [...]
The Lion. Southwark Playhouse.
Southwark Playhouse’s revival of Benjamin Scheuer’s one-man 2014 show, The Lion, is a resolutely enjoyable way to while away 75 minutes. [...]
Girl On An Altar. Kiln Theatre.
Marina Carr’s impressive new adaptation of the story of Greek mythology’s most vengeful female character is violent, dark, brooding, and magnificent. [...]
We Started To Sing. Arcola Theatre.
Barney Norris’ biographical homage to his parents and grandparents has charm, but lacks momentum and tension, and feels strangely unfinished. 24 [...]
The House Of Shades. Almeida Theatre.
Beth Steel’s exploration of secrets and lies in three generations of a Northern working-class family is made magnificent by Anne-Marie Duff. [...]
The Father And The Assassin. National Theatre.
As an exploration of a killer’s mind ‘The Father and The Assassin’ disappoints. As history lesson it packs a hefty punch. [...]
Lotus Beauty. Hampstead Theatre.
Satinder Chohan’s slice of Asian women’s life, set in a Southall beauty salon, is a richly observed and immaculately performed gem. [...]
My Fair Lady. London Coliseum.
Bartlett Sher’s marvel-filled, crowd-pleasing revival adds deft modern touches without losing sight of what makes My Fair Lady a musical masterpiece. [...]
The Lift. Southwark Playhouse.
Southwark Playhouse’s revival of Craig Adams and Ian Watson’s 2012 musical, The Lift, makes for an enjoyable if sometimes puzzling 90-minutes. [...]
The Breach. Hampstead Theatre.
Naomi Wallace’s dark, joyless debut at the Hampstead is sunk by awkward dialogue, an unlikely plot, and an absence of tension. [...]
House of Ife. Bush Theatre.
Beru Tessema’s slice-of-family-life debut play, set in the aftermath of an addict’s untimely demise has fantastic dialogue and great performances throughout. [...]
Marys Seacole. Donmar Warehouse.
Jackie Sibblies Drury’s polemic is a thought-provoking take on black women’s lives - just don’t expect a biography of Mary Seacole. [...]
The End of the Night. Park Theatre.
Writer Ben Brown has found something of a niche in creating solid, efficient, and informative dramatic reconstructions of real-life historical encounters. [...]
Middle. National Theatre.
David Eldridge’s two-hander on the incipient collapse of a marriage feels unbaked, despite solid performances from Daniel Ryan and Claire Rushbrook. [...]
La Boheme. Kings Head Theatre.
Mark Ravenhill’s much reduced 90-minute version of Puccini’s best work transposes the action from 1830’s Paris to a grim modern-day London. [...]
Scandaltown. Lyric Hammersmith Theatre.
Bartlett’s restoration-style satire on wokeness at the Lyric Hammersmith lacks bite but has enough wit to offer an engaging evening out. [...]
The Corn Is Green. National Theatre.
This heavily biographical interpretation of Emlyn Williams’ play is a bold and striking reflection on the nature of writers and writing. [...]