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Show of the week

A View from the Bridge

  • Rated as: 5/5
  • Critics choice

‘Something perversely pure calls to me from his memory,’ says lawyer Alfieri of Eddie, the granite-like Italian-American protagonist of Arthur Miller’s epochal ‘A View from the Bridge’.This purity is is at the heart of revered Belgian director Ivo van Hove’s production, which distils Miller’s 1955 play to its white hot, diamond-hard essence. The set is an enormous black box, which opens up to reveal a white rectangle of floor. There is almost nothing else there:

  1. Young Vic 66 The Cut, SE1 8LZ
  2. Wed Apr 23 - Sat Jun 7
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This week's theatre reviews

Good People

  • Rated as: 3/5
  1. Noël Coward Theatre St Martin's Lane, WC2N 4AU
  2. Wed Apr 23 - Sat Jun 14
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Oh My Sweet Land

  • Rated as: 3/5
  1. Young Vic 66 The Cut, SE1 8LZ
  2. Wed Apr 23 - Sat May 3
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Relative Values

  • Rated as: 2/5
  1. Harold Pinter Theatre 6 Panton Street, SW1Y 4DN
  2. Until Sat Jun 21
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'Tis Pity She's a Whore

  • Rated as: 4/5
  1. Barbican Centre Silk St, EC2Y 8DS
  2. Wed Apr 23 - Sat Apr 26
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More London theatre reviews

Birdland

  • Rated as: 4/5
  • Critics choice
  1. Royal Court Theatre Sloane Square, SW1W 8AS
  2. Wed Apr 23 - Sat May 31
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Faust

  • Rated as: 5/5
  • Critics choice
  1. Royal Opera House Bow St, WC2E 9DD
  2. Fri Apr 25
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Handbagged

  • Rated as: 4/5
  • Critics choice
  1. Vaudeville Theatre 404 The Strand, WC2R 0NH
  2. Wed Apr 23 - Sat Aug 2
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Let the Right One In

  • Rated as: 4/5
  • Critics choice
  1. Apollo Shaftesbury Shaftesbury Avenue, W1D 7ES
  2. Wed Apr 23 - Sat Sep 27
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A Small Family Business

  • Rated as: 3/5
  1. National Theatre, Olivier South Bank, SE1 9PX
  2. Thu Apr 24 - Wed Aug 27
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Three Sisters

  • Rated as: 3/5
  1. Southwark Playhouse 77-85 Newington Causeway, SE1 6BD
  2. Wed Apr 23 - Sat May 3
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  1. Royal Opera House Bow St, WC2E 9DD
  2. Wed Apr 23 - Thu May 8
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Users say

5 comments
Elizabeth W
Elizabeth W

'Click!' at the Ophelia Theatre, Dalston is fantastic. A black comedy about two girls, Elle and Erm, who discover Elle has a magical superpower- the ability to be happy with just a click. Cannot recommend it highly enough. On until Sunday.

alan
alan

Just been to see Michael Finestein at the Palace theatre in London. The show which is part of Londons Festival of Cabaret also included Elaine Paige and Julian Ovenden. Michael was fantastic singing songs from the Great Amercian songbook from such writers as George and Ira Gershwin, Cole Porter and Jerry Herham. His talent and knowledge of this music is unsurpassed and he gave a truly wonderful performance.

Lia
Lia

I bought tickets to see Phantom of the Opera through lastminute.com that were advitised as second price stalls or royal grand stand for £50. The seats I was asigned were actually restriced view and were misrepresented on the lastminute site. When I complain to the company, with picture evidence, they refused to admit that the seats were ristricted view. Both the theatre and lastminute are selling these tickets and fooling the public. Be aware it will definately spoil your enjoyment!

Simon
Simon

How could Time Out give Birthday the honour of being show of the week?? Either the offering that week in London was abysmal, or the reviewer had been smoking something very mind altering, because certainly not even "easily pleased from Welwyn Garden City" could have honestly thought this play was good. It was second-rate British TV sitcom from the beginning to end. A laboured premise (if you'll excuse the pun), cardboard characterisation (e.g. midwife and registrar) and not one funny line in the whole play. A disaster! Don't go!

Tony
Tony

Duchess of Malfi- Old Vic: Visually stunning production but at 3 1/4 hours Mr. Spacey needs to talk to Jamie Lloyd - who seems like one of those children, who given too many toys for Christmas insists on playing with all of them at once. Webster's plotting is pedantic at best and it does not do to allow the audience to dwell on the leaps of time and logic that bedevil the text. Mr. Lloyd instists on explaining everything - slowly, directly and with deliberate focus. But what has kept the play in focus for the past 400 years is the language in all its beauty and epigramatic magnificence. Eve Best is wonderful and her transformations from duchess to lover, to mother, to victim and back to duchess again are clear and emotionally satisfying. Her brothers offer less clarity and compelling complexity. Harry Lloyd in particular, offered none of the perverted sexual power that drives him to lust after his sister while seeking her death to secure his release from his guilt. Understudy Adam Burton did well with the cardinal, but was perhaps more clinical than debauched. Fynbar Lynch brought an unexpected celtic quality to his Bosola and I missed his sense of ambition and secret power. His redemptive moments were however compelling and he held the narrative together beautifully. One last note - I think that the design elements of this play - while offering the standard Jacobean shape of curtained discovery space and multiple balconies made brilliant use of the theatres vast proscenium opening - truly magnificent.