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Show of the week

La Soirée

  • Rated as: 4/5

From its debut at the Edinburgh Fringe in 2004, to the celebration of its tenth birthday at the South Bank today, circus-burlesque show ‘La Soireé’ has ooh-la-la’d around the world. And this slick – sometimes eye-popping – piece of entertainment has picked up performers from across the globe for this latest run.The mirrored Spiegeltent is a great setting for the show’s acrobatics-with-a-twist, from Swedish duo David and Fofo’s ping pong ball-sharing trapeze act to

  1. Spiegeltent at the South Bank Belvedere Road, SE1 8XX
  2. Sun Nov 23 - Sun Jan 11
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This week's theatre reviews

Cans

  • Rated as: 4/5
  • Critics choice
  1. Theatre 503 503 Battersea Park Rd, SW11 3BW
  2. Sun Nov 23 - Sat Nov 29
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Far Away

  • Rated as: 4/5
  • Critics choice
  1. Young Vic The Cut, SE1 8LZ
  2. Mon Nov 24 - Sat Nov 29
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Not About Heroes

  • Rated as: 4/5
  1. Trafalgar Studios 14 Whitehall, SW1A 2DY
  2. Mon Nov 24 - Sat Dec 6
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Siro-A

  • Rated as: 3/5
  1. Leicester Square Theatre 6 Leicester Place, WC2H 7BX
  2. Sun Nov 23 - Sun Jan 11
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The Prisoner's Dilemma

  • Rated as: 2/5
  1. Cockpit Theatre Gateforth St, NW8 8EH
  2. Wed Nov 26 - Sun Nov 30
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White Christmas

  • Rated as: 4/5
  1. Dominion Theatre 268-269 Tottenham Court Road, W1T 7AQ
  2. Tue Nov 25 - Sat Jan 3
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Wildefire

  • Rated as: 2/5
  1. Hampstead Theatre Eton Avenue, NW3 3EX
  2. Mon Nov 24 - Sat Nov 29
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More London theatre reviews

Dance 'Til Dawn

  • Rated as: 4/5
  • Critics choice
  1. Aldwych Theatre 49 Aldwych, WC2B 4DF
  2. Mon Nov 24 - Sat Jan 3
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Made In Dagenham

  • Rated as: 4/5
  • Critics choice
  1. Adelphi Theatre The Strand, WC2R 0NS
  2. Mon Nov 24 - Sat Mar 28
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Man to Man

  • Rated as: 4/5
  1. Park Theatre Clifton Terrace, N4 3JP
  2. Sun Nov 23 - Sun Nov 30
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John

  • Rated as: 3/5
  1. National Theatre, Lyttelton South Bank, SE1 9PX
  2. Fri Dec 5 - Tue Jan 13
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Solomon and Marion

  • Rated as: 3/5
  1. Print Room 103 Notting Hill Gate, W11 3LB
  2. Mon Nov 24 - Sat Nov 29
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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.