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Show of the week

CITY OF ANGELS by Coleman,         , Book  - Larry Gelbart, Music – Cy Coleman,  Director – Josie Rourke, Choreographer – Stephen Mar, Designer – Robert Jones, Lighting – Howard Harrison,  The Donmar Warehouse, 2014, Credit: Johan Persson/

CITY OF ANGELS by Coleman, , Book - Larry Gelbart, Music – Cy Coleman, Director – Josie Rourke, Choreographer – Stephen Mar, Designer – Robert Jones, Lighting – Howard Harrison, The Donmar Warehouse, 2014, Credit: Johan Persson/ Johan Persson

City of Angels

  • Rated as: 4/5
  • Critics choice

It was a wet December night. The type of night that’s only good for two things: going to see a pastiche film noir musical, and going home to try and half-assedly write a pastiche film noir-style review of the musical while knocking back cheap Russian vodka.The show was called ‘City of Angels’: it had been a big hit for a guy called Cy Colman about 25 years ago. It was a jazzy joint, that bought together Colman’s love of ’40s movies and music to spin a tall tale about a

  1. Donmar Warehouse 41 Earlham St, WC2H 9LX
  2. Mon Dec 29 - Sat Feb 7
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This week's theatre reviews

Almost, Maine

  • Rated as: 2/5
  1. Park Theatre Clifton Terrace, N4 3JP
  2. Thu Dec 25 - Sat Jan 17
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Apocalypse Meow: Crisis Is Born

  • Rated as: 5/5
  • Critics choice
  1. Purcell Room South Bank, SE1 8XX
  2. Fri Dec 26 - Mon Dec 29
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Golem

  • Rated as: 4/5
  • Critics choice
  1. Young Vic The Cut, SE1 8LZ
  2. Sat Dec 27 - Sat Jan 31
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The Little Match Girl

  • Rated as: 4/5
  • Critics choice
  1. Lilian Baylis Studio Rosebery Avenue, EC1R 4TN
  2. Fri Dec 26 - Fri Jan 9
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  1. Trafalgar Studio 2 Whitehall, SW1A 2DY
  2. Fri Dec 26 - Sat Jan 3
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The Merchant of Venice

  • Rated as: 3/5
  1. Almeida Theatre Almeida St, Islington, N1 1TA
  2. Sat Dec 27 - Sat Feb 14
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  1. Barbican Centre Silk St, EC2Y 8DS
  2. Sat Dec 27 - Sun Dec 28
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Potted Sherlock

  • Rated as: 3/5
  1. Vaudeville Theatre 404 Strand, WC2R 0NH
  2. Fri Dec 26 - Sun Jan 11
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Tiger Country

  • Rated as: 4/5
  1. Hampstead Theatre Eton Avenue, NW3 3EX
  2. Fri Dec 26 - Sat Jan 17
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Widowers' Houses

  • Rated as: 3/5
  1. Orange Tree Theatre Clarence Street, TW9 2SA
  2. Thu Dec 25 - Sat Jan 31
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More London theatre reviews

Beauty and the Beast

  • Rated as: 3/5
  1. Theatre Royal Stratford East Gerry Raffles Square, Stratford, E15 1BN
  2. Fri Dec 26 - Sat Jan 17
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Cats

  • Rated as: 3/5
  1. London Palladium 8 Argyll Street, W1F 7TF
  2. Fri Dec 26 - Sat Feb 28
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Cinderella

  • Rated as: 3/5
  1. New Wimbledon Theatre The Broadway, SW19 1QG
  2. Fri Dec 26 - Sun Jan 11
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Cinderella and the Beanstalk

  • Rated as: 4/5
  • Critics choice
  1. Theatre 503 503 Battersea Park Rd, SW11 3BW
  2. Sat Dec 27 - Sat Jan 10
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Edward Scissorhands

  • Rated as: 4/5
  • Critics choice
  1. Sadler's Wells Rosebery Avenue, EC1R 4TN
  2. Fri Dec 26 - Sun Jan 11
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Henry IV Part I & II

  • Rated as: 4/5
  • Critics choice
  1. Barbican Centre Silk St, EC2Y 8DS
  2. Sat Dec 27 - Sat Jan 24
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Jabberwocky

  • Rated as: 4/5
  • Critics choice
  1. Little Angel Theatre Dagmar Passage, Cross Street, N1 2DN
  2. Fri Dec 26 - Sun Feb 1
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  1. Linbury Studio Theatre Bow Street, Covent Garden, WC2E 9DD
  2. Sat Dec 27 - Sat Jan 3
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  1. Fairfield Halls Park Lane, CR9 1DG
  2. Fri Dec 26 - Sun Jan 4
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Treasure Island

  • Rated as: 4/5
  1. National Theatre, Olivier South Bank, SE1 9PX
  2. Fri Dec 26 - Wed Apr 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.