REVIEWS Archives - Page 5 of 579

22Apr

By Paul WilcoxNo Comments

North West

, Daniel Blake – HOME Mcr

Back in 2016, the political and cultural landscape of Britain felt markedly different: David Cameron was Prime Minister, the UK remained within the European Union, and Leicester City’s improbable Premier League triumph captured the national imagination. It was also the year Ken Loach secured the Palme d’Or at Cannes for I, Daniel Blake, a characteristically unflinching indictment of Britain’s welfare system. A decade on, this stage adaptation—presented by Northern Stage in collaboration with Leeds Playhouse—arrives not as a period piece, but as a grimly resonant reminder of how little has changed. Adapted by Dave Johns from Paul Lavery’s original screenplay, the production wastes little time in immersing us in the daily realities faced by its protagonist. Daniel Blake (Dave Nellist), a ...

17Apr

By Zain RussellNo Comments

London

Avenue Q – Shaftesbury Theatre

Avenue Q returns to the West End for a new run, and it absolutely delivers. Hilarious, sharp, and surprisingly heartfelt, it’s often described as Sesame Street for adults, and that comparison feels spot on. From the moment the curtain rises, the bright set, puppetry, and use of screens give the impression of a cheerful children’s TV show, making the show’s more risqué humour land even harder. The story follows Princeton, played and puppeteered by Noah Harrison, a recent graduate trying to figure out life after university. Armed with a degree but no job, money, or clear direction, he arrives on Avenue Q in search of purpose, and somewhere affordable to live. It’s an instantly relatable premise, and the show cleverly uses its eccentric characters to explore themes of adulthood, identity, ...

17Apr

By Paul WilcoxNo Comments

North West

Waiting for Godot – Octagon Theatre

“Nothing happens. Nobody comes, nobody goes. It’s awful.” These eight words, spoken by Estragon, neatly distil the themes of existential stasis and quiet despair at the heart of Samuel Beckett’s Waiting for Godot. And yet, despite the clarity of that diagnosis, and the evident skill of this production’s leading performances, I left the theatre once again unconvinced, admiring more than engaging, and respecting more than enjoying. Godot has, of course, divided opinion since its 1953 premiere. Early audiences were baffled, even hostile, and critics were scarcely kinder: Kenneth Tynan’s oft-quoted complaint that it possessed “no beginning, no middle and no end” was delivered with both frustration and reluctant admiration. In the decades since, its influence has been profound, shaping th...

16Apr

By Dylan MooneyNo Comments

Scotland

What I’m Here For – Traverse Theatre

With an international exploration of the health care system, What I’m Here For stops at Edinburgh’s Traverse Theatre as part of its Scottish tour. From the collaborative minds of Vanishing Point, from our home soil, and Danish company, Teatre Katapult, this production draws a parallel to both countries' health and care infrastructure and the daily challenges faced by those working within it. We open on Flora (Lærke Schjærff Engelbrecht) smoking on the roof of a hospital. It is the end of her shift but before she goes home to rest, she begins to reflect on the working day that had just unfolded. Memories appear and disappear as Flora struggles to separate fact from fiction. With severe staffing issues and constant pressure in her working environment, Flora’s help is required all around t...

16Apr

By Greg HolsteadNo Comments

Scotland

Gush – Traverse Theatre

There is something quietly exacting about a one person show. It is an island, really, a contained territory where there is nowhere to hide, no supporting architecture of cast to lean on. If it works, it approaches a kind of theatrical purity. If it does not, it is exposed within minutes. I admit, I am a sucker for the form.Gush, written by Jess Brodie and directed by Becky Hope Palmer, comes close to that sense of honed perfection.At its centre is a single performer, Jessica Hardwick, who carries the entire evening with considerable control and, at times, something approaching virtuosity. She moves deftly between roles, voices and emotional registers, and if there is a hierarchy within that, it is clear that her articulation of the female experience is where the piece truly finds its voice...

16Apr

By Dave SmithNo Comments

London

Single White Female – Richmond Theatre

Ostensibly based on the early 90s erotic thriller of the same name, Single White Female really only takes on the idea of a disturbed stalker moving in and disrupting lives. It updates the setting to take on social media, photoshop and school bullying. There isn’t really much to do with the original film, vast swatches of the plot removed, new pieces added and a dramatically different ending. Faced with a sudden drop in finances, Allie (Lisa Faulkner), and her 15-year-old daughter Bella (Amy Snudden) take in a lodger, Hedda (Kym Marsh) in their new apartment. As Hedda settles in, it becomes clear - she thinks of herself as more than a lodger and oversteps boundaries, first tentatively then increasingly inserting herself into every aspect of their world. The suggestion that He...

To Kill a Mockingbird – Birmingham Hippodrome

16Apr

By Peter KinnockNo Comments

West Midlands

To Kill a Mockingbird – Birmingham Hippodrome

Like all great classics, “To Kill a Mockingbird” has been filmed, staged, adapted into many other genres, yet at heart it remains a substantial component of the literary canon having made immeasurable contributions to understanding racial tension and segregation and gaining itself a Putlizer Prize in the process. Harper Lee penned the novel to reflect her childhood in 1930’s America when times were less enlightened and drew her inspiration from her neighbours and family around Monroeville, Alabama. Such was the momentous impact of the book, from being included on school reading to being banned from schools completely, it has woven itself into the cultural DNA of the US to earn its place as a true American classic and, almost, immobilised the author from ever writing another. Now sprinkl...

16Apr

By Lou SteggalsNo Comments

Wales

Come From Away – Storyhouse, Chester

On September 11th 2001, the world came to a horrifying stop following a terrorist attack in the USA. As it became clear that the first plane crashing into the World Trade Centre North tower was a deliberate act, US airspace was closed and hundreds of planes across the world were diverted. Come from Away tells the tale of the little town of Gander, in Newfoundland, Canada, whose airport became a haven for many of those flights, and shines a spotlight on those in the community who rallied to help those stuck far from home, many initially unaware of what had unfolded that terrible morning as they finally stumbled off the planes they had been stuck on for many hours. Tonight, Tip Top Productions brought the story to life in a production that, quite simply, would rival any professional st...

15Apr

By Lou SteggalsNo Comments

North West

Ballet Black 25 – The Lowry

Ballet Black has celebrated its 25th anniversary with a compelling and ultimately uplifting double bill that showcases the company’s distinctive voice - emotionally direct, visually striking, and rooted in both classical technique and contemporary relevance. The opening piece, ‘…all towards hope’, choreographed by Hope Boykin, sets the tone with a sense of warmth and inclusivity. The egalitarian costuming—earthy reds, pinks, and browns—beautifully complements the lighting palette, creating a cohesive visual world that feels grounded and human. Boykin’s choreography is the true standout here. Electric yet nuanced, it pulses with energy while allowing space for quieter, reflective moments. Her spoken text threads gently through the work, reinforcing themes of unity and resilience witho...

14Apr

By Stewart Who?No Comments

London

Iphigenia – Arcola Theatre

Iphigenia in Aulis was first staged, alongside the Bacchae and the Alcmaeon, at the Great Dionysia in 405 B.C. It premiered shortly after Euripides' death. It’s likely that Euripides' son (or nephew) took the reins and staged the play. Nepotism was as rife in showbiz thousands of years ago as it is today. Rather like the Bible, the original text remains an object of debate. It was probably incomplete when the playwright died. Scholars remain in a schism over what was added posthumously, by whom and for what reason. Adapted and directed by Serdar Biliş, Arcola Theatre’s Iphigenia uses Stephen Sharkey’s English take on the play. It dramatizes the myth regarding the sacrifice of Agamemnon and Clytemnestra's daughter Iphigenia. Why would a father slaughter his daughter? Well, the Greeks nee...