Laurence Green reviews the claustrophobic and atmospheric On Blueberry Hill, a drama in which immaculate performances help lift this powerful two-hander so vividly to life.
Tom Stoppard’s Leopoldstadt is a measured and eloquent examination of the reality of history, its closeness and our shared humanity while illuminating urgent lessons from the past in the present with the recurrence of ancient prejudices. Laurence Green reviews.
Inua Ellams new adaptation of Three Sisters is an imaginative but flawed take on a familiar work. Laurence Green reviews.
Laurence Green reviews A Kind of People at the Royal Court and finds an uncompromisingly honest and thought-provoking account of life in modern multicultural Britain.
A show that captures the dilemma of the alienated teen – but doesn’t succeed in getting the viewer to surrender to its emotional involvement.
A blackly comic exploration of relationships overshadowed by the political furore surrounding the poisoning and murder of Alexander Litvinenko. Reviewed by Laurence Green.
The Secret River is a shattering, astonishingly beautiful piece of contemporary theatre, one that speaks directly to a modern world riven by mistrust of the other, writes Laurence Green.
The Rice/Lloyd Webber-penned classic still feels fresh and vibrant and provides an entertaining and thought-provoking experience for audiences of all ages, writes Laurence Green.
Andrew Scott steals the show with a fascinatingly detailed interpretation of a character who is flirtatious, stroppy and sardonic, yet also drowning in melancholy in Noel Coward’s comedy. Laurence Green reviews.
Laurence Green finds the eagerly awaited The Starry Messenger a play that fails to drum up much interest in or empathy with the characters and the situations they face.
This timely revival of Ibsen’s Rosmersholm “is a piercingly relevant work of personal and political passion, ambitious, complex and dramatically compelling. It might now in our troubled, searching times have found its right moment.” Laurence Green reviews.
I Spy With My Little Eye Something Beginning With Why Have You Been Sleeping With My Wife: A Play by Christopher Bliss
With dad jokes flying left right and centre and some nice physical comedy, this is a show for those who have never truly grown up and long may they remain! Gabriel Wilding reviews.
The resurgence in ant-Semitism ensures a timeless resonance to Trevor Nunn’s revival of Fiddler on the Roof at the Playhouse Theatre, writes Laurence Green.
“A truly tasty treat, bringing an uplifting celebration of love and laughter to the West End stage.” Laurence Green reviews Waitress at the Adelphi Theatre.
This fresh, funny and thoughtful production shows that Tartuffe has lost none of its sparkle, writes Laurence Green.
Home, I’m Darling is a finely tuned, thought-provoking comedy about a mini revolution in deepest suburbia, with a superb central performance by Katherine Parkinson. Laurence Green reviews.
Lynn Nottage’s Pulitzer prize winning ‘Sweat’ flits seamlessly between humour, heartbreak and trauma and emerges as a deeply profound and moving piece of work, writes Laurence Green.
A twisting, chilling tale filled with razor-sharp dialogue as Phyllis Logan plays the esteemed crime novelist Patricia Highsmith in Joanna Murray-Smith’s Switzerland at the Ambassadors Theatre. Laurence Green reviews.
Wise Children is a love-letter to the theatre, but Emma Rice’s production at the Old Vic became submerged under a welter of confusion.
Clare Barron’s award-winning Dance Nation is a frank and honest portrayal of adolescence, writes Laurence Green.
Lin-Manuel Miranda’s Spamilton is a clever and entertaining send up of last year’s Broadway and West End smash, Hamilton. Laurence Green reviews.
Alfred Molina is ‘stunning’ as American abstract expressionist painter Mark Rothko in Michael Grandage’s Red. Laurence Green reviews.
A musical spectacle but one which is dramatically malnourished, Laurence Green reviews Laurence Conner’s production of the 80s musical, Chess.
Ruthless! The Musical treads familiar ground, but while not necessarily one for the family is certainly an entertaining show for a fun night out, writes Laurence Green.
Laurence Green reviews Simon Evans’ revival of Gore Vidal’s 1960 political satire; The Best Man.
John is a fascinating exploration of the use of truth and lies within relationships and the solace and dangers of each, writes Laurence Green.
Laurence Green reviews Ian Rickson’s first-rate new production, The Birthday Party.
Laurence Green finds Lin-Manuel Miranda’s Hamilton profoundly effective and a truly ingenious landmark musical that is not to be missed.
The Exorcist may not be as profoundly disturbing as the film but still manages to send shivers down the spine, writes Laurence Green.
Laurence Green reviews David Eldridge’s intimate new play, short Beginning.
Laurence Green reviews Dominic Cooke’s new rich and rewarding production, Follies.
Laurence Green reviews Helen Edmundson play, Queen Anne which reflects upon the themes of both power and betrayal.
Laurence Green reviews Vivienne Franzmann’s compartmentalization and thought-provoking new play, Bodies.
A play that highlights the impact of depression on a whole family, Laurence Green reviews Alice Birch’s disturbing new drama, Anatomy of a Suicide.