Stuart King
19 Apr
Reviews 
Review: ALGORITHMS at Park Theatre
By Stuart King Friday, April 19 2024, 21:43
Writer/performer Sadie Clark has been performing ALGORITHMS (her ‘Bisexual Bridget Jones for the online generation’) at various locations since 2018 and in that time, has been the beneficiary of critical praise, awards, and has had the material developed for other media.
Sadie Clark in Algorithms at Park Theatre.
18 Apr
Reviews
Review: LONDON TIDE at National Lyttelton
By Stuart King Thursday, April 18 2024, 10:49
On a stage which is pre-set to look like the backstage of any modern theatre, complete with lowered lighting-rig and blacked-out floors, the current production playing at the Lyttelton space, begins very much as it ends. During the intervening hours however, and despite the minimal set, the stage is a very busy place indeed, reflective of the Dickensian period’s hustle and bustle and especially the districts and people who live closest to the river.
Brandon Grace (Charley Hexam), Ellie-May Sheridan (Jenny Wren) and Scott Karim (Bradley Headstone) in London Tide at the National Theatre. © Marc Brenner.
15 Apr
Reviews
Review: THE COMEUPPANCE at Almeida
By Stuart King Monday, April 15 2024, 12:50
A small group of high school friends attend an informal pre-party to their main 20th anniversary school reunion. Some have stayed local to the now Trumpian American backwater, whilst others moved away or were irreparably changed by their time spent serving overseas. As we learn how each has been variously touched by the passing of time, they bemoan elements of their lives and some cannot resist the urge to pick at old wounds.
Yolanda Kettle, Ferdinand Kingsley, Katie Leung, Tamara Lawrance and Anthony Welsh in The Comeuppance at the Almeida Theatre. Credit Marc Brenner
12 Apr
Reviews
Review: ARTIFICIALLY YOURS at Riverside Studios
By Stuart King Friday, April 12 2024, 09:51
Pitching itself as a very modern dark comedy, ARTIFICIALLY YOURS explores the impact of AI technology on three couples who each have always listening therapy devices in their homes to help solve basic (and often petty) disputes. But can such a device really work? More importantly, is it doomed to failure when confronted with the deeper complexities around human interaction and disconnection?
Aaron Thakar (Ash) and Destiny Mayers (Lilah) in Artificially Yours at Riverside Studios. Photo by Andrew Fosker
08 Apr
Reviews
Review: UNDERDOG: THE OTHER OTHER BRONTË at the National Theatre Dorfman
By Stuart King Monday, April 8 2024, 09:47
The brutality and imbalance of life lived as a woman in 1840s Britain is writ large, as three soon-to-be-renowned sisters, make a pact to write their novels as one mask under the brotherly pseudonyms Currer, Ellis and Acton Bell. No-one, not even the Brontës themselves could have predicted the success of their bid to hoodwink publishers and finally (albeit by deception) become representative female ‘voices in the room’ of Victorian society.
Kwaku Mills (Ensemble), Rhiannon Clements (Anne Brontë), Gemma Whelan (Charlotte Brontë) and Nick Blakeley (Ensemble) in Underdog: The Other Other Brontë at the National Theatre (c) Isha Shah
« previous articles - page 19 of 87 - next articles »