Stuart King
25 Nov
Reviews 
Review: STRAIGHT WHITE MEN at Southwark Playhouse
By Stuart King Thursday, November 25 2021, 09:43
A father invites his three grown-up sons to come together at the family home, where despite being surrounded by the trappings of Christmases past, this year something is clearly not right. Following its Broadway run at the Hayes Theatre, (which boasted Armie Hammer in the cast) Korean American playwright Young Jean Lee's Straight White Men is playing a limited run at the Southwark Playhouse until 4 Dec.
24 Nov
Reviews
Review: MANOR at National Theatre, Lyttelton
By Stuart King Wednesday, November 24 2021, 14:05
During a meteorological maelstrom, a dilapidated Manor House and its vibrant but cash-strapped owner Diana (delivered in a beautifully nuanced performance by Nancy Carroll) are unexpectedly inundated by a disparate group of shelter seekers. Can they weather both the ongoing storm and the clash of personalities which erupts from their enforced containment?
18 Nov
Reviews
Review: LA CLIQUE at Spiegeltent, Leicester Square
By Stuart King Thursday, November 18 2021, 09:22
Leicester Square once again hosts a wintertime Spiegeltent in which you'll be transported to the magical, dazzling, playful (and pretty sexy) world, of the multi-award-winning international performance troupe La Clique.
16 Nov
Reviews
Review: VANYA AND SONIA AND MASHA AND SPIKE at The Charing Cross Theatre
By Stuart King Tuesday, November 16 2021, 00:22
Christopher Durang's 2013 Tony Award-winning comedy, Vanya and Sonia and Masha and Spike, has just begun a limited run at the Charing Cross Theatre. Siblings who chose different life paths are unexpectedly reunited, providing an opportunity to poke familial rivalries, nudge grudges and to pour vinegar on fragile historic sensitivities.
The Cast of Vanya and Sonia and Masha and Spike at the Charing Cross Theatre
10 Nov
Reviews
Review: ‘NIGHT, MOTHER at Hampstead Theatre
By Stuart King Wednesday, November 10 2021, 08:52
Our scene takes place in a rural American homestead where, as a prelude to shooting herself, Jessie lists for her mother the humdrum minutiae of her existence — whilst preparing pill bottles, filling labelled sweet jars, detailing who to call when the dishwasher breaks down and most importantly, what procedure to follow after she hears the gun shot later that evening.
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