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Reviews

How to Succeed in Business Without Really Trying. Pamela Raith Photography
17 May
Reviews
Stuart King

Review: HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at Southwark Playhouse

HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING — Frank Loesser’s rarely revived 1961 Broadway collaboration with Abe Burrows which pitches the avaricious, the idiotic and the eternally romantic side-by-side in business, has begun a limited run at Southwark Playhouse.

How to Succeed in Business Without Really Trying. Pamela Raith PhotographyHow to Succeed in Business Without Really Trying at Southwark Playhouse. Photography by Pamela Raith

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Joseph Potter in Leaves of Glass at Park Theatre.
16 May
Reviews
Stuart King

Review: LEAVES OF GLASS at Park Theatre

Philip Ridley’s intense four-hander LEAVES OF GLASS receives a 3-week run at Park Theatre’s intimate space, a full 16 years since its original staging in Soho.

Joseph Potter in Leaves of Glass at Park Theatre.Joseph Potter in Leaves of Glass at Park Theatre. Photo by Mark Senior

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August is a black man in his sixties. He is wearing a blue suit, cap and purple tie. He is mid-speech, showing the audience three fingers. In the background you can see striped paper, a red armchair and carpet, a bar cart and family portraits on the wall.
05 May
Reviews
Stuart King

Review: AUGUST IN ENGLAND at Bush Theatre

Sir Lenny Henry tackles a sensitive subject close to his heart - the Windrush generation / scandal / on-going inequality / reparation doldrums. When it comes to nomenclature, pick your poison, because most of the sorry saga (like Grenfell and others) is precisely that — a poisonous stain on a nation which should have approached the matter of racial and social integration with compassion and honesty instead of treating its naturalised citizens as unwanted, expendable criminals.

August is a black man in his sixties. He is wearing a blue suit, cap and purple tie. He is mid-speech, showing the audience three fingers. In the background you can see striped paper, a red armchair and carpet, a bar cart and family portraits on the wall. Sir Lenny Henry as August in August in England at the Bush Theatre. Photography by Tristram Kenton

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The Motive and the Cue cast at the National Theatre. Photo by Mark Douet
03 May
Reviews
Stuart King

Review: THE MOTIVE AND THE CUE at National Theatre, Lyttelton

It’s 1964 and movie star Richard Burton (Johnny Flynn) is in rehearsals for a production of Hamlet on Broadway. The stakes couldn’t be higher for the Welshman who tied the knot with Elizabeth Taylor (Tuppence Middleton) a mere 3 weeks before opening night. At the helm, Shakespearean titan Sir John Gielgud (Mark Gatiss) whose poetic appreciation for the text and manner of classical delivery, inform his directorial style and are entirely at odds with Burton’s ferocious modern vision.

The Motive and the Cue cast at the National Theatre. Photo by Mark DouetThe Motive and the Cue cast at the National Theatre. Photo by Mark Douet.

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Glory Ride - Fed Zanni as Mario Carita and the Company - Photographer Marc Brenner
01 May
Reviews
Stuart King

Review: GLORY RIDE at Charing Cross Theatre

When you learn that a musical theatre treatment is planned which will shine a spotlight on the heroic actions of a figure from history — especially an unassuming sporting hero who used his celebrity for good and at great personal risk — you long for the end result to be as iridescent as the man’s deeds. Sadly GLORY RIDE which tells the story of cyclist Gino Bartali (Josh St Clair) is an inadequate and disappointingly stilted effort.

Glory Ride - Fed Zanni as Mario Carita and the Company - Photographer Marc BrennerGlory Ride - Fed Zanni as Mario Carita and the Company - Photographer Marc Brenner

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