@sohoplace

Having sold out at the Bush Theatre (twice), Tyrell Williams‘ debut full-length play moved to @sohoplace, the confusingly named new in-the-round theatre situated in London’s West End, where it continued to receive rave reviews. The play looks at three young black men’s lives and attitudes through the prism of their love of football. It’s directed by Daniel Bailey and stars Kedar Williams-Stirling, Emeka Sesay and Francis Lovehall.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Dominic Cavendish in the Telegraph (4★) said that it details ‘the lives of black British male youth with a streetwise confidence and winning grasp of comic value.’ He liked its new venue: ‘Daniel Bailey’s pulsing production fits snugly in the venue’s in-the-round configuration’ and concluded by saying it’s ‘a feel-good, emotionally impactful and richly contemporary triumph.’

For Tim Bano at Time Out (4★), ‘it’s a brilliant bit of writing about gentrification, friendship, masculinity and aspiration, without ever being heavy-handed …   there’s some kind of alchemy between writer, director and actors.’ He observed: ‘The play’s at its best when we’re simply in the company of the boys, sharing their anxiety for the future and living their joy in the present.’ Fiona Mountford in the i (4) declared: ‘Daniel Bailey’s production fizzes and bounces with kinetic energy.’

Sam Marlowe in The Stage (4) talked about ‘Tyrell Williams’ touching, hilarious and joyous drama about male friendship’ and how ‘we become completely absorbed, hanging on every pulse and breath of its three youngsters.’ She praised the cast who: ‘all reprising their roles – never put a foot wrong.’ She finished: ‘This is a play that leaves you with an endorphin high: thoughtful, tender and exuberant.’

‘Everything about this play rings true,’ said Heather Neil at The Arts Desk (4★). ‘All three play off each other brilliantly…A study of enduring friendship in difficult circumstances could be sentimental, but the writing and performances ensure that is not the case here.’ For Alexander Cohen at Broadway World (4★), ‘Daniel Bailey’s production glistens with the spectacle of the teenagers’ dreams.’ His only caveat is that ‘Williams plays a safe game when it comes to the drama’s trajectory which unravels in a neatly predictable pattern.’

Here are two reviews from the previous run at the Bush Theatre. Miriam Gillinson in The Guardian (4★) said it was a ‘feel-good, emotionally impactful and richly contemporary triumph.’ She continued: ‘Meticulously mined details hold his script together (the structure isn’t perfect) and create a convincing bond between these friends.’ Theo Bosanquet at Whats On Stage (4★) talked about ‘Tyrell Williams’ sharp, funny and deeply poignant debut full-length play‘ and said: ‘Director Daniel Bailey ensures the entire 90 minutes (naturally) fizzes with energy.’

Nick Curtis in The Standard (4★) commented: ‘It’s still rare to see a play about young, black, working-class youths on our stages: rarer still to see one in which they are celebrated like this’ and complimented ‘Bailey’s energetic, artfully staged production.’

Susannah Clapp in The Observer (4★) name-checks the young stars: ‘Francis Lovehall, Emeka Sesay and Kedar Williams-Stirling act with 3D expressiveness.’

Average critic rating (out of 5) 4★

Value rating  77  (Value rating is the Average critic rating moderated by the typical ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

Red Pitch can be seen at @sohoplace until 4 May 2024. Click here to buy tickets directly from the theatre

If you’ve seen Red Pitch, you are welcome to add your review and rating below (but please keep it relevant and polite)

Lyric Hammersmith

It was 4 stars across the board for Rachel O’Riordan’s revival of Brian Friel’s  Faith Healer. The now classic play from 1979 features three characters in four monologues: the ‘faith healer’ (Declan Conlon) at the beginning and end, his wife (Justine Mitchell), and his manager (Nick Holder) in the middle sections. Each partly contradicts what is said previously in a ‘complex interplay of faith, doubt, and every shade of love and hope’ (Whats On Stage).

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

‘Three riveting performances anchor this revival of Brian Friel’s eloquent 1979 exploration of memory, love and belief,’ began Nick Curtis in his review in The Standard (4★). Calling it ‘perfectly pitched’, he said, ‘Rachel O’Riordan’s aching, unadorned production is drenched in regret and foreboding.’ Sarah Hemming in The Financial Times (4★) described how ‘In Rachel O’Riordan’s quietly spellbinding, beautifully acted staging, Friel’s artistry draws you in….Our encounter with this dog-eared trio is about the human need for meaning — and the role of theatre in that search.’ Sarah Crompton at Whats On Stage (4★) also praised the production: ‘O’Riordan opts to play up its humour and its social observations…The poetry is allowed to emerge quietly, landing its devastating blows, its uncomfortable truths.’

Kate Kellaway in The Observer (4★) observed: ‘It is wonderful, in Rachel O’Riordan’s attentive, level and serious-minded production, to be reminded of the sheer nerve and brilliance of Friel’s monologues from three actors.’ Dave Fargnoli in The Stage (4★) said ‘O’Riordan allows nothing to distract from the cast’s focused performances, methodically building an atmosphere of deep melancholy lightened by wry humour and intricately constructed wordplay.’ Like all the reviewers, he had praise for the cast: ‘Conlon’s truthful, humane performance captures the exhaustion and self-doubt…Justine Mitchell gives a profoundly powerful performance…(Nick Holder) ends up … hollowed out by loss.’ Mark Lawson  in The Guardian (4★) found the three actors ‘wholly convincing’. He trawls through 300 years of European culture searching for a comparison: ‘the show, in its emotional and narrative intensity, most resembles a spoken version of a Bach Passion.’

Writing for The Arts Desk (4★), Helen Hawkins’ only reservation was ‘the production’s comparative lightness of spirit sells it slightly short.’ She praised Justine Mitchell, saying she ‘gives the most pitch-perfect interpretation of this role I have seen…She is sadness incarnate.’

Dominic Cavendish in his Telegraph review (4★) took the opportunity to express a desire for more new work to be presented on stage, and expressed concern that ‘Faith Healer risks becoming something of a comfort-blanket classic’. Antithetically he went on, ‘Each retelling yields riches for the initiated and an opportunity for newcomers to be drawn into its protracted, lexically potent spell.’ He approved of the production: ‘You feel O’Riordan has the thoughtful measure of every line: it’s an unostentatiously stupendous production’.

For Franco Milazzo at Broadway World (4★), O’Riordan directs ‘superbly’.
Andrzej Lukowski in Time Out (4★) stated: ‘O’Riordan’s take feels pristine and ageless.’

Average critic rating (out of 5) 4★

Value rating  118 (Value rating is the Average critic rating divided by the most common Stalls ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

Faith Healer can be seen at the Lyric Hammersmith until 13 April 2024. Click here to buy tickets directly from the theatre

If you’ve seen Faith Healer, you are welcome to add your review and rating below (but please keep it relevant and polite).

Savoy Theatre

There was much excitement among fans of Sex And The City’s Sarah Jessica Parker when it was announced that she and her husband Matthew Broderick were coming to London to star in Neil Simon‘s two-hander Plaza Suite. For the fandom, the play probably didn’t matter, but most critics were divided between those who liked the comedy and those who really didn’t. Written in 1968, it has Simon’s trademark one liners but can seem old fashioned. Its three acts each tell a story about a different married couple staying in the eponymous hotel room. The ticket prices seemed to weigh on almost everyone’s mind, and whether the star names justified paying £300 or more. Some of the critics were not impressed by the SJP but, for many, she was a ‘revelation’. On the whole, it seems supporters of Sarah Jessica Parker will not be disappointed, even at the eye-watering prices, but for someone simply looking for a good night out, there are better value choices.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

It’s ‘a celebrity circus’ moaned Arifa Akbar in The Guardian (2★), lamenting the way the audience members were cheering before the performance even began. As for the show: ‘the production is flat and forgettable…(it) seems effectively to coast on the fame of its two stars.’ Not that they impressed her either: ‘Under the direction of John Benjamin Hickey, it feels strangely like Parker and Broderick are saying lines rather than assuming roles.’ As to the ticket price, ‘What a low, lazy bar to set at such a high price’.

Fiona Mountford in the i (2★) had a similarly low opinion of the show calling it ‘an inert production’. Describing the play, she said`: ‘The dialogue is repetitive and the emotional veracity of the script minimal,’ As for the stars, ‘they manifest almost zero chemistry together on stage’ (but see Adam Bloodworth at CityAM later). The Stage’s (2★) Sam Marlowe described the play as ‘a theatrical museum piece’ and the stars as ‘competent’. For Alice Saville in The Independent (2★) was on the same wavelength, describing the play as ‘creaky’ and Parker and Broderick as ‘just about good enough’.

Even the three star reviews had little good to say about the play. Sarah Hemming in the Financial Times (3★) referred to ‘its creakily dated depiction of the sexes. More than 50 years on, the comedy has aged.’ She concedes ‘It’s Neil Simon: there are zingers and classic bits of funny business’ before concluding ‘But old is not always gold.’ What redeemed the evening for her, as for so many, was SJP: ‘Parker… is a joy, bringing zest, precise detail and sharp comic timing to her characters.’

Andrzej Lukowski in Time Out (3★) had a similar view: ‘there’s definitely no reason you need to see Plaza Suite’ he said, unless ‘you’ve come for the leads’. For him it’s a ‘fusty, stilted production’ but he did praise the stars: ‘Broderick labours some of his parts, but he’s always trying to do something interesting. Parker, meanwhile, may not be the actress to find depth in this script, but she has an effervescent lightness of touch that leavens the stodginess of the writing.’ Sarah Crompton at Whats On Stage (3★) was another who was not keen on the play but was bowled away by the Sex And the City star: ‘yet Parker’s honesty, her vigour, and her pure gift for comedy both physical and verbal, disguise some of their obvious shortcomings. She’s a revelation.’

The same word cropped up in Debbie Gilpin’s review at Broadway World (3★): ‘Sarah Jessica Parker is a revelation…expertly judging the tone required and effortlessly balancing the humour and the drama involved. In addition, Parker’s comic timing is excellent’. For Stefan Kyriazis in The Express (3★), the shine was taken off the evening by Neil Simon’s writing. While acknowledging that ‘Simon excels at repartee and snappy one-liners’, he was concerned that ‘the playwright’s women from this era are relentlessly ridiculous, foolish and insubstantial.’

Not everyone was critical of Neil Simon’s play. Clive Davis in The Times (4★) was ‘glad to see Simon’s name back in lights in the West End.’ He described the playwright as ‘a craftsman who knew all about the underrated art of making people laugh.’ As for the star, ‘Parker delivers ditziness throughout the evening.’ John Nathan at the Jewish Chronicle (4★) loved everything about it (except the prices). He described it as ‘a perfectly formed play’ in a ‘terrific production’. Like others, he found SJP a ‘revelation’. ‘It is her range that stands out,’ he said. Matt Wolf reviewing for The Arts Desk (4★) is another critic who said: ‘I confess to not being prepared for the range Parker displays here, and her gift for walking a tightrope between wise-cracking wit and wistfulness.’

Nick Curtis in The Standard (4★) enthused: ‘John Benjamin Hickey’s Broadway production is like a vintage Rolls Royce: stately, old-fashioned, expensive. But it’s carrying two stars who can actually act.’ He was taken by SJP ‘showing off considerable comic chops and an easy onstage rapport with her husband Matthew Broderick.’ Adam Bloodworth at CityAM (4★) thought it was ‘darn good fun’ and, taking a contrary view to Fiona Mountford, ‘these two explode with chemistry’. He concedes: ‘it would have been more interesting to put these two talented actors in something more up to date’.  Prtice was no obstacle for The Telegraph‘s (4★) Dominic Cavendish who thought it was ‘a wallet busting treat’.

Average critic rating (out of 5) 3.1★

Value rating  16 (Value rating is the Average critic rating divided by the most common Stalls ticket price. In theory this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

Plaza Suite can be seen at the Savoy Theatre until 13 April 2024. Click here to buy tickets directly from the theatre

If you’ve seen Plaza Suite, you are welcome to add your review and rating below (but please keep it relevant and polite)

Theatre Royal Haymarket

High praise for Sarah Snook and The Picture of Dorian Gray but the high prices brought down the Value Rating. The Succession star’s virtuoso performance as 26 different characters was matched by a dazzling production from Kip Williams featuring live and recorded video on screens.

[Links to full reviews are included but a number are behind paywalls, and therefore may not be accessible]

Describing it as ‘tinglingly virtuoso and startlingly dangerous’ in her Guardian (5★) review, Arifa Akbar said it is ‘a true high-wire act, not only because of Snook’s fleet and fabulous performance but also because of the accompaniment of screens, pre-recorded footage, live film crew, and orchestration of technology that is as dazzling as it is complicated, heightening theatricality rather than distracting from it.’ She concluded: ‘It is all beautiful, brilliant, maniacally unmissable.’ Dominic Cavendish in The Telegraph (5★) was impressed by the production and the star: ‘Snook doesn’t shortchange us on a chameleonic tour de force that flips genders as fast as pancakes,’ he said. She ‘holds us in thrall, inhabiting all 26 characters in Kip Williams’ adaptation, narrating as she goes. Her shape-shifting is magnified by the live-filming of her every move.’

Sarah Hemming in The Financial Times (5★) called the show ‘a virtuoso performance in an astonishing piece of theatre.’

Fiona Mountford in the i (5★) said Sarah Snook gives ‘two hours of unceasing acting dynamite.’ The reviewer was impressed when, ‘At one point, she chats at a lunch party to six other versions of herself. This impeccable technological feat, so fraught with potential peril, unfolds without a single glitch.’  Stefan Kyriazis in The Express (5★) said Ms Snook gave ‘a fiercely fearless, full-throttle, utterly exposed display’.  Top marks for Ms Snook from Helen Hawkins at The Arts Desk (5★) too: ‘She is a hugely engaging stage presence, not merely a versatile trouper but a subtle, funny actress who conspiratorially draws you into the piece’. The production, she said, is ‘a dazzling display of virtuoso acting and technical wizardry.’

Time Out‘s (4★)   said it was ‘a dizzying technical masterpiece, boasting a tour-de-force performance from Sarah ‘Shiv Roy’ Snook.’ His reservation is that it’s ‘exhilarating but shallow’. ‘Snook shows us sweat, snot and desperation in unforgiving close-up’ said Nick Curtis in The Standard (4★) in what he called ‘a technically adroit and complex production.’  ‘Her extreme, carnivalesque performance here is like nothing else I’ve ever seen.’  Sarah Crompton over at Whats On Stage (4★) is just as enthusiastic about Ms Snook: ‘Her confidence on stage is breathtaking; she owns the space, elegantly playing with all the technology, never being drowned by it. Given how big the effects around her sometimes are, how broad the comedy and sweeping the melodrama, she acts with remarkable subtlety and sensitivity.’

Alice Saville in The Independent (4★) found the production ‘full of magical transformations, sensory splendour and technical ingenuity.’ For her, Ms Snook conveys ‘raw, human misery, only heightened by the artifice that surrounds it.’ Alice Saville Sam Marlowe in The Stage (4★) described it as ‘a riot of language, images and ideas, a full-on sensual assault’. ‘Snook’s phenomenal turn,’ she said, ‘involves her portraying not just Dorian, but all the other characters too, often simultaneously – a split-second technical feat achieved with a kaleidoscopic use of live and recorded video, designed by David Bergman.’

After all of the above, Clive Davis seems almost miserly with his 3 star review in The Times (3★). While admitting that he ‘can’t help marvelling at the energy and concentration she (Sarah Snook) displays’, he told us: The production is ‘wallowing in camp’…’with next to no variation in tone: for all the bravura camerawork, we might as well be watching the Victorian equivalent of Acorn Antiques.’ He concluded: ‘This show may be a glimpse of the technological future of theatre, but as storytelling, it’s old hat.’

Average rating 4.4★

Value Rating 36 (Value rating is the Average critic rating divided by the most common Stalls ticket price. In theory, this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 40 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

The Picture of Dorian Gray is at the Theatre Royal Haymarket until 11 May 2024. Buy tickets direct here

If you’ve seen The Picture of Dorian Gray you are welcome to add your review and rating below (but we ask that you keep it relevant and polite)

Harold Pinter Theatre, London

After his huge successes with Jerusalem and The Ferryman, there are inevitably high hopes for a new play by Jez Butterworth, especially with Sam Mendes, who directed The Ferryman, at the helm. If The Hills Of California didn’t quite live up to those expectations for the majority of the critics, it nevertheless garnered reviews most playwrights and producers would be more than happy with. Far from the West Coast of the USA, the story is set in a guest house in Blackpool. Four daughters assemble around their dying mother back in the long, hot summer of 1976. Grief and rivalry infuse the siblings’ relationships.  The drama swings between that time and their youth when their mother was grooming them to be another Andrews Sisters. For many of the critics, it was a fine play but too slow. The ending provided an unsatisfactory denouement for quite a few of them, although, for the Telegraph, it ‘worked like a dream’.

The only heavyweight critic to give a five star review was Sarah Hemming in the Financial Times (5★) who said: ‘The playwright catches again the quality of a time and place and its significance as metaphor… (but) what makes his plays is something more elusive: an ability to bend and stretch time, to show how the past can inhabit the present, how the myths we inherit and those we invent shape our experience of reality.’ She called it a ‘rich, funny, brilliantly layered drama about lost dreams, trampled hopes, parenting and letting go.’ and praised the way ‘Sam Mendes’ beautifully paced production surfs time, place and mood and is gloriously acted.’

The Radio Times (4★) reviewer Olivia Garrett said that, following their collaboration on The Ferryman, Butterworth and Mendes ‘have once again brought us a gorgeously textured performance that drifts across time and tone – going from nostalgic wry humour in one moment to brutal unprocessed emotion in the next.’ ‘Overall, The Hills of California is a strong and deftly handled exploration of death and bereavement with the potential to resonate with anyone,’ she summed up. Andrzej Lukowski in Time Out (4★) felt it ‘clears the bar’ set by Jerusalem: ‘Butterworth writes – and Mendes directs – with a deft, novelistic fluidity.’ However, the climax lets it down, he said, declaring that it ends in a ‘stumble’.’While his female characters are wonderful, what actually happens to them can feel cliche-bound, based on a distinctly pulpy view of the female experience,’ he explained. However, ‘The performances are uniformly tremendous.’

‘Butterworth is ingenious about the way fantasy traps and inspires,’ said Susannah Clapp in The Observer (4★). She found ‘Sam Mendes’s production is motored by fine acting’. Aliya Al-Hassan at Broadway World (4★) called it a ‘bittersweet and bitingly funny new play’. It is, she said, ‘close to greatness. It is thought-provoking, heartbreaking and multi-layered, but it could be exceptional.’

Sarah Crompton at Whats On Stage (4★) found it ‘a slow smoulder rather than a fierce blaze, shooting off thought-provoking sparks without ever fully illuminating its themes. I had the odd sense of the playwright standing outside his creation, straining every sinew to make it come to life, willing it to succeed.’ Like a number of reviewers, she brings attention to ‘Laura Donnelly’s charismatic, chiselled performance’.

For Dominic Cavendish in The Telegraph (4★) ‘It’s smart, ambitious fare, no question, the cast serve it with aplomb, and the final half-hour works like a dream. But, even so, it’s an uphill slog to get there, and we’re some distance from the hallowed triumph of Jerusalem.’ He decided it ‘needs a trim and a less languid pace’. Fiona Mountford for the i (4★) had the same thought: ‘Butterworth’s writing is resonant but proceeds at far too languid a pace’. She had a further reservation: ‘I remain unconvinced by the pivotal plot moment and the explanations, or lack thereof.’ Yet, ‘Despite the play’s flaws, the West End is infinitely the richer for its presence.’

Nick Curtis in The Standard (4★), decided (very precisely) that it was ‘nine-tenths of a superb’ play. He said: ‘this is a witty, closely observed study of family relations and of the cycle of birth and death, impeccably performed by both young and older cast members and expertly conducted by Mendes: even the singing is impressive.’ His conclusion is that The Hills of California is ‘on a par with Butterworth’s Jerusalem and The Ferryman – a trio of flawed masterpieces.’

The ‘flawed masterpiece’ theme was also to be found in Stefan Kyriazis’ review in The Express (4★): ‘a slightly flawed Butterworth performed by artists of this calibre is still worth ten of so many other shows out there.’ Part of his reservation came from his frustration with the climax: ‘the pacing is off, and the script falters frustratingly in the strangely sentimental final scene.’ On the plus side, he called it a ‘gloriously written tragicomedy’, saying ‘Nobody writes percussive dialogue like Butterworth. Hilarious grenades laced with affection or fury pepper over pathos and pain, mirth and melancholy. Colloquial rhythms ring so true you can taste the time and place.’

Clive Davis in The Times (3★) was another critic who didn’t like the ending, calling it ‘a muddled and wildly implausible final act’. Neverthless, he  thought it ‘comes tantalisingly close to sweeping us off our feet.’ ‘Laura Donnelly’s hypnotic central performance…will certainly linger in the memory,’ he said, but ‘director Sam Mendes hasn’t been able to impose enough discipline on Butterworth’s penchant for baggy, poetic speeches.’ The Guardian’s (3★) Arifa Akbar also used the ‘b’ word: ‘an uneven drama, baggy in its pacing’. Cuttingly, she concluded: ‘Rob Howell’s gorgeous set, dominated by a beautiful staircase, has heights and depths that the play itself does not reach.’

‘Director Sam Mendes’s production brings out all the gentle humour in Butterworth’s play’ said Alice Saville in The Independent (3★) but there’s a ‘lack of an intellectual underpinning (that) feels more visible in a play that lacks the pace and tautness of Butterworth’s writing at its best.’ She asks: ‘is there gold in them thar hills?’  Her answer: ‘Not this time, alas.’

Average critic rating (out of 5) 3.8★

Value rating  39 (Value rating is achieved by dividing the Average critic rating by the most common ticket price in the Stalls and Circle. In theory this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is further complicated by theatres raising or lowering the prices during the run depending on sales.)

‘The Hills of California’ can be seen at the Harold Pinter Theatre until 15 June 2024. Click here to buy direct

If you’ve seen The Hills of California, please add your review and rating below (but please keep it relevant and polite)

Garrick Theatre, London

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy by Ryan Calais Cameron started life at the small New Diorama Theatre (also the starting point for Operation Mincemeat) before transferring to the Royal Court in 2021 and then to the West End in  April 2023. In essence, six young Black men discuss their experiences of growing up, fathers, masculinity, knife crime, sex, and the challenges of society’s expectations. But there’s a great deal more to it, as the reviewers told us.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Writing in The Sunday Times (5★), Dominic Maxwell called it ‘staggeringly good’ and praised the new cast saying he couldn’t ‘believe anyone could perform this with greater wit, tenderness, physicality and musicality’. He ends with more adulatory adjectives: ‘angry and mournful and sexy and serious and funny and freeing and a modern masterpiece’. In a word, Abbie Grundy for Broadway World (5★) summed it up as ‘fantastic.’ He had much more to say: ‘Pacey and poignant, Ryan Calais Cameron’s script artfully dissects issues of racism, mental health, sexual assault, and gang culture.’ He praised ‘each actor on stage giving an extraordinary performance’ and concluded that it is ‘a stunning piece of theatre – bitingly relevant, endlessly crucial, and deeply moving.’ Calling it ‘Seriously special’, Claire Allfree in The Telegraph (5★) talked about ‘this play’s startling ability to break down every identity trope it sets up.’ She continued: ‘this revival is supremely well directed by Calais Cameron…who beautifully controls the play’s melodic flow and hair-pin bend switches between humour and pathos, bravado and confession, break-out dance sequences and loose-limbed naturalism.’  Jane Edwardes on The Arts Desk (5★) was on her third visit to the show- ‘each time I’ve been struck by how the piece manages to be both raucous and touching at the same time.’ She was another critic who had nothing but praise for the new cast, saying they ‘can dance with all the dazzling discipline and unity of a well-trained chorus, but when they talk, they reveal that their attitudes and experiences are very different.’

Simon Thomson for CityAM (4★) said its ‘dynamic blend of dance and poetic language elevates what could otherwise have been a static play, weighed down by substantial ideas’ and gave credit to ‘the valuable contribution of movement director and choreographer Theophilus O Bailey’. ‘The new ensemble cast’ he observed, ‘is subtle and protean…they have ample opportunities to sing, resulting in moments of true beauty.’ He concluded with a clarion call: ‘Entertaining and enlightening, hopeful and humane, this production isn’t just For Black Boys.’

Reviews for the earlier West End run included this from Anya Ryan in The Guardian (5★) who called it ‘powerful and deeply moving’ written in ‘crucial, pressing poetry.’ ‘The vibrant spirit of the play is hard to resist,’ she said.

Alice Saville writing for Time Out (4★) talked about ‘a style that’s non-linear, raw, spontaneous, and massively fun to watch’ and ended ‘This is seriously powerful theatre, the kind that feels like an event, a statement, and a party all at once.’ Sarah Crompton at Whats On Stage (4★) said ‘it adds up to a remarkable evening, its themes enlivened and illuminated by laughter and affection. It is quite something.’ Natasha Tripney in The Stage (4★) praised ‘The superb movement direction by Theophilus O Bailey makes the show as physically vigorous as it is emotionally rich.’ She said: ‘the abiding feeling is one of joy.’

Average critic rating (out of 5) 4.6★

Value rating  84 (Value rating is the Average critic rating divided by the most common Stalls/Circle ticket price. In theory this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60.)

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy can be seen at Garrick Theatre until 4 May 2024. Click here to buy tickets directly from the theatre

If you’ve seen For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy, you are welcome to add your review and rating below (but please keep it relevant and polite)

The American star of The Morning Show Billy Crudup makes his West End debut in a monologue written by David Cale which has already been a hit in the US. Mr Crudup plays among other characters a shy gay American who, as well as pretending to be English himself, invents an alter ego, a Cockney ‘geezer’ called Harry Clarke.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Clive Davis in The Times (4★) described the play as ‘a shaggy dog story, and a thoroughly entertaining one.’ ‘Leigh Silverman’s direction is tightly observed yet unobtrusive’,’ he went on to describe Crudup as ‘utterly hypnotic’. ‘It’s very funny indeed,’ agreed Sarah Crompton at Whats On Stage (4★). She continued: ‘It’s a real tour de force of storytelling and performance, an old-fashioned pleasure with a modern twist.’

While feeling that the playwright could dig deeper into the psychological issues he raises,’ Sarah Hemming in the Financial Times (3★) praises ‘the slippery skill of Cale’s writing’ as well as ‘Crudup’s consummate, magnetic performance’. Chris Wiegand in The Guardian (3★) found ‘the script lacks the motor of a thriller and there is little at stake in this slight story’ but praised ‘Crudup’s vocal skill’. The Stage‘s Sam Marlowe (3★) took a similar view: ‘Leigh Silverman’s production is smartly paced, with a bravura solo performance from … Billy Crudup. But the play is effectively a series of Escher staircases leading nowhere, ingenious but inconsequential.’ Some reviewers (see below) criticised Crudup’s way of speaking English accents but for Andrzej Lukowski in Time Out (3★), the plot is such that ‘it makes sense that he sounds like an American doing an English accent’. He concluded: ‘it’s trashily entertaining and Crudup is magnetic.’ Billy Crudup gives ‘ a truly riveting performance’ agrees Claire Allfree in The Telegraph (3★) but, as to the play, ‘while, with its high-gloss blend of excess, madness and fabulous wealth, it flirts with the trappings of a thriller, there is precious little actually at stake’.

Fiona Mountford in the i (2★), advising her readers to save their money, criticised Billy Crudup: ‘a self-satisfied and showboating sort of performance’ in which his English accent ‘makes him sound like a strangulated minor royal’. She didn’t like the play much either: ‘the script, full of holes where plot logic ought to be, offers almost no sense of jeopardy.’ The Independent‘s Alice Saville (2★) agreed about the English accent: ‘his tones drifting from East End to Essex to New York like the world’s most incompetent Uber driver.’ The script disappointed her too: ‘the promised darkness never quite arrives, and nor does any kind of underlying message or shock twist.’ The Standard‘s Nick Curtis (2★) also criticised the script: Cale’s play, he said, ‘has almost no psychological depth’ but ‘Never mind the thin, shaggy dog-story of a plot: this monologue is all about Billy Crudup’s mercurial, showboating performance.’ He did agree with his fellow two star reviewers that Billy Crudup’s English accents were ‘terrible’ but, he added, ‘It doesn’t really matter.’ The theme continues over at Broadway World (2★) where Alexander Cohen criticises ‘a meandering script’ and was thankful for Billy Crudup: ‘Without him the show would crumble.’

Average critic rating (out of 5) 2.8★

Value rating 37 (Value rating is the Average critic rating divided by the most common Stalls/Circle ticket price. In theory this means the higher the score the better value but, because of price variations, a West End show could be excellent value if it scores above 30 while an off-West End show may need to score above 60. This rating is based on opening night prices- theatres may raise or lower prices during the run.)

Harry Clarke can be seen at the Ambassadors Theatre London until 11 May 2024. Buy tickets directly from the theatre here

If you’ve seen Harry Clarke, you are welcome to add your review and rating below (but please keep it relevant and polite)