County Hall, South Bank, London

It was the venue as much as the play itself that wowed the critics Agatha Christie’s courtroom drama was revived. The former London County Council building County Hall stunned most of the reviewers and is a major contributor to its continuing popularity with audiences. Some reviews are from the opening, and some coincided with the 2000th performance in early 2024. The cast changes every so often but has so far featured top quality actors.

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

Olivia Garrett for the Radio Times (5★) called it ‘a spine-tingling and mesmerising watch which messes with your mind perfectly.’

Michael Billington in The Guardian (4★) said it was ‘imaginatively staged by Lucy Bailey’. Tom Wicker for Time Out (4★) called it ‘a deliciously enjoyable revival’ and praised the director: ‘Bailey plays up the melodrama beautifully’.

Marianka Swain in the Telegraph (4★) described it as ‘pleasingly old-fashioned fare’. She continued, ‘Christie’s bravura twisty plotting is still second to none. Combined with Bailey’s inspired use of an historic location, it’s criminally entertaining.’

TheArtsDesk’s Heather Neill (4★) found herself in ‘a magnificent, atmospheric space, standing in for the Old Bailey.’ The Times’ Clive Davis (4★) agreed, ‘the best reason for seeing Lucy Bailey’s handsome courtroom revival… is the setting itself.’

’the entertainment here lies in the twists and turns of the plot,’ declared Sarah Hemming in The Financial Times (3★) However, ‘The production struggles more in the intimate scenes in legal chambers and falls awkwardly flat in the one episode outside the court’. Henry Hitchins for The Standard (3★) noted, ‘Lucy Bailey’s production relishes the conventions of courtroom drama, not least the emphasis on ritual’ but thought it ‘a bit slow-footed … and lacks a nagging element of mystery.’

Will Longman for LondonTheatre (3★) complained, ‘The audience isn’t given enough to go on, and so there isn’t an air of mystery to this murder.’ Theo Bosanquet at WhatsOnStage (3★) found ‘this Agatha Christie classic still provides twists and gasp-inducing reveals aplenty, even if its melodramatic tendencies somewhat undermine the emotional impact’. He was disappointed that ‘the climax – no spoilers, of course – is action-packed but left me rather cold. It feels like an almost pantomimic finale to what is until then a slow-burning thriller.’

Natasha Tripney reviewing for The Stage (2★) was one of the few reviewers who didn’t like the venue: ‘the sheer size of the room proves cumbersome and exposing’. She wasn’t keen on the production either which she called ‘disappointingly pedestrian’.

Critics’ Average Rating 3.5★

Value rating 47 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Read Paul Seven’s review of Witness For The Prosecution 

Witness For The Prosecution can be seen at County Hall. Click here to buy tickets direct from the producer

If you’ve seen Witness For The Prosecution at County Hall, please add your review and rating blow

Theatre Royal Haymarket

Msamati and Wishaw triumph

Much excitement surrounded the star casting of Lucian Msamati and Ben Wishaw in a new production of Samuel Beckett’s Waiting For Godot. The critics were impressed.

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

‘This is the best production I’ve ever seen, ‘ declared Nick Curtis in The Standard (4★). Ben Whishaw and Lucian Msamati bring a potent, tragicomic chemistry,’ he said. Sarah Hemming from The Financial Times (4★) commented, ‘I’ve never seen the play’s dance along the border between artifice and truth so meaningfully executed. Macdonald and his team relish the play’s philosophical brilliance and emotional depth while underscoring its chastening political power.’

Sam Marlowe at The Stage (4★) noted, ‘It’s not, perhaps, a revelatory staging, and its measured pacing demands patience and close attention. But as sensitively handled as it is here, the play is at once tragic, absorbing and oddly comforting’.

The Times‘ Clive Davis (4★) said Msamati and Wishaw are ‘a beautifully paced double act in which the music hall humour is astutely balanced with dizzying glimpses into the existential abyss.’ He confessed, ‘If, like me, you’ve always been sceptical about the grandiose claims made for this play, Macdonald’s revival forces you to listen and learn.’ Wishaw, he said, ‘is in complete command as Vladimir ‘.

Cindy Marcolina for BroadwayWorld (4★) claimed, ‘This Godot is a bitter tragicomic farce, deeply philosophical but also genuinely funny. It becomes a reflection of staggering humanity in its continuous contradictions.’ She offered a qualified recommendation: ‘Go see it, but don’t break the bank in order to.’

Claire Allfree for the Telegraph  (4★) ‘MacDonald’s capacious revival offers no new radical insight. Rather its strength lies in its resistance to any specific reading while simultaneously appearing to contain many. This is a Godot as spiritual allegory, as political parable, as absurdist tragic comedy and human cry in the wilderness, a production that seems to drag us too into its dreadful struggle against the dark.’

Time Out’s Andrjez Lukowski (4★) told us ‘The performances are the big thing and here they’re acerbically funny and infinitesimally tender, something backed up by the low key humanity of Macdonald’s production.’

Adam Bloodworth in CityAM (4★) thought ‘Lucian Msamati and Whishaw bring freshness to the leads’. ‘It is thrilling to have the opportunity to study this incomparable and mercurial actor live once again,’ said Fiona Mountford in the i (4★) of Ben Wishaw.

Critics also praised the  other actors  The Independent’s Alice Saville (4★) said, ‘Jonathan Slinger is as suave as a circus ringleader in the role of enigmatic stranger Pozzo, his cruelties as precise as his pencil-thin moustachio, while as his abused servant Lucky, Tom Edden moves with the wild-eyed stiffness of Charlie Chaplin after a century-long speed bender.’

The Guardian’s Arifa Akbar (3★) was less impressed than the other critics: ‘James Macdonald’s production…seems greater parts comedy than tragedy…The comedy works in itself, and so do the dramatic moments, but the two seem slightly disconnected.’ She described’Rae Smith’s set…is a grey, razed landscape, rising up in the backdrop…It could be a post-apocalyptic landscape, a version of purgatory or the aftermath of war’ .

Critics’ Average Rating 3.9★

Value rating 46 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Waiting For Godot can be seen at the Theatre Royal Haymarket until 14 December 2024. Buy tickets direct here.

If you’ve seen Waiting For Godot at the Theatre Royal Haymarket, please add your review and rating below

Old Vic

Tom Stoppard’s classic play returns to the Old Vic and becomes the first critical hit of the autumn. The praise was not quite universal and some reviewers were less impressed by Stoppard’s clever script than others, but the quality of acting and Max Webster’s production carried the day for nearly all. The play within a play structure examines the meaning of love, and drama as a way of conveying it.

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

Time Out’s Andrzej Lukowski (4★) described the play as ‘a dazzlingly arch exploration of performative identity’. He said ‘Max Webster’s production is direct and accessible’ but is convinced, ‘this absolutely would not work without McArdle, whose combination of louche intellectualism, ebullient physicality and startling inner seriousness is just perfect – he plays the complicated role like some sort of esoteric string instrument.’

Nick Curtis in The Standard (4★) wrote, ‘It’s impossible not to be carried away by the brio of the whole thing, though: the way the plays-within-the-play inform mesh and overlap; the joyous relish of words; the potent, romantic yearning at the core for something pure. Here, a script is famously likened to a cricket bat, engineered to send the ball of an idea soaring without apparent effort. The Real Thing is such a play, and Webster and his cast play a blinder with it.’

The Guardian’s Arifa Akbar (4★) found it ‘Artfully directed by Max Webster, with wonderful long-shadowed lighting by Richard Howell and a poppy soundtrack, the drama’s artifice is playfully exposed, maybe even sent up’ ‘at this drama’s heart is a timeless study of passion and art that 40 years on remains…exquisitely intact.’

Dominic Maxwell in The Times (4★) proposed The Real Thing as ‘the greatest Stoppard, the one that best blends formal audacity with wondrous wit and, crucially, extraordinary emotional acuity. Yet it took me a while to succumb to Max Webster’s slightly skittish production, acted out, in Peter McKintosh’s design, in a rectangle of creamy furnishings amid a sea of royal blue.’ He ended, ‘The longer it goes on, the more this production finds a plangent tone where the witty, the wise and the wounded are forever colliding.’

Marian Swain for LondonTheatre (4★) praised the director and the stars: ‘Webster beautifully punctuates his production with pop music’… ‘McArdle finds an effective balance between making Henry a facetious, maddening hypocrite and a surprisingly vulnerable romantic’ … ‘the excellent Bel Powley adds depth and fire to Annie’. She concluded, ‘the passionate performances help to counter the charge that Stoppard is merely a “clever” writer. Listen to McArdle’s Henry confess his intimate truth that “knowing, being known” is the most exquisite joy of love, and you discover that the playwright’s much-vaunted articulacy is in service of a beating heart.’

Steve Dinneen for CityAM (4★) was enamoured: ‘sometimes it’s fun to simply watch a master expertly place one word before the next in an order that frequently takes your breath away.’

Sarah Hemming writing in the Financial Times (4★) lavished praise on all aspects of the production: ‘Stage managers become part of the action, rushing to rearrange Peter McKintosh’s handsome, electric-blue living room set, as if dressing a display in department store Heal’s. The top-drawer cast bring out both the pithiness and the pain of Stoppard’s script.’

Sarah Crompton at WhatsOnStage (4★) was just as captivated. It was, she said, ‘a sophisticated and enjoyable revival of a play that still, beneath its beautiful veneer of humour, has the heft to raise troubling and endlessly fascinating questions about the state of the human heart and how we describe it.’ She too paid tribute to its star: ‘At its heart is a sensational performance from James McArdle’.

The Observer‘s Susannah Clapp (3★) found it ‘A word-spinning, form-crunching demonstration of the way the real and the pretend spin around each other in the theatre’ and thought ‘James McArdle is compelling in oration and in his unravelling.’

The Telegraph’s Dominic Cavendish (3 ★) thought it was ‘Admirable and cleverly engaging, but not wholly loveable.’ He commented, ‘while Max Webster’s production delivers consummate style… its emotional substance is more uneven.’

Alice Saville for The Independent (3★) both liked and disliked the play: ‘there’s something resolutely unfashionable about its spectacle of adulterous middle-class couples being beastly to each other in beige living rooms. It’s Stoppard being his most brilliant, most infuriating self’. She was impressed by the lead actor: ‘James McArdle is fantastically eloquent in the central role of Henry’

Fiona Mountford for the i (3★) wasn’t keen, describing it as ‘a strongly cast revival of Tom Stoppard’s wordy but hollow 1982 rumination upon real life versus fiction, fidelity against infidelity. For all the play’s flaws, James McCardle and …Bel Powley are terrific in the leading roles.’ ‘On it goes, slick but arid and when it ends it’s a challenge to know what we’re meant to take away from it.’

Sam Marlowe for The Stage (3★) found much to admire but ‘None of it seems to matter very much. But clever? Of course.’

Gary Naylor at BroadwayWorld (2★) was not impressed at all: ‘the play I witnessed seemed barely worthy of praise, never mind the avalanche of plaudits that have come its way since its premiere 42 years ago and consequent to its many revivals since. Had I missed something? In pooh-poohing the assessments of so many fine judges, was I just being a bear of very little brain? Or had this soapy tale (albeit with longer words, but almost as much shouting) merely outlived its utility? Probably a bit of all three.’

Critics’ Average Rating 3.5★

Value rating 54 (Value rating is the Average Critic Rating divided by the typical ticket price.)

The Real Thing can be seen at the Old Vic Theatre until 26 October 2024. Click here to buy tickets direct from the Old Vic

If you’ve seen The Real Thing at the Old Vic, please add your review and rating below

Duke of York’s Theatre

Benedict Lombe‘s Shifters was a huge success from the fringe powerhouse that is the Bush Theatre and has now transferred to the West End.  It’s a love story told in flashbacks about two people in Britain, one with Nigerian and the other Congolese heritages. We see their first love and follow them through breakups and reconciliation as their careers burgeon. At the Duke of York’s, some of the audience are on stage to recreate the traverse feel of the Bush production. The critics were universal in their 4 star reviews.

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

Tom Wicker writing for The Stage (4★) was one of the few reviewers to attend the West End transfer. He handed out plaudits to the author and the cast: ‘Her brilliant ear for the cadence of their changing lives, including the darker notes, is energising.’ ‘It’s funny, grounded in authenticity and blessed with a pair of leads whose charisma pulls you effortlessly into its bittersweet tenderness.’ He expanded on his praise for the two leads: ‘Heather Agyepong and Tosin Cole, both returning from the original production, make every line sing: they’re hugely funny, but teetering on the edge of heartbreak.’

Fiona Mountford in the i (4★) thought ‘the skill of Lombe and the entire Shifters team (was) to wear tender profundity deceptively lightly.’

Other reviews are from its run at the Bush Theatre.

Nick Curtis in The Standard (4★) called it ‘a pretty-much perfect, bittersweet modern rom-com’. He said, ‘Director Lynette Linton draws achingly subtle, detailed performances from her two leads, which showcase the fine grain of Lombe’s writing.’ Frey Kwa Hawking at WhatsOnStage (4★) declared, ‘It’s a play unafraid to take its time, unfolding with careful tenderness Des and Dre’s drifting apart and coming back together, the feeling of ineffability to them, what happens when it seems to stutter.’

Donald Hutera writing for The Times (4★) was impressed by the two leads, ‘They embody two unpretentiously articulate, passionate, complicated and vulnerable people ineluctably drawn towards each other even when they appear to be most in opposition. Des and Dre’s romance unfolds in a splintered fashion that nevertheless feels satisfying, believable and whole.‘ He ended, ‘Lombe’s touching, emotionally intelligent and contemporary black British love story is itself easy to fall in love with.‘

The Guardian’s Arifa Akbar (4★) said it had ‘real heart, soul and the everyday tragedy of long-lost first loves.’ She observed, ‘Directed by Lynette Linton, the pace at first feels meditative, and this allows the romance to fire up from its depths.’ Anya Ryan for Time Out (4★) said, ‘Lombe is a beautiful, nuanced and soulful writer and this is a romance overflowing with heart.’ She noted, ‘Alex Berry’s set is largely bare but decorated with luminous strip lights that look like lightning bolts and flash in different colours to show a change in the timeline. Standing among them, the actors look like they are part of something astronomical.’

Abbie Grundy for BroadwayWorld (4★) thought ‘Shifters is strongest at its most comedic. It’s here where the audiences fall in love with the characters.‘ and went on to say, ‘Shifters is a poignant piece of theatre. It’s the kind of love story you cannot help but root for and the soul connection many crave, elevated by sharp direction from Lynette Linton and undeniable chemistry from the performers.’ Aleks Sierz, taking a seat at TheArts Desk (4 ), said it was ‘exquisitely written and beautifully acted’.

Kirsten Grant, reviewing for the Telegraph (4★), said, ‘Lombe’s writing, suffused with wit and warmth, is exquisitely poetic at times. She’s at her best in those early scenes where the sharp, quick-fire verbal jousting between Cole’s Dre and Agyepong’s Des fizzes and snaps while revealing something deeper bubbling underneath.’ She was slightly more reserved than some in her praise: ‘At the heart of this drama is the connection between the two leads, at once electric and sweetly endearing. It’s a promising work from an up-and-comer still honing her craft.’

In The Stage‘s (4★) review of the Bush presentation, Holly O’Mahoney said, ‘Lombe delivers a tender, cosmic and cleverly unpredictable love story that will leave you wishing for a sequel.’

Critics’ Average Rating 4.0★

Value rating 62 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Shifters can be seen at the Duke of York’s Theatre until 12 October 2024. Click here to buy tickets from the theatre

If you’ve seen Shifters at the Bush Theatre or the Duke of York’s, please add your review and rating below

 

Almeida / Harold Pinter Theatre

The Years, based on Annie Ernaux’s semi-autobiographical book Les Années, features Deborah Findlay, Romola Garai, Gina McKee,  Anjli Mohindra and Harmony Rose-Bremner playing the same character at five different stages of her life, as well as the other people they encounter. The play is adapted and directed by Eline Arbo. Sex, like a river, runs through a play that includes much humour and a harrowing abortion scene. The critics were generally impressed by the acting and the way the story was told, but some dissenting reviewers found it didn’t take off. The original Almeida production with the same cast transferred to the Harold Pinter Theatre on 24 January 2025. Reviews of the original 2024 production at The Almeida are below the more recent West End reviews.

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

Georgia Luckhurst for The Stage (5★) described it as ‘a delicate, trance-like voyage through a life that quietly assures its audience that the history of the 20th century is the history of women’s liberation.’ She said, ‘Each actor brings a unique quality to the table: Mohindra is curious and watchful, and Rose-Bremner joyfully spirited. Garai embodies defiance, with Findlay restoring a sense of equanimity. McKee, meanwhile, seems to charge the audience, as she embarks on an electrifying bender through the troughs and peaks of desire, grief, hilarity and hysteria.’

Calling it ‘a triumph’, LondonTheatre‘s Olivia Rook (5★) explained, ‘Womanhood in all its many forms is laid bare on a sparse stage, which rightly steals none of the attention from the drama’s five accomplished actors’.

‘Brilliantly conceived, consummately choreographed and beautifully acted by its all-women cast, it is a bravura, and joyous feat of storytelling,’ reported Demetrios Matheou on TheArtsDesk (5★). Greg Stewart’s review for Theatre Weekly (5★) concluded: ‘this is a play that is both beautiful and wondrous: a story that feels intimately personal yet universally resonant. By the final click of the imagined camera, the play achieves what all great memoirs aspire to—it becomes not just a record of one life, but a mirror held to our own’

The Telegraph‘s Dominic Cavendish (4★) pointed out,’ there’s a brisk levity to the shared narration that risks creating a distance’. But, as the play progressed, he found, ‘We’ve moved from something theatrically efficient and useful to something exquisitely mysterious, like life itself.’

Despite saying ‘the storyline itself is surprisingly wooden at times’, The Times’ Clive Davis (4★) declared ‘it’s an acting masterclass.’

‘The West End is awash with adaptations but here is one which stands head and shoulders above the rest,’ declared Alexander Cohen in  BroadwayWorld (4★). ‘Each (actor) brings a unique freshness, organic mannerisms that glimmer from within. But together they form a glowing ensemble, one that stretches the play’s muscles into each corner of the space.’

Reviews from The Almeida run

Holly O’Mahony in The Stage (5★) described it as ‘an exploration of womanhood that is as riveting as it is reflective, passionate yet void of sentimentality, and rebelliously sexual from start to finish. It is simultaneously a personal story, a generational one and universal in its depictions of the female experience.’ She said, ‘It’s a woman in her own words, unfiltered, impassioned and sincere.’

The Guardian‘s Arifa Akbar (5★) extolled its many virtues: ‘Wit and whimsy sits alongside darkness and you feel the protagonist’s blackest moments keenly but there is sisterliness, too, as other versions of the woman acknowledge the trauma of the moment’ and ‘While this woman’s life is full of compromise, it is in no way a disappointment. Sexual expression and joy become key across the ages and it is joyous in itself to see this enacted so uninhibitedly on stage.’ She concluded, ‘you feel the passage of time, both in this protagonist’s life and your own. It leaves theoretical questions around history, memory and love in the mind, long after its end. There is so much emotional depth, surprise and theatrical virtuosity here that it holds you rapt across the ages. What an accomplishment.’

Isobel Lewis for The Independent (5★) said, ‘a tapestry of history is weaved, constructing the full, extraordinary image of a life that is, in many ways, totally ordinary. The play captures these contradictions, finding laughter in tragedy and devastating detail in mundanity. It moved me in ways theatre often tries to but rarely achieves.’

Fiona Mountford at the i (5★) told how ‘The five performers mesh together mesmerically; they are all Annie, as Annie, like everyone, is a permanent palimpsest of memories. These superlative two hours make us reflect profoundly upon our own position in, and transition through, this procession of photographs, memories and life stages.’

‘I shall remember The Years for many a theatre season to come,’ declared Matt Wolf for TheArtsDesk (5★). He described how ‘We sense her adolescent awakening, sex and sexual desire a leitmotif throughout, and the way in which age confers wisdom and enlightenment alongside a bewilderment at a younger generation whose shared lexicon may not be available to their elders.’

The Observer‘s Susannah Clapp (5★) was impressed that the production ‘gives new life to the uneasy relationship between page and stage, showing that adaptation can be not simply piggybacking but revelation. Arbo’s reimagining…cleaves open an important piece of literature and makes its significance glow.’ About the cast, she said, ‘these actors make everything count.’

‘With minor reservations, I absolutely loved this,’ said Nick Curtis in the Standard (4★). He expanded, ‘Findlay may be less well known outside theatre circles (despite a strong screen career), but her presence is a guarantee of quality. McKee’s blend of nuance and swagger here made me think she should be the next Doctor Who. Garai is commandingly brilliant. Mohindra and Rose-Bremner are bold and charming. A winner.’ His reservation? ‘It’s yet another play where a writer bangs on about writing and showcases their own impeccable cultural taste’.

Time Out‘s Andrjez Lukowski (4★) thought it was ‘a playful couple of hours, fluidly directed by Albo. There are harrowing moments but it’s also full of humour and humorous interplay.’ He said, ‘the performers are charismatic, fierce, playful’, and observed, ‘none of what we’re seeing is really ‘the past’, ‘the future’ or ‘now’; it’s a human life, which includes all these events equally.’

Dominic Maxwell in The Times (4★) wrote, ‘The longer it goes on, the more joyous it feels, even as it looks decay and obsolescence in the face. Other characters are deliberately sketchy. You leave, though, understanding this woman’s place in the world — and by extension your own — in a new way. It’s a real eye-opener.’

Patrick Marmion in the Mail (4★) was complimentary: ‘Between them, the five women create a frank, unsettling and thoughtful performance that might best be described as a game of cherchez la femme.’

Alun Hood for WhatsOnStage (3★) had mixed feelings about it: ‘I found myself torn between being moved by its female driven authenticity and the consistent vision of one woman navigating seismic times, then utterly frustrated by its elliptical nature. It’s certainly not a good play by any traditional standards, but it has a haunting insistence that can’t be written off.’ He described it as ‘a bewildering mixed bag as a piece of theatre, but it’s strangely magnificent. It’s tremendously self-indulgent, sometimes clumsily staged… but it’s also gamely, sometimes stunningly, performed and full of roaring life.’

Dzifa Benson writing for the Telegraph (3★) found ‘(Arbo’s) reverence for her source material hampers its execution on stage; she doesn’t quite manage to slough off its limitations, which prevents the play from becoming a truly adventurous take on Ernaux’s work. In this production, it’s the acting that saves the day.’

Gary Naylor in BroadwayWorld (3★) was blunter, calling the story ‘a middle class life, one insulated from poverty by money and education, one blessed with friends and family and achievement, but also presented as unfulfilled, paralysed by ennui and hobbled by unsatisfactory men,’ but acknowledged that if you put that aside you might find it ‘a moving and thought-provoking two hours’.

Critics’ Average Rating 4.4★

Value rating 50 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Years can be seen at the Harold Pinter Theatre from 24 January until 24 April 2025.  Buy tickets direct from the theatre.

Read Paul Seven Lewis’s review of The Years here or watch it on YouTube

If you’ve seen The Years at the Harold Pinter or the Almeida Theatre, please add your review and rating below