London Palladium

Jerry Herman‘s 1964 musical about a matchmaker in late 19th century New York is given a lavish revival by Dominic Cooke, with an all-conquering Imelda Staunton in the title role. The critics lavished praise on every aspect of the production but saved the highest marks for Ms Staunton.

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

Fiona Mountford in the i (5) said, ‘The Palladium stage is cavernous, but the diminutive Staunton commands it utterly’. She declared, ‘It is delightful to be able to say that right here is a landmark theatrical production that will be talked about for years to come.’ Aliya Al-Hassan at Broadway World (5) echoed the thought, ‘An immaculate Staunton is the heart of this production, but there is so much to enjoy about this truly joyful show. It will be spoken of in years to come’.

Marianka Swain for LondonTheatre (5★) called it ‘the show of the year’. She explained, ‘Every element is pitch-perfect, from Rae Smith’s delectable costumes…to Bill Deamer’s dreamy choreography…It’s like a Golden Age MGM movie come to life.’ ‘“My heart is about to burst,” the chorus sings. Same here’, said The Guardian’s Arifa Akbar (5). She explained, ‘this production casts a magic spell. Dominic Cooke’s production is immaculately performed and slowly, beautifully life-affirming, with humour that reins in the schmaltz.’

Sarah Hemming in the Financial Times (5) said, ‘Staunton brings her own blend of splinter-sharp comic timing and emotional depth to the part’. She was impressed that director Dominic Cooke ‘throws everything at it the vast Palladium stage can handle, relishing the chance to savour musical comedy at its bonkers best’. If that wasn’t enough, ‘Cooke and his cast find rich emotional truths and salient points in the story’.

Nick Curtis at the Standard (4) described Imelda Staunton as ‘the driving force of Dominic Cooke’s sumptuous, effervescent production, even bringing a note of pathos to the story’s wry wit and knockabout daftness.’ Neil Norman in the Express (4) declared that Imelda Staunton brings ‘light and shade to Dolly that only a serious actor at the top of her game could achieve.’ Patrick Marmion in the Daily Mail (4★) claimed, ‘Staunton has the musical wattage of a nuclear power station.’

The Independent’s Alice Saville (4) described the production as  ‘a lean mean entertainment machine’ and praised ‘Bill Deamer’s appropriately high-spirited choreography’. Holly O’Mahony in The Stage (4★) described it as ‘Sparkling with joie de vivre and running on a boisterous charm that prevents this safe but loveable production becoming overly sentimental’. Caroline McGinn reviewing for Time Out (4★) called it ‘a terrific old-fashioned show’.

Dominic Cavendish in the Telegraph (4) loved Imelda Staunton’s performance: ‘The way this actress can expand to fill a space even while standing still, can have you hanging on the smallest look, whether expressive of beaming mischief, beady assertion or quiet vulnerability, and can raise the roof without breaking into a sweat, reaffirms her as one of British theatre’s greats‘ However, ‘the show itself is like a parade, a succession of scenes that don’t dig very deep’.

Critics’ Average Rating 4.4★

Value rating 49 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Hello,Dolly! can be seen at the London Palladium until 14 September 2024. Click here to buy tickets directly from the theatre

If you’ve seen Hello, Dolly! at the London Palladium, please add your review and rating below

Noel Coward Theatre

Jeremy O. Harris’ Broadway success arrives with a much-publicised warning: “Is London Ready for Slave Play?” Despite the use of sex as a way of exploring race and the legacy of slavery, it would seem from the reviews that the answer is ‘yes’. Although there are many references to the shocking content (including a naked Kit Harington), the critics themselves seem unshocked. While acknowledging flaws in the underwritten characters or overwritten satire, they generally praised this confrontational drama. The cast impressed them too, particularly Olivia Washington and Mr Harington. But the applause was not universal, as the two 2-star reviews show.

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

Sarah Hemming in the Financial Times (4) said it was a ‘rollercoaster of emotions that this blistering, painful and provocative drama involves’ She described ‘A tough, troubling, revealing play: proof again that the stage has become an excellent place to grapple, collectively, with our fraught and freighted times and to help us listen better to our own responses.’ Alice Saville in The Independent (4) found the play ‘multi-layered and deft’, saying, ‘Harris’s play is full of a sharp satirical intelligence’.

Nick Curtis in the Standard (4★) called it ‘challenging in the best way. It uses sex and therapy as metaphors for society’s wider inability to talk honestly about race and touches on the desensitisation of modern life.’ He said, ‘Harris’s ear for dialogue, and his ability to stoke tension and wrong-foot the audience are terrific. He’s not so hot on character.’ Sam Marlowe in The Stage (4★) found, ‘it is grotesquely funny and extremely disturbing, stunningly visceral yet punishingly verbose, brilliantly clever but at times dramatically frustrating.’ It ‘flings us between shock, hilarity and horror,’ she said. However, ‘the play feels overlong, and’ (agreeing with Nick Curtis above) ‘the sense of the characters as fully developed individuals is fitful’.

The Guardian’s Arifa Akbar (4) decided ‘the play is too clever for its own good, throwing the subject matter in the air without quite landing it, and is an intense experience, in spite of its romping humour and trotting pace.’ She concluded positively, ‘It might be flawed but it is charismatic, needling theatre. An event.’ Neil Norman in the Express (4★) was also ambivalent: ‘It’s funny, clever and undoubtedly challenging, though neither as outrageous nor profound as it would like to be.’

Dominic Cavendish in the Telegraph (3) was another with mixed feelings: ‘The mood tips between the satirical and the earnest; the dialogue oscillates between groping babble and blinding revelation.’ Ke Meng at Theatre Weekly (3★) was disappointed: ‘Unfortunately, rather than being genuinely provocative, Robert O’Hara’s direction steers the show in a more comedic and funny manner—even in the erotic scenes.’ She also found the acting ‘a bit hammed’. Susannah Clapp in The Observer (3★) thought it was a bit obvious: ‘The discussions are so laden, so evident, that they drag down the drama.’

Dominic Maxwell in The Times (2★) said, ‘it boasts some acute moments and fine performances…(yet it) comes across as the sort of ideas-led piece that would stimulate over an hour but has instead unwisely swollen to two hours.’ Tomiwa Owolade reviewing for the Sunday Times (2★) decided ‘it is not provocative or daring’ and thought most people ‘will find the play occasionally amusing, but mostly tedious.’

Alexander Cohen at Broadway World (2★) cautioned, ‘What it considers outrageous, here in London in 2024, doesn’t feel all that shocking’ before going on to describe some of the content in shocking detail. The play was, he said, ‘too obsessed with conceptual naval gazing to the extent that it forgets that its characters are human beings.’ (I assume that’s a typo unless the play really is looking at maritime activities.) He decided, ‘it’s a structureless whirlwind of serious and silly’.

Critics’ Average Rating 3.4★

Value rating 38 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Slave Play can be seen at the Noel Coward Theatre until 21 September 2024. Click here to buy tickets directly from the theatre

Read Paul Seven Lewis’s review of Slave Play here.

Click here to watch Paul’s review of Slave Play on the YouTube channel Theatre Reviews With Paul Seven

If you’ve seen Slave Play at the Noel Coward, please add your review and rating below

Donmar Warehouse

Four Detroit workers’ lives are devastated by redundancy in Dominique Morriseau’s 2016 play. Matthew Xia directs a UK premiere that was generally liked by the critics.

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

Sarah Hemming in The Financial Times (5★) described it as a ‘funny, humane, deeply moving drama’.

Over at The Stage  (4★) Dave Fargnoli called it a ‘powerful and humane drama’. The Guardian‘s Arifa Akbar (4★) said ‘The production itself thrums with life’. Sarah Crompton at WhatsOnStage (4★) talked of ‘the power and compassion of its analysis of the weight that unfettered pursuit of profit puts on the lives of ordinary men and women.’

Nick Curtis in the Standard (4★) talked of ‘a beautifully-observed, well-made comedy drama about hardscrabble existence, and Matthew Xia directs a fine cast with laid-back assurance.’ Alexander Cohen at BroadwayWorld (4★) called it ‘a pummelling emotional workout’. Helen Hawkins writing The Arts Desk (4★) commented, ‘Matthew Xia’s intelligent direction gets the best from the text and this fine cast.’

Lindsay Johns writing for the Telegraph (4★) said the ‘muscular, edgy dialogue…is shot through with tenderness, warmth and psychological veracity’. John Cutler at The Reviews Hub (4★) noted, ‘Absent much of a storyline, the piece works most effectively as a nuanced and finely crafted look at the dynamics of a found family, and at working class lives lived under the constant pressure of unwanted change.’

Dominic Maxwell in The Times (3★) said, ‘Skeleton Crew is full of bright exchanges about the characters’ grim forebodings. It’s a show that sets out to simmer more than come to the boil.’

Matt Wolf at London Theatre (3★) said, ‘even if Skeleton Crew sometimes dawdles when it might otherwise detonate, an exemplary cast foregrounds the need for dignity and compassion’.

Andrzej Lukowski in Time Out (assumed 3★) felt it compared unfavourably with the work of Lynn Nottage on similar themes but nevertheless ‘What Morriseau does extremely well is bring together four well-rounded characters (and) show their lives through the prism of work.’

Critics’ Average Rating 3.8★

Value rating 69 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Skeleton Crew can be seen at the Donmar Warehouse until 24 August 2024. Buy tickets directly from the Donmar

If you’ve seen Skeleton Crew at the Donmar, please add your review and rating below

Harold Pinter Theatre

A Japanese manga comic which became anime TV series has reached London theatre as a musical. It’s the story of a traumatised young  pianist and a love that may save him. Huge praise for the young stars, Zheng Xi Yong and Mia Kobayashi, is offset by disappointment, mockery even, for many other aspects of the production  The American music by Frank Wildhorn received a mixed reception. Reviews are trickling in slowly so do come back for an update.

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

Gary Naylor in Broadway World (5★) offered this advice (which plenty of reviewers didn’t take): ‘Fold your arms and harumph and you’ll miss the point; get dizzy recalling that first flush of adolescent desire and the agony of its not being reciprocated, and you’re in.’ He thought ‘the songs are plenty good enough to stand on their own two feet.’ He declared, ‘Mia Kobayashi…radiates superstar power.’

For Marianka Swain at LondonTheatre (4★) it ‘has a knocks-you-flat emotional force that you cannot resist. It will absolutely make you cry.’ The songs were key for her: ‘Each one of these sensationally catchy pop-rock anthems has a disarming sincere directness‘. It was, she concluded, an ‘impassioned, uplifting and deeply moving musical’

The Guardian’s Arifa Akbar (3★) listed all reasons she didn’t like it. The book? ‘full of cheesy cliches.’ The characters? ‘Americanised and schematic.’ The plot? ‘overdramatic, underexplained’. The design? ‘mystifying, with a thrown-together look.’ Fortunately, ‘the songs, along with spirited performances, become the show’s saving grace.’ Paul Vale for The Stage (3★) also liked the music: ‘this is Wildhorn’s best score of recent years, capturing both the spirit of manga and the power of music to restore the soul.’

Dzifa Benson writing for the Telegraph (3★) had a negative view of the music ‘let down by Frank Wildhorn’s generic show-tunes,’ but thought ‘All the performances…are spot on’.

‘Buyer beware,’ said Dominic Maxwell in The Times (3★), ‘it’s a cheesefest from start to finish. What can I say, though? Sometimes a platter of cheese is just what you fancy.’

The ‘show is overpowered by the crashing clichés of its story and the clunky Americanisms of Rinne B Groff’s English version,’ said Tom Wicker reviewing for Time Out (3★ assumed). He pointed out, ‘you’re in trouble with a musical when the songs are straining so hard to be inspirational that a plot-device bike ride gets as rousing an anthem as a character’s death.’

Nick Curtis in The Standard (2★) hated it, and he didn’t pull his punches: ‘this emotionally overwrought Japanese musical…strikes me as absurd…it’s glib, mawkish and riddled with clichés.’ As for the music, ‘Frank Wildhorn’s score is dominated by gushy, eyes-aloft, mouth-agape anthems’. Here’s his knockout blow: ‘Anger, grief and anxiety are turned up to 11 for the most OTT songs before the tone slips back to the gurgling, simpering comedy of a teen sitcom.’

Critics’ Average Rating 3.3★

Value rating 44 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Your Lie in April can be seen at the Harold Pinter Theatre until 21 September 2024. Buy tickets directly from yourlieinapril.co.uk

If you’ve seen Your Lie in April at the Harold Pinter, please add your review and rating below

Olivier, National Theatre

First performed in 1999, Complicité’s legendary experimental work Mnemonic has been revived, with some updating. The stories of a woman searching across Europe and the discovery of a 5000-year-old man preserved in ice are the main strands in an exploration of memory, human migration and identity. It is directed by Simon McBurney, Complicité’s founder and Artistic Director. A high number of five and four star reviews for its dazzling theatricality were offset slightly by those from critics who thought it seemed old hat.

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

Sarah Hemming writing for the Financial Times  (5★) proclaimed it as ‘a profound celebration of the nature of theatre: the collective act of imagination that allows us to collaborate in bringing the past to life…witty, elusive, intensely beautiful and humane.’ Dave Fargnoli in The Stage (5★) ‘Sequences blend fluidly together, with echoing dialogue and recurring gestures carrying through from one scene to the next, creating an aural and visual collage of overlapping content. Understated yet precise physical work offers striking imagery, while plenty of humour keeps the energy up’.

Time Out’s Andrzej Lukowski (5★) talked of ‘brain melting experimental odysseys that’ll rewire your cerebellum’ ‘it builds into something luminous and huge and almost beyond comprehension. Its last few minutes feel like staring overwhelmed at the secrets of creation.’ Dominic Maxwell at The Times  (5★) was also bowled over: ‘Scenes, lines and set pieces slip into one another with invigorating speed. Big ideas keep coming, but so do good jokes. No time to get bored.’ He ended with this recommendation, ‘So, still a masterpiece. If you love theatre, see it. If you don’t love theatre, it might just change your mind.’

The Standard’s Nick Curtis (4★) discovered ‘a teeming, fecund representation of McBurney’s ability to make giant associative leaps while drilling down into what makes us human. It’s beautifully performed’. Alex Wood at WhatsOnStage  (4★) said the show ‘has a vast, continental sweep that makes it an enthralling proposition for the audience.’ It made an impression too on Nick Ferris at the Telegraph (4★): ‘this remains unique experimental theatre, which will linger in the mind long after its conclusion.’

The Observer’s (3 ★) Susannah Clapp compared this production with the original. She said, ‘the qualities with which Complicité has for ever altered the stage are apparent throughout’  However, ‘this reincarnation is more deliberate, more didactic, more confusing than the original.’

The Guardian’s Arifa Akbar (3 ★) felt shortchanged: ‘with all these exquisite parts, the production does not quite deliver on a promise of profundity in tying them together’. She commented, ‘the show does not feel as much of a revolution of ideas and stagecraft as it did in 1999’. Fiona Mountford at i-news (3 ★) made the same point: ‘what previously appeared so ground-breaking has lost a little of its novelty and lustre since’.

Alexander Cohen at Broadway World (2★) was more blunt: ‘Perhaps in 1999 its dreamlike dizziness was revolutionary. In 2024 it feels too predictable to truly dazzle.’

Critics’ Average Rating 4.0★

Value rating 81 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Mnemonic can be seen at the National Theatre until 10 August 2024. Click here to buy tickets direct from the National Theatre

If you’ve seen mnemonic at the National Theatre, please add your review and rating below

Troubadour Wembley Park Theatre, London

Andrew Lloyd Webber’s Starlight Express is back, and this time it’s a new production in The Troubadour, a warehouse-like venue that has been transformed into an immersive space. It’s the tale of a children’s train set come to life, and underdog Rusty being inspired to win a race with other engines. It may sound like a children’s show but the lively songs and roller skating cast provide plenty of adults to enjoy. Most, but not all, reviewers liked it, some loved it. It was generally agreed to be a spectacular production.

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

Dominic Cavendish in the Telegraph (5★) was so knocked out by this production, he saw stars, five of them. It’s a ‘head-spinning wonderland’, ‘jaw-dropping’, ‘part theme-park ride, part theatrical revolution’, he enthused, with ‘much magic and life-affirming meaning’. He ended, ‘The energy and bravura of it all are frankly out of this world.’

Paul Vale for The Stage (5★) also gave full marks: ‘(Tim) Hatley’s design is a fusion of industrial brutalism and disco chic, with a racetrack that weaves around the auditorium with ramps, tunnels and a revolve. Gabriella Slade’s sculpted costumes are a meticulously constructed mix of colourful body armour and Lycra that reflect each character.’

The Daily Mail‘s Patrick Marmion (4★) proclaimed, ‘This eyeball-scorching, ear-blasting revival of Andrew Lloyd Webber’s train-racing musical-on-roller-skates is an audio-visual blitzkrieg, the like of which I’ve never seen before.’ Arifa Akbar in The Guardian (4★) was impressed: ‘tailor-made for the Troubadour’s massive auditorium, it erupts like a Vesuvius of light, sound, projection and dry ice under the direction of Luke Sheppard’. The songs, she said, ‘are masterfully sung all round, alongside the athletic feats of the cast.’

The Independent‘s Tim Bano (4★) confessed, ‘It’s more spectacle than sense, an extraordinary creative onslaught, with songs about steam engines cranked out at max volume, all designed to delight your inner child – which it really does.’ He expanded, ‘Everything about it is maximalist. Tim Hatley’s set has ramps and revolves and sliding doors, costumes by Gabriella Slade turn humans into Transformers/Power Rangers/living cartoon things.’

‘Starlight Express is possibly one of the world’s most bizarre musicals,’ declares Aliya Al-Hassan at Broadway World (4★). Nevertheless, ‘The auditorium itself feels like being thrown into the middle of an arcade game’ and she concludes, ‘As a theatrical experience, this will make a life-long impression on many young theatre-goers’.

Marianka Swain for LondonTheatre (4★) sounded like she needed to breathe into a paper bag: ‘the actors playing trains whizzed right past me on roller skates at heart-pounding speeds. But that’s just the beginning of this mind-blowing state-of-the-art experience.’ She continued, ‘This tech-wizard production also boasts the biggest lighting rig I’ve ever seen in theatre, and a phenomenal display from Howard Hudson’ and concluded, ‘It’s an awe-inspiring stadium gig-meets-theme park ride of a show’.

The Times’ Clive Davis (4★) thought it was a great show for children: ‘The director Luke Sheppard moves things along at a gallop.’

Time Out’s Andrzej Lukowski (3 ★) admitted, it’s ‘a lot of fun and has no aspirations to be anything other than exactly what it is.’ ‘It is technically dazzling,’ he added. Dominic Maxwell in the Sunday Times (3 ★) summed up: ‘mostly catchy songs, a crack cast, choreography and design let the trains take the strain of anything so tedious as rational thought.’

There’s always someone who’ll throw leaves on the line, and on this occasion it’s Fiona Mountford at the i (2★) Among the many things she disliked was the way ‘Large video screens pump out irredeemably naff 80s-style graphics’. She was left in the sidings by the production: ‘this slick but soulless show left me none the wiser’

Critics’ Average Rating 3.9★

Value rating 38 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Starlight Express is at the Troubadour Wembley Park Theatre until June 2025. Click here to buy tickets direct from Troubadour Theatres

If you’ve seen Starlight Express at the Troubadour, please add your review and rating below