Duke of York’s Theatre

Lily Collins, star of the Netflix hit Emily In Paris, makes her stage debut in a twisty story of a drunken encounter between a naive young American woman and a older cultured European played by Alvaro Morte. The stars involved were given a pass by the critics but many failed Bess Wohl‘s play which was seen as contrived. Ms Collins’ debut was well received. Despite two high-scores, the four two star reviews brought the average rating down to one of the worst this year.

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

Fiona Mountford in i-news (5★) was in no doubt about its quality: ‘These are among the best 90 minutes of theatre I have seen all year’. She continued, ‘Barcelona works splendidly because every element is akin to peeling the layers of a very large onion. Frankie Bradshaw’s design, chic and bijou on the surface, begins to offer unsettling clues the longer we study it. Director Lynette Linton is at the top of her game’. She praised the star of Emily In Paris: ‘This is a remarkable stage debut from Collins, conveying a fascinating blend of interlayered weakness and strength.’

Sarah Crompton from WhatsOnStage (4★) also liked it: ‘It’s a strangely old-fashioned concoction, not at all earth-shattering or ground-breaking, not always as truthful as it wants to be, or as revelatory as it hopes, yet always engrossing and warm-hearted. A gentle pleasure.’ Referring to the stars, she said, ‘Both have real charisma’.

The Telegraph‘s Claire Allfree (3★) described it as ‘both flimsy and dated and predominately a vehicle for Lily Collins’. However the vehicle carried the star through the evening: ‘Collins really is good as Irene, radiating effervescent naivety and as giddy as a pony while finding the vulnerability in a sheltered 35-year-old who has never found the strength to challenge her own life choices.’ Olivia Rook at LondonTheatre (3★) commented, ‘Wohl’s play truly sings when she hits us with some big revelations and these two strangers are shown not to be so dissimilar after all’.

Although Sarah Hemming in the Financial Times (3★)said, ‘this feels like a curiously flimsy affair’, she did praise the leads: ‘The performances  are compelling… Collins, in her stage debut, is a mercurial figure, zigzagging about like a butterfly, both physically and emotionally.’ Despite describing The Standard‘s Nick Curtis (3★) described Lily Collins as ‘sensational’ and praised her ‘presence and timing’. But he was disappointed to find her and her co-star ‘stuck in a phony emotional rollercoaster’.

The Guardian‘s Arifa Akbar (2★) gave the leads lukewarm praise: ‘While the performances are agreeable, it is hard to invest in either character’ and more generally ‘Given the considerable creative talent involved, this is a curiously flat affair’.  She came down hard on the director: ‘in Lynette Linton’s production neither the suspense nor the humour hit home, the mix often more awkward than unsettling.’ She concluded it was ‘a production that carries its own what-might-have-been disappointment’.

In The Stage (2★), an exasperated Tom Wicker declared, ‘this is an infuriating play. It’s packed with plot contrivances that see it spinning its wheels to audience patience-testing effect, in service of a final-act reveal.’

Annabel Nugent at The Independent (2★) was scathing, ‘The play’s themes of suicide and grief are tried-and-true shortcuts to the heartstrings. And yet here, it never quite locates them. Moments intended as gut punches land with a feather-light touch; monologues are heavy in exposition but lacking in the requisite emotional scaffolding to support them.’

Clive Davis from The Times (2★) kept up his record as the most frequent dispenser of 2 star reviews. Saying the play ‘seems suspended in a land of make-believe’, he went on to comment, ‘this late-night encounter between two strangers is so schematic that its musings on life, death and love seldom ring true.’ The Observer’s Susannah Clapp (2★) was dismissive: ‘the range of feeling remains small: from giggle to whimper.’

No star rating was attached to the review by Time Out’s Andrjez Lukowksi. Given his comments, this may not be an oversight: ‘Really it’s just not good enough – everyone here has the capacity to make work better than Barcelona, so exactly why they’ve settled on a formulaic two-hander that doesn’t even feel written for a British audience is beyond me.’

Critics’ Average Rating 2.6★

Value Rating 27 (Value rating is the Average Critic Rating divided by the typical ticket price)

Barcelona is at the Duke of York’s Theatre, London, until 11 January 2025.  Buy tickets directly

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

Noel Coward Theatre

Steve Coogan triumphed as four different characters but for many critics, the show didn’t quite take off. Although acknowledged as funny, the script by Armando Iannucci and Sean Foley was criticised by some for being lightweight and timid. The large-scale show is  based on Stanley Kubrick’s 1984 satirical film about war-hungry Americans on the brink of nuclear war. Inevitably many of the critics referred to the beloved original in detail and were disappointed that the stage version was different to the original film.

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

Broadway World’s Gary Naylor (5★) praised the adaptors for their decision not to update the story but rather ‘to recreate the movie on stage. That may be a safer creative choice… but the raw material is so very strong that its power is barely diminished 60 years on.’ He underestimated his fellow critics’ capacity to find fault when he said this choice will offer ‘fewer opportunities for disappointed diehard fans to kvetch or identify the instances when the jokes were not as good’. He was in awe of the star: ‘Coogan’s energy is astonishing … he draws on every element of his comic heritage from voices, to pratfalls, to character work, to farce’. He pointed out, ‘There’s wonderful work wherever you look on stage. Giles Terera holds General Turgidson’s bloodlust in check just sufficiently to avoid toppling into caricature, his eyes worth the ticket price alone (some of it at least).’

Marianka Swain reviewing for London Theatre (4★) found the show ‘explosively funny’. She appreciated ‘the tone of Foley’s assured production, which easily flips between Airplane!-style genre-busting farce and alarmingly resonant commentary on humanity’s reckless self-destructiveness.’ Of Steve Coogan, she said, ‘the real treat is his white-haired, wildly camp, extravagantly accented former-Nazi scientist Dr Strangelove…It’s absolutely hysterical.’

Neil Norman in the Express (4★) declared, ‘Sean Foley maintains the tension and the comedy throughout with remarkable nimbleness’. He praised Hildegard Bechtler’s design: ‘Best of all, the arrival of a B-52 bomber that noses its way onto the stage against a video backdrop of clouds is genuinely impressive.’   ‘But,’ he concluded, ‘it’s Coogan’s triumph’.

The Stage’s Dave Fargnoli (4★)was impressed: ‘Iannucci and Foley retain the film’s subversive spirit, but downplay its nihilism, juxtaposing gloriously silly punchlines with a building sense of unease’. As for the star: ‘Coogan displays boundless energy and impeccable comic timing.’ He also praised ‘Hildegard Bechtler’s unfussy, impactful sets’ and ‘Giles Terera channels a fascinatingly chaotic energy’.

Alice Saville in The Independent (3★) thought it was ‘a lovable but overly reverential approach to a film classic’. Despite criticising the production’s timidity, she found the humour ‘evergreen, prickling with ingenious wordplay and sickly surrealism’.

Sarah Crompton at WhatsOnStage (3★) also found it timid: ‘It’s entertaining but never quite as savage as you expect.’ She found ‘there’s something strangely effortful about this adaptation’. However, ‘It’s hard to fault either the comic virtuosity of Steve Coogan’ and ‘Foley’s direction keeps up the hysterical pace’.

Andrzej Lukowski in Time Out (3★) found, ‘For the most part it’s funny because it’s very cognisant of why the film was funny – the dialogue is relentlessly amusing, and the characters are a dream.’ He continued, ‘it’s a slick stage tribute to a beloved 70-year-old movie that captures the reasons why it was a hit but less so the reasons why it’s a masterpiece.’

The Guardian’s Arifa Akbar (3★) was moderately enthusiastic: ‘if this show is anything, it is fun. And Coogan fans most certainly get bang for their buck.’

The Times’ Clive Davis (3★) called the production ‘stolid’  and ‘a decent star vehicle for Steve Coogan’. For Rachel Halliburton at The Arts Desk (3★) ‘the humour doesn’t always detonate in the way it should’.

Sarah Hemming in the Financial Times (3★) felt ‘the satire doesn’t bite as it might and the comedy sometimes feels rather effortful, as if the company felt the need to push it’. She wondered if ‘a slightly more maverick, shoestring approach — something along the lines of Operation Mincemeat — might have given the staging a little more sting.’

One of the most damning reviews came from the Telegraph’s Claire Allfree (2★). She found it ‘trapped between the film’s formidable legacy and an inability to recreate it anew theatrically.’ She said it ‘serves up a knockabout production marked by a contrasting refusal to take its subject seriously. With Coogan on full power, this is not necessarily always a problem.’ She specified, ‘Hildegard Bechtler’s set exemplifies the problem – there’s the odd nod to the original, notably the War Room’s circular overhead light, but it settles mainly for perfunctory designs in regulation 1960s grey‘. In conclusion, she said, ‘The laughter should come at sickening cost. Foley, by contrast, just wants you to have a good time.’

In the i (2★), Fiona Mountford also criticised the show’s lack of seriousness compared with the film: ‘Whereas Kubrick has pitch-black comedy intercutting a mood of gravitas, Foley unwisely has occasional serious moments raising their heads above cheap jokes’.

For Dominic Maxwell in The Sunday Times (2★) it was ‘a fatal jollying up of material that needs to be played in earnest’ even if ‘Coogan is never less than good’. The Observer‘s Susannah Clapp (2★) was disappointed: ‘Covetable comic talents have set themselves not to invent but to replicate. What a waste of imagination…This doesn’t look like a visionary glimpse at a future madness but a tepid cartoon of what is actually happening.’

Critics’ Average Rating 3.0★

Value Rating 33 (Value rating is the Average Critic Rating divided by the typical ticket price)

Dr Strangelove is at Noel Coward Theatre, until 25 January 2025 (then at Bord Gais Energy Theatre, Dublin, 5-22 February 2025). Buy tickets directly here.

Read Paul Seven’s 4 star review of Dr Strangelove here

If you’ve seen Dr Strangelove at the Noel Coward Theatre, please add your review and rating below

Trafalgar Theatre

The Duchess (of Malfi) is, at the time of writing, the Worst Value West End Show in our listing. Only Shrek The Musical has received worst reviews so far this year. The return of Jodie Whittaker to the stage, after a sojourn in Doctor Who and other screen projects, was largely welcomed. Unfortunately Zinnie Harris‘s adaptation of Webster’s Jacobean horror story was condemned by all but the Telegraph, with The Times awarding just one star.

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

Let’s start with the good news. Kirsten Grant for the Telegraph (4★) liked it: ‘Whittaker proves more than up to the challenge with an enthrallingly layered take on the formidable Duchess.’ She went further, ‘Whittaker and this superb ensemble are surely reason enough to pay the Trafalgar a visit.’ If that weren’t  incentive enough, she also said, ‘Harris pulls off a pacy, intense production.’

While conceding ‘it’s undeniably thrilling to see Whittaker on stage again,’ Nick Curtis of the Standard (3★) was unenthusiastic about the production: ‘Harris’s adaptation only comes into its own in the second half. Throughout the first, I wondered what the point was.’

Theo Bosanquet at WhatsOnStage (3★) made similar points. Not a fan of the adaptation, he concentrated on the cast: ‘The performances, however, are impressive …Whittaker in particular reminds us why she’s been such a miss these past dozen years…She has tremendous poise as well as a sense of searing intelligence, repelling her brothers’ early attacks with sheer charisma. Although this may not be the best use of her talents, it’s great to have her back on stage.’

The Observer‘s Susannah Clapp (2★) was blunt in her criticism: ‘Zinnie Harris’s updated version of John Webster’s 1613 tragedy…is a muddle’ and ‘Against Tom Piper’s design of white metal walkways and staircase – a cross between prison and a chic art gallery brightly lit by Ben Ormerod – the generally feeble acting is cruelly exposed: when the men aren’t yelling they are faltering.’

Fiona Mountford in the i (2★) was just as savage: ‘Whittaker gives a powerful and passionate performance, but she faces an insurmountable challenge as Harris’s reworking makes less and less sense as it proceeds.’

Arifa Akbar of The Guardian (2★) called it ‘too much of a melange of tone and ideas’. She continued, ‘The performances are powerful but the setup feels so overbearingly orchestrated that you do not feel the characters’ passion or anger.’

‘This production is fatally lacking in tragic richness and weight,’ said Alice Saville in The Independent (2★). She noted, ‘Harris directs as well as adapts, using an overspilling ragbag of strategies borrowed from European directors’ theatre. Stark lighting. Ear-splitting judders of sound. A few times, characters step up to the microphone to sing out their inner lives…but the device feels both hackneyed and underused.’

Dave Fargnoli in The Stage (2★) was slightly more forgiving: ‘Though the production feels muddled, Harris makes sharp points about the corrosive effects of toxic masculinity.’

The worst reaction of all came from The Times’ Clive Davis who awarded a rare 1★. He described watching Jodie Whittaker ‘stumble through a dismal reworking of John Webster’s Jacobean tragedy. The writer-director Zinnie Harris throws a boxful of half-shaped ideas at the audience and leaves the actors looking horribly exposed. Long stretches feel like a rehearsal from a student production.’

Critics’ Average Rating 2.3★

Value Rating 23 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Duchess (of Malfi) is at the Trafalgar Theatre, London, until 20 December 2024. Buy tickets directly from the theatre

If you’ve seen The Duchess at the Trafalgar Theatre, please add your review and rating below

Wyndham’s Theatre

Robert Icke’s adaptation of Sophocles’ classic into a story of passionate love doomed by a search for truth. Most critics found it thrilling and tense, three giving 5 stars, but, as so often happens, a couple of them discovered no tension at all. Mark Strong as an Obama-like politician and Lesley Manville as his strong devoted wife were highly praised.

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

The Guardian’s Arifa Akbar (5★) was most impressed: ‘its transformation into a political thriller-cum-family tragedy is riveting from beginning to end…Manville and Strong who make this production electric; rarely has a show had two such formidable leads who become stronger with every scene.’ It was she concluded, ‘An old play is masterfully analysed and made newly devastating.’

Sarah Hemming in The Financial Times (5★) began, ‘Led by superb performances from Strong and Manville, Icke brilliantly remakes Sophocles’ profoundly disturbing tragedy for our times.’ She noted, ‘It reaches far into the nagging question of how much any of us really want to know’. She also pointed out, ‘The deep irony of Icke’s staging is that there is so much love in the room.’

Susannah Clapp in The Observer (5★) was another to give top marks: ‘There will surely not be a more powerful production in the UK this year…It is electric.’ She continued, ‘A tremendous cast seem to have the complexes and complexities of the plot running through them like blood.’

WhatsOnStage’s Sarah Crompton (4★) declared, ‘The result, helped by magnificent performances from Strong and Lesley Manville as his wife Jocasta, is as gripping as a thriller, yet weighted with the terrible sense… of what might have been.’ ‘By the close,’ she said, ‘their suffering has become almost unbearable to watch, a modern reminder of the power of Greek tragedy to lay bare all the grief of the human soul.’

Alice Saville in The Independent (4★) was excited: ‘Writer and director Robert Icke’s brilliant reimagining of Oedipus achieves the monumental feat of taking a Greek drama where (almost) everyone thinks they know what’s going to happen, and turning it into an exercise in tension, one that etches its message with the painful efficiency of a tattoo gun.’ Of the two stars, she commented, ‘Strong is full of a fearless, sometimes fearsome integrity as Oedipus, with Manville bringing a brittle sensuality to the role of his wife Jocasta.’

Olivia Rook at LondonTheatre (4★) noted, ‘Just like the original, Icke’s reworked tragedy, framed here as a tense political thriller, reveals the crushing weight of truth and knowledge.’ About the leads she said, ‘their chemistry as lovers-turned-relatives has absorbing, agonising friction.’

For Nick Curtis in The Standard (4★), it was ‘astonishing’. He went on, ‘Strong’s smart, passionate, utterly believable relationship with the luminous Manville as his older wife Jocasta roots the unravelling suspense’. Cheekily he combined a spoiler with a lewd compliment: ‘this show is mother**in’ good.’

Time Out’s Andrzej Lukowski (4★) said Icke’s version ‘benefits from a lethal but compassionate decluttering, a singularity of purpose that distils a famously lurid story into something empathetic, lucid and quite, quite devastating.’ He confessed, ‘Even if you’re aware of every twist and turn of the story, this Oedipus glints with a deadly sharpness. I may not have actually gasped, but I was looking at the end through my fingers.’

Dave Fargnoli in The Stage (4★) reported, ‘The piece has a cumulative power that builds gradually until the atmosphere is riveting, suffocating and unbearably tense.’ ‘The ‘mighty momentum of the tragedy is thrilling in its grim inexorability,’ agreed Fiona Mountford in the i (4★)

Clare Allfree for the Telegraph (3★) was less convinced, calling it a ‘slick, somewhat anodyne reimagining’. She disagrees with most of her fellow reviewers about it being a thriller: ‘Icke is usually excellent at sustaining tension through the electric space he generates between his actors; here, that space feels slack’. It’s a case of too little too late when ‘Strong and Manville are desperately moving in the extraordinary final scenes’. The Times’ Clive Davis (3★) was also disappointed: ‘Eager to impress, Icke is always tossing stage effects at us.’

Critics’ Average Rating 4.1★

Value rating 45 (Value rating is the Average Critic Rating divided by the typical ticket price)

Oedipus can be seen at The Wyndham’s Theatre until 4 January 2025.  Buy tickets directly here

Read Paul Seven’s review of Oedipus here

If you’ve seen Oedipus at the Wyndham’s Theatre, please add your review and rating below

Gillian Lynne Theatre

The story of Jewish immigrants to America and their rise and fall in the world of finance is back in the West End. The latest reviews confirm the status of The Lehman Trilogy as a modern classic. This is its third West End outing, following its premiere at the National Theatre. Understandably most mainstream reviewers gave it a miss this time around, so I’ve included some of the less established media.

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

’It’s one of the best evenings I’ve ever had in a theatre,’ said The Times’ Dominic Maxwell (5★). ‘Good luck seeing better acting this year.’ Aliya Al-Hassan at Broadway World (5★) talked about ‘the sheer scale of theatricality’ and said it was ‘A must-see for any theatre fan.’

Louis Mazzini at LondonTheatre1 (5★) called it ‘theatre at its very best, a rich and complex story told by actors at the top of their game and supported by sublime choreography, ingenious staging and essential music and other effects…simply umissable’.

Daz Gale at All That Dazzles (5★) was also fulsome in his praise: ‘Three hours and 20 minutes feels like a mere moment thanks to the consistently flawless production value, inspired direction and truly sensational talents that are the trio of actors gracing the stage. Make no mistake, this play is theatre at its very best.’

Franco Milazzo for Theatre & Tonic (5★) said, ‘Even when this play is watched again and again, the experience only deepens, not dulls…this masterwork is a monumental achievement. Even though it is largely a work with its head stuck in the past, it stands out as one of the greatest new dramas of this millennium.’

Anya Ryan at LondonTheatre (4★) confirmed, ‘this theatrical epic is as much of a boundary-smashing tour-de-force as ever.’ She went on, ‘the unique skill of The Lehman Trilogy is that it shows the repetitive rhythms and cyclical nature of life. Impeccably delivered, this astonishing family saga is perfectly pitched for the stage’.

Gary Naylor on The Arts Desk (4★) praised ‘the sheer chutzpah of its staging and acting’ but commented ‘Where is the hero? Where is the villiain? Where is the joy? One is left feeling the same about the play as one does about the Lehmans – more to be admired with reservations than to be loved unequivocally’.

Ke Meng at Theatre Weekly (4★) held back a little bit: ‘while the production is phenomenal with its unparalleled theatricality, the narrative feels more like a tribute to London bankers who want to see themselves on the West End stage, or a eulogy to Lehman’s finance empire and the once-vanquishing capitalism, rather than a critique or a reflection on such bustling prosperity.’

Critics’ average rating 4.6★

Value rating 51 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Lehman Trilogy can be seen at the Gillian Lynne Theatre until 5 January 2025.  Buy tickets direct here

If you’ve seen The Lehman Trilogy, please add your review and rating below

Lyttelton Theatre at the National Theatre

‘After Antigone’ says the publicity material. In fact, you need know nothing about Sophocles’ classic play to enjoy (or not) Alexander Zeldin‘s new play about a grieving family at war with each other. It garnered three 5 star reviews from heavyweight critics but this was balanced somewhat by four less convinced 3 star reviews. The cast which included Tobias Menzies and Emma D’Arcy were praised.

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

Sarah Crompton at WhatsOnStage (5★)  said, ‘it’s extraordinary how much tension Zeldin and his excellent cast generate.’She commented, ‘The words have a real sense of jeopardy; they seem to spring from deep within, and as events take their course, they feel both inevitable and surprising. As taboos are broken and truths are revealed, they generate gasps of sympathy and shock.’ About the cast, she said, ‘Menzies is towering as Chris…conveying a man on the edge, desperately fighting for control and his sanity. He’s an actor of incredible stillness too; he doesn’t react, he simply seems to feel. But he is matched in intensity by D’Arcy who makes Annie’s desire for justice, for poles to cling to in a frightening world, profoundly moving and empathetic. Their mutual pain becomes our pain, a resounding cry down the centuries, a vindication of theatre’s unique ability to make us feel.’

Gary Naylor for Broadway World (5★) described it as ‘a ferocious whirlpool of a play that sucks you further and further down into a vortex that drowns you in man’s venality.’ He said, ‘Seldom do all the elements that power theatre’s unique capacity to crash over the fourth wall like a tsunami, come together as effectively as they do in this electrifying, unforgettable 80 minutes of squirming mental discomfort.’ He went on to praise ‘ the clean modernsm’ of Rosanna Vize’s set,  ‘beautifully lit by James Farncombe’, and Yannis Philippakis’s music (that) also nags like a stomach cramp’. And he praised all the actors, including ‘Tobias Menzies (who) barely seems to act at all, a remarkable and rare gift for an actor. Often shrouded in an overcoat, he can stand still for minutes at a time while we see his frustration curdle to anger, his guilt bleed into self-pity, his arrogance fuel his entitlement.’

Demetrios Matheou on The Arts Desk (5★) said, ‘One of the wonders of the production is that it elicits edge-of-seat drama from a scenario – centred on a family squabble over an urn – that could easily have descended into absurdity. Instead, Zeldin has conjured a novel tragedy that, despite its roots, feels horribly of the here and now.’

Clare Allfree for the Telegraph (4★) delared, ‘this is sucker-punch theatre, beautifully detailed and at times excruciatingly funny.’ The Standard‘s Nick Curtis (4★) called it ‘elegantly acted, powerfully atmospheric but remorselessly fatalistic updating’ with ‘A crack cast’.

Arifa Akbar in The Guardian (4★) described it as ‘a delicately observed portrait of a family imploding with grief and contesting memories…Although lean at 80 minutes, its drama is huge.’ The Stage‘s Dave Fargnoli (4★) noted, ‘Taut, stretching pauses abound when words dry up, and there are sudden moments of heart-in-mouth tension, often defused with satisfyingly savage punchlines.

Helen O’Mahony for LondonTheatre (3★)  felt there was ‘not a clear point to this story, except, perhaps, to remind us that difficult people are often the product of difficult pasts. But it’s a play that develops slowly then drops a bombshell; a night at the theatre you won’t forget.’

Time Out‘s Andrzej Lukowski (3★) concluded, ‘It’s a muddled showing from Zeldin the writer. But the elegant, ominous production from Zeldin the director ultimately salvages things, as do extremely committed performances from D’Arcy and Menzies. Their belief in this play very nearly carried me.

Fiona Mountford of the i (3★) was less impressed than most of the others: ‘Too much remains unexplained, too many details omitted, for catharsis to be achieved.’ Although, she did say, ‘(Alison) Oliver once again confirms her status as one of the brightest actors of her generation with a performance of gloriously twitchy watchfulness and unspoken depths of sorrow.’

The Times‘ Clive Davis (3★) also had a disappointing evening: ‘This is one of those National productions where you find yourself admiring individual elements — the set, the acting, the lighting — without being seduced by the play itself.’

Critics’ Average Rating 3.9★

Value rating 57 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Other Place can be seen at the National Theatre until 9 November 2024  Buy tickets direct here

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

Gielgud Theatre

One To Avoid?

The 100th anniversary of Sean O’Casey’s tragicomedy turned into more of a wake than a celebration as critic after critic laid into the production. If the producers hoped a barnstorming performance from Mark Rylance would carry the day, they will have been disappointed. Even critics who liked his over-the-top acting weren’t sure whether it worked in the context of the production. Many weren’t convinced that the production itself had got the balance right between comedy and tragedy. With no less than four 2 star reviews from leading critics, Juno and the Paycock has one of the worst average ratings and value ratings of the year so far.

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

Time Out’s Andrzej Luwoski (4★) was lone in giving four stars and almost alone in loving Mark Rylance’s performance: ‘Rylance has gone full vaudevillian… he rocks a toothbrush moustache, a penchant for dazzling extremes of physical business, and a tendency to directly address the audience or look bewildered out of the corners of his eyes as if he can’t work out why he’s trapped in a play. For the first half he’s so dazzlingly strange and doing so much more than anyone else – much of it inscrutable – that it’s hard to focus on the other actors. I found it brilliantly, bizarrely funny, the sort of auteur performance that no other actor alive would so much as think of giving.’ He was right to say, ‘I suspect reviews will be divided on whether it makes any sense in the wider context of the production.’ He added emphatically, ‘But you know, if somebody offered me a Picasso I wouldn’t fret that it didn’t go with the furniture.’

Marianka Swain of LondonTheatre (3★)  took a similar view‘ of Mark Rylance’s performance. Aided by his Charlie Chaplin moustache, he relishes the vaudevillian aspects of O’Casey’s work’…’However, Rylance is operating in a completely different register to the rest of the cast, who, while also alert to the work’s humour, offer much more grounded naturalism. That means he frequently pulls focus unnecessarily in a scene with his clowning, and undermines some of the darker material.’

Alice Saville in The Independent (3★) was disappointed that the play’s ‘deep sense of injustice and pain doesn’t get space to breathe here,’ but felt its male star saved it: ‘Rylance’s charisma knits together a production that’s full of roustabout hilarity and poignancy mingled together, bright and bleak at once.’

The Guardian’s Arifa Akbar (3★) said, ‘Smith-Cameron really is the heart and soul of this production, for all of Rylance’s charisma … when the tone flips to tragedy, Smith-Cameron is tremendous.’ She commented, ‘Beneath the bonhomie are O’Casey’s poetry, and the family’s craving to be somewhere they are not known, but this production does not dwell too long on these.’

Nick Curtis in The Standard (3★) had this to say about the stars: ‘Succession star J. Smith-Cameron is splendid in it as tenement matriarch Juno’ but ‘Mark Rylance … sadly continues his recent slide into mannered self-parody’. He didn’t think the play had aged well: ‘Today its juxtaposition of broad humour with sectarian violence and poverty jars, as do the thick-as-stout accents.’ As for the production, ‘Director Matthew Warchus accentuates the strangeness by giving his production the veneer of a black-and-white slapstick film, the cast in white pancake makeup and kohl-rimmed eyes.’

Heather Neill at TheArtsDesk (3★) disapproved of the treatment: ‘This is an unusual revival, giving both the comedy and tragedy full scope, but in the final scene it topples off balance into melodrama and becomes a different play altogether.’

Ssrah Crompton at WhatsOnStage (2★) called it ‘a horrible melange. Everyone on stage seems to be performing in a different version of the play, there is no chemistry, little sense of purpose.’

Dave Fargnoli in The Stage (2★) went further: ‘this turgid production from director Matthew Warchus never quite succeeds in capturing the author’s deep anger or extraordinary compassion.’ He gained some pleasure from the cast: ’Mark Rylance provides a riveting focal point as alcoholic, tall-tale-telling ‘Captain’ Jack Boyle. In a wholly committed performance, he stutters and slurs his lines, searching for words through a haze of drink and shame.’

The Times’ Clive Davis (2★) was critical of Mark Rylance. ‘His version of the feckless Captain Jack is a leering, gurning loafer who bears more than a passing resemblance to Charlie Chaplin’s tramp…It’s weirdly laboured, and makes the play’s sudden transition from high jinks to grim melodrama all the harder to take.’

Clare Allfree in the Telegraph (2★) was not impressed by either of its stars: ‘Rylance doesn’t shrink from Boyle’s essential helplessness but his confected, overly self-regarding performance lacks the requisite humanity to make us care.’ Of J. Smith-Cameron, she said, ‘she imbues Juno with a flinty pragmatism. Yet her exasperation with her obnoxious husband rarely tips into the necessary desperation. Even in the final scene, having lost almost everything, she maintains a monotone stoicism. The play demands more.’ Her conclusion? ‘O’Casey’s desolate play should force us into a reckoning with its characters’ contradictions. In this ultimately underwhelming production, one that’s far too in thrall to its star casting, there is not enough room for such complexity.’

Critics’ Average Rating 2.7★

Value rating 29 (Value rating is the Average Critic Rating divided by the typical ticket price)

Juno and the Paycock can be seen at the Gielgud Theatre until 23 November 2024  Buy tickets direct here

If you’ve seen Juno and the Paycock at the Gielgud Theatre, please add your review and rating below