Olly Alexander & Stephen Fry excel in panto-style Wilde

Noel Coward Theatre

After a sell-out run at the National Theatre, Max Webster’s ‘queer’ interpretation of Oscar Wilde’s light-hearted romantic comedy has moved across the river to the West End. All the new cast went down well with the critics- Olly Alexander has replaced Ncuti Gatwa, Stephen Fry has become Lady Bracknell. The reviews of the production were similar to the ones that greeted its last outing: some loved the OTT outing of the queer subtext, others felt it didn’t do justice to Wilde ‘s subtle wit. The average rating is almost identical.

Below are extracts from reviews of the West End version. Click here to read reviews of The National premiere.

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

4 stars ⭑⭑⭑⭑

‘it’s the thinking person’s panto this season, and a revival to remember’ declared The Telegraph‘s Dominic Cavendish. Describing its Lady Bracknell, he said: ‘Clad in garish bustle-dresses, Fry, 68, lends his intellectual fluency and towering presence to Wilde’s verbally pyrotechnic and subtly anarchic script. He doesn’t attempt much female impersonation, and instead gives us the crisp, snooty essence of Lady B: demanding, commanding, formidable. This is a stately, mannish creature with pursed lips and a withering stare.’ (Not sure why the reviewer tells us Mr Fry’s age.)

Julia Rank for LondonTheatre declared: ‘pop star Olly Alexander proves himself to be the genuine article as a stage star. Diminutive and fey, his Algernon is like a spoiled-sweet child who knows just how precociously clever and charming he is’. As for Stephen Fry: ‘In full regalia, he resembles the great Hermione Gingold in A Little Night Music, but he doesn’t ham it up and remains grounded, beginning in a fairly mellow mood and building up to the crescendo of “A handbag?”.’ She was also pleased with the look of the show: ‘Rae Smith’s enchanting production design is filled with the bright, often gaudy colours that the Victorians adored.’

The Mail‘s Patrick Marmion spent much of his review of this ‘joyfully exuberant production’ praising Stephen Fry: ‘(he) becomes a 6ft 5in taffeta tank as Wilde’s memorably scathing widow.’ (In point of fact, she wasn’t a widow, she specifically mentions her husband more than once.) Mr Marmion wasn’t quite so impressed by the other big name replacement: ‘Popstar Olly Alexander, from Years & Years, now plays Algie with boyish zip, but some of his gags fail to land and he misses Gatwa’s megawatt charisma.’

Alex Wood for WhatsOnStage thought the transferred production was even better than the original: ‘the take on Wilde’s play about confused identities, deceptions, romances and, of course, handbags, feels tighter, slicker and funnier. A heady shot of a sweet liqueur to help us escape these trying times. Part of the success has to come down to Webster’s direction – deftly mining Wilde’s text for the comic opportunities and rattling along at a necessarily chipper pace, laced with lashings of queer fun.’

Time Out‘s Andrjez Lukowski explained: ‘Webster undoubtedly breaks Wilde’s play, by hauling the subtext up to the surface, and basically yelling THEY’RE GAY at us over and over. But whether you want to look for deeper meaning in the production’s every quirk or simply treat it as a funny, fresh, irreverent way of tackling a comedy that has become mired in sexually repressed cliche, well, that’s entirely up to you.’

3 stars ⭑⭑⭑

David Jays at The Guardian said: ‘Max Webster’s shameless production merrily queers the comedy, shoving subtext from the shadows.’ He described the young people in the cast: ‘The dizzy chaps are cute – Nathan Stewart-Jarrett’s Jack in fine fluster, Olly Alexander’s Algy giving good smirk – but it’s their sweethearts who gleam. Kitty Hawthorne’s fanny-fanning Gwendolen and Jessica Whitehurst’s scowling Cecily both tap the production’s libidinous undertow.’

Dave Fargnoli for The Stage was not enthusiastic about Webster’s approach: ‘There is a certain cheeky charm to all the clumsy cavorting, but it’s too tame and obvious to feel properly subversive, and the intentionally overblown delivery tends to interrupt the exquisitely poised flow of Wilde’s witty repartee.’ He even quotes a line from the play to back his case: ‘“In matters of grave importance…style, not sincerity, is the vital thing.” That certainly seems to be the guiding principle in this big, bright production, which puts shallow laughs firmly over substance.’

The Times‘ Clive Davis wondered if the production had gone too far in its interpretation: ‘Webster is pushing a classic comedy of manners to breaking point. A delicate puff pastry of a play is smothered in dollops of pink icing.’

2 stars ★★

The Sunday Times’ Dominic Maxwell had a miserable time: ‘Never have I seen a show that so conspicuously and so repeatedly busts a gut trying to amuse. And forcible fun is quite my least favourite kind…the campery comes as if by the yard’. He continued: ‘Everyone’s frantic but few actors connect. So it’s slow too. Take Fry: his line readings are exemplary. He celebrates the nuances and rhythms of Wilde’s wit. He has more variety in the role than Sharon D Clarke did at the National, yet without her galvanising sense of disdainful pressure. He just sort of stands or sits there and says the lines. Very well, but he has so little sense of physical presence that he might be a hologram.’

Critics’ average rating 3.6⭑

Value rating 38

The Importance of Being Earnest can be seen at the Noel Coward Theatre until 10 January 2026. Buy tickets direct from earnestonstage.com

If you’ve seen The Importance of Being Earnest at the Noel Coward Theatre, please add your rating and review below

Actors praised in over ambitious play

Trafalgar Theatre

Two young Americans in a rut meet at an out-of-town Costco store. They form a relationship while lamenting the lack of opportunity and adventure in modern life. The critics were impressed by Heartstopper’s Joe Locke as Jake who has a degenerative disease, but reserved their highest praise for Ruaridh Mollica’s brooding Chris. The reviewers had reservations about US playwright Samuel D Hunter’s 2015 drama. They liked the poetry but found it fell short of its ambitious subject matter.

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

4 stars ★★★★

The Telegraph’s Dominic Cavendish was taken by the play: ‘This isn’t a conventional gay romance, more a soulful meditation on the need for connection with someone worth trusting and a return to a spirit of possibility’. And the acting. Locke, he said, ‘is funny and touching as Jake…battling prejudice and Huntington’s disease. Locke draws us in with his fawn-like stare and scrawny vulnerability…Ruaridh Mollica is excellent too as Jake’s tougher co-worker, Chris’.

The Mail’s Patrick Marmion liked the acting, the play and the production: ‘it’s a slow burn, pivoting on emotional nuance and the pains of intimacy.’

3 stars ★★★

The Stage’s Sam Marlowe summed up: ‘It’s all very meticulously done, and the affection that gradually emerges between Chris and Jake is touching, but it just doesn’t seem quite enough. A languid, low-key chamber piece, in the end it leaves you unsatisfied.’

Dominic Maxwell of The Times felt the play didn’t quite come off: ‘There’s some gorgeous writing, but not enough plotting to stop the conceits from feeling like conceits. It starts to feel theatrical rather than engagingly lifelike.’ But he liked the acting: ‘Locke brings an unsentimental, compellingly awkward spirit of yearning…Ruaridh Mollica is equally excellent as the outwardly sturdier Chris, a working-class wannabe writer’. He concluded: ‘Clarkston is lovely, it really is. But it’s slight.’

Kate Wyver in The Guardian decided: ‘Despite the show’s overly expository dialogue, Clarkston gradually gives way to an intimate story about trying to make the best of the hand you’ve been dealt.’ ‘Mollica effortlessly breathes life into this hard-shelled character who doesn’t know how to talk to a man romantically’ ‘The script is often heavy-handed, with a backstory handed to us on a plate and little left unsaid.’ ‘Strangely, some of the audience sit on stage with the actors, their presence adding little but trip hazards.’

For Theo Bosanquet at LondonTheatre: ‘The cast deliver lively and empathetic performances, though it has the feel of a chamber piece that has been stretched beyond its natural size in the Trafalgar’.

Tom Wicker for Time Out noted: ‘Hunter’s writing is perceptive about the doubts that lurk beneath people’s hopes, but its aim at a grander poetry about life can fall short.’

Debbie Gilpin at BroadwayWorld expressed a similar sentiment: ‘The play is mostly of a serious bent, with some gentle humour thrown in along the way…It tiptoes around the edge of the profound, but never quite gets there.’ In common with quite a few reviewers, she commented on the cost of tickets: ‘A large chunk are priced at £100 (including fees) or more, which always feels scandalous for an interval-less play like this – regardless of the show’s quality.’

Alun Hood at WhatsOnStage declared: ‘The writing is subtle but blistering: a morose yet eloquent meditation on lives not well lived, with precious little hope, but an abundance of challenges. It’s blunt and bleak, and almost nothing happens, but the acting and the oblique humour ensure that it is engaging for the most part.’

2 stars ★★

Martin Robinson for The Standard lamented: ‘Maybe a better production would jerk the tears, but static direction by Jack Serio turns most scenes into a bit of a slog…and the most poignant moments become mawkish’. Most of the play, he said, ‘is pure American cheese, as natural as those bright orange balls stacked in their thousands on the Costco shelves.’

Critics’ average rating 3.1★

Value rating 31

You can see Clarkston at the Trafalgar theatre until 22 November 2025. Click here to buy  tickets direct

If you’ve seen Clarkston at the Trafalgar theatre, please leave your rating and review below

Evergreen or dated- the verdict on Joe Orton’s classic

The Young Vic

For her first production as artistic director of the Young Vic, Nadia Fall has chosen a neglected modern classic. Joe Orton’s 60-year-old Entertaining Mr Sloane is a black comedy that the critics indicate has lost little of its shock value, although some found it dated.  The mysterious, sinister young man, who arrives at a house and proceeds to ingratiate himself with the occupants is played by Jordan Stephens (from the hiphop duo Rizzle Kicks) in his first major stage role. A mature woman played by Tamsin Outhwaite and her brother  (Daniel Cerqueira) are both attracted to him, but he is viewed with suspicion by their father (Jordan Stephens).

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

4 stars ⭑⭑⭑⭑

David Jay for The Guardian said: ‘Jordan Stephens … gives the mysterious stranger a bold, open smile, and Tamzin Outhwaite’s Kath blinks like a moth to flame.’ He declared: ‘Six decades on, Orton’s play shows its age: drum-tight, then increasingly chasing its tail. But Fall’s opening show as artistic director of the Young Vic grins with the worst of human behaviour – and that never grows old.’

The Telegraph‘s Dominic Cavendish was struck by the way ‘Nadia Fall’s faithful production at the Young Vic, with Tamzin Outhwaite as the kinky landlady Kath, and Jordan Stephens … as her adoptive orphan “boy”, taps into something timeless: as the action proceeds, we observe the way people driven by extreme emotional, sexual and financial need will stoop to anything.’ ‘Recommended’, he concluded.

Clive Davis of The Times complimented members of the cast, particularly Tamsin Outhwaite: ‘It’s a stunning performance. Orton’s ornate language can be every bit as sinister as Pinter’s, yet the shafts of manic humour constantly catch you off-balance. Tottering around the stage, Outhwaite is a human gargoyle who cradles a cloth like a baby and offers the newcomer a “motherly kiss” before turning into an unlikely seductress’.

Matt Wolf at LondonTheatre felt the production did the play justice: ‘Six decades on, the four-hander hasn’t lost its power to sting, at least as staged in the round on a fascinating set by Peter McKintosh that relegates the memorabilia of the characters’ lives (a crib, chairs etc.) to an aerial collage suspended above the action.’ He commented: ‘The cast across the board mines the dark humour of the piece, while hinting at a “depraved” (the script’s word) landscape beyond’.

3 stars ⭑⭑⭑

Theo Bosanquet for WhatsOnStage had this to say about the cast: ‘The cast combines well, including Stephens, who gives an accomplished stage acting debut. Although he could dial up the menacing aspects of the character – he never quite convinces as a man capable of killing – he has an enjoyably understated comic delivery and successfully hints at the boyish vulnerability underneath Sloane’s leather-clad exterior. Outhwaite meanwhile embodies the louche lustiness of Kath, whose air of cornered desperation is reminiscent of Mike Leigh’s Bev, and nicely contrasts with the besuited, chain-smoking Cerqueira and Steptoe-ish Fairbank. All told, it’s an enjoyable, if concurrently rather cautious, kick off for the Fall regime.’

2 stars ⭑⭑

The Stage‘s Sam Marlowe was disappointed: ‘Unfortunately, Fall’s staging is – pun fully intended – all to cock. Her production is stylistically muddled and unevenly acted, with the result that neither its shocks nor its savage comedy really register.’ The cast didn’t live up to her expectations: ‘Jordan Stephens … appears hopelessly out of his depth. An amoral chancer who deploys his sex appeal like a lethal weapon, Sloane needs a potent menace to go with his dubious charms. Instead…Stephens just looks slightly gormless.’

Katie Kirkpatrick at BroadwayWorld didn’t see the point: ‘Fall’s revival leaves it bizarrely lodged in the past: there’s nothing about this production that makes it clear why this play is worth watching in 2025, with potential themes of bisexuality and xenophobia left at the wayside. It feels as though this production could have been made any time in the past sixty years, in terms of both the play’s themes and the way it is staged.’ She conceded: ‘For all its flaws, Entertaining Mr Sloane is, well, entertaining. The tried-and-tested jokes get plenty of chuckles, it’s visually impressive, and the story’s pacing means it keeps the audience on board throughout. For those with a love of classic plays or farce, there’s plenty to enjoy.’

Andrjez Lukowski’s Time Out review appeared without stars but would likely be a 2 star review: ‘Fall’s take feels both wilfully dated – very much a ’60s period piece – and pointedly unfunny, trading the menacing comedy associated with Orton (‘dark farce’ is the usual term) for drab naturalism.’

Critics’ average rating 3.1⭑

Entertaining Mr Sloane can be seen at the Young Vic Theatre until 8 November 2025. Buy tickets direct from the theatre

If you’ve seen Entertaining Mr Sloane at the Young Vic, please leave your rating and review below

A faltering start for the National’s new director

Olivier Theatre, National Theatre

Indhu Rubasingham has started her first programme of events as the National Theatre’s new Artistic Director with a headline grabbing choice- the first time a debut play has been staged in the giant Olivier auditorium. Nima Taleghani has written a new version of Euripides’ Bacchae that takes a feminist view of the tragedy and uses rap and rude comedy to make his points about family loyalty, political power and human desire.
There was something of a gender division in the reviews. The three 4 star reviews were all by women, who found it entertaining. Coincidentally, the rest were by men (apart from The Guardian’s Arifa Akbar) and ranged from 3 to 2 to a paltry 1 from The Times’ Clive Davis who called it ‘a travesty’.

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

4 stars ★★★★

The Independent‘s Alice Saville declared: ‘It’s a headspinningly smart, visually spectacular, and hugely entertaining opening move from new National Theatre artistic director Indhu Rubasingham.’ She continued: ‘for all his play’s delicious bloodthirstiness and queer excess, Taleghani also explores the pressures within protest movements with surprising subtlety.’

Sarah Crompton of WhatsOnStage reported: ‘As a statement of intent, the production couldn’t be more bold. From the dazzling opening when a huge, ghostly horse drops through a lighted ring from the flies, to the direct challenge of a closing scene which asserts the power of theatre as a forum for debate in a messy world, it has confidence stamped all through it.’ She noted: ‘Events unfold with remarkable pace on Robert Jones’ impressive set, which piles four square platforms on top of one another, spinning, rising and lowering them to create different dynamics within the space’. Her greatest praise is reserved for the director: ‘Within this vibrant setting, Rubasingham marshals the action with absolute assurance. She’s brilliant at driving things forward, but also at creating tableaux that constantly focus the eye on the important thing.’

Marianka Swain at LondonTheatre was impressed by the playwright’s ‘colloquial yet lyrically dexterous, rhyme-packed spoken-word poetry building to audacious rap, and, with anarchic wit and judicious changes, bringing a classic bang up to date.’ The director, too: ‘Rubasingham’s assured production balances emotional moments and heavier subjects with zippy irreverence.’ She ended: ‘I for one can’t wait to see what else Rubasingham has in store.’

3 stars ★★★

The Guardian’s Arifa Akbar laid into the writing: ‘the script often sounds off-key: unfocused, tonally untextured, its knockabout comedy smothering the emotional core of the play.’ She continued: ‘The raps burst with verve and a speed of ideas but lack the sharpness, poetry and emotional power to make the satire soar. The humour is hit-and-miss, characters broad and clownish.’ There was good news: ‘Rubasingham’s direction is nevertheless as polished as ever and the show has pace, with thrilling lighting by Oliver Fenwick…Kate Prince’s movement is a highlight and it is in the interludes of dance…that the show feels at its most elemental.’

The Standard‘s Nick Curtis wasn’t so sure: ‘If it were a triumph, life would be easier; the National in safe hands, theatre saved. If it were a dud everyone could cluck and crow. Instead it’s both, and also everything in between. Refugees, feminism, gender, sexuality, dictators, set to rap and dance…this is a production of wild mood swings, mediated through a production whose beauty often outstrips its substance.’

The Telegraph‘s Dominic Cavendish said: ‘It’s a relief to report that Rubasingham – the first person of colour and the first woman to run the NT – passes her high-pressure test in surprisingly flamboyant style (aided by a shifting set of giant slabs by designer Robert Jones), and, though it takes time to emerge, with a saving dollop of substance… it serves as a statement of intent about the kind of populist, accessible work that Rubasingham, 55, intends to programme.’

Describing the evening as ‘entertainingly messy’, Time Out‘s Andrjez Lukowksi said: ‘It’s fun to spend time with [the characters], as they swear and argue and rage, but there’s the nagging sense that it’s not clear where their story is going. Frankly it also seems a bit unexpected that a male writer would be out to reclaim Bacchae as a feminist work.’ He advised: ‘There’s … the question as to whether it even works as a tragedy after all Taleghani’s fiddling, jokes, microsubversions and humanising of both Pentheus and Dionysus. I would say… no, it doesn’t, and you’ll get more mileage out of it if you don’t treat it as a tragedy.’

2 stars ★★

Alexander Cohen at BroadwayWorld was unimpressed: ‘Bacchae arrives trumpeting fist clenched rebellion, only to implode into hashtag politics. In remoulding crudly Euripides’ tragedy into tawdry cabaret, the National Theatre has committed the deadliest artistic sin of all: cringe.’ He explained: ‘Tragedy requires sharp focus. Satire requires wit. Taleghani and Rubasingham proffer neither. What remains is noisy brashness straining itself in its attempts to be something it isn’t.’

1 star ★

Having called it ‘a travesty’, The Times’ Clive Davis lamented: ‘Nima Taleghani’s update of The Bacchae, studded with ultra-crude, in-yer-face banter, is so leaden that it makes the average panto look like a treatise on existentialism.’ Hardy any aspect of the production seemed to please him: ‘you’re left with a comedic storyline that’s dull and often confusing. Rubasingham’s staging is oddly pedestrian, too, while the designer Robert Jones’s functional asymmetrical platforms fail to summon up much sense of the divine.’

Critics’ Average Rating 3.0★

Value rating 43 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Bacchae can be seen at the National Theatre until 1 November 2025. Buy tickets direct from nationaltheatre.org

Click here to read Paul Seven Lewis’ review of Bacchae

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

Modern classic returns in triumph and Brendan Gleeson makes an impressive West End debut

Harold Pinter Theatre

In the thirty years since its Royal Court debut, Conor McPherson’s first play The Weir has become a modern classic. Deceptively simple, it describes an evening in an Irish bar where a handful of male regulars tell spooky tales to impress a female newcomer, in the course of which much is revealed about their dreams and disappointments. The latest revival is directed by the author himself with, said the critics, much sensitivity. The great actor Brendan Gleeson makes his West End debut and received huge praise for his performance. The original production’s designer Rae Smith has returned to provide another impressive (said the reviewers) naturalistic set.

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

5 stars ★★★★★

Chris Wiegand in The Guardian was pleased to see The Weir return. He called it ‘a revival of such exactness it appears effortless’… ‘it’s an endlessly rewarding evening that proves McPherson’s play is built to last.’

Holly O’Mahony of LondonTheatre opined: ‘this production, almost 30 years on, is quite perfect’.

Brendan Gleeson was the centre of attention of the Telegraph’s Dominic Cavendish: ‘He’s the craggy-faced poster-boy for Conor McPherson’s spellbinding, atmospheric revival (of) the Dublin playwright’s early masterpiece of laughter, grief and supernatural anecdotage in a rural Sligo bar.’ He called the play: ‘a drama of breathtaking craft, tilting line by line between levity and profundity, the far-fetched and the truth, superstition and faith’.

WhatsOnStage’s Sarah Crompton declared: ‘What a great play Conor McPherson’s The Weir is. It seems so simple, five people gathered in a pub on a winter’s night, telling each other stories. Yet within that frame, McPherson weaves words with such care and precision that it never loses its tautness.’ She called it ‘a staggeringly good production of a play that is already a classic’.

The Mail’s Patrick Marmion noted: ‘it’s impressive how The Weir has stood the test of time. It catches an Ireland on the cusp of change, haunted by a mythic and painful past. But the warmth of the laughter that rolls off the audience is remarkable. And what better actor to pop the cork on such intoxicating liquor than the inscrutable, bearlike Gleeson?’

4 stars ★★★★

The Times’ Clive Davis was sceptical about just how good the play is ‘But an accomplished group of actors can find depths in glances and silences. Whether or not The Weir…really is an all-time classic, as many insist it is, this production, directed by McPherson, is worth catching to see Brendan Gleeson give a display that is as unyielding and enigmatic as a neolithic rock carving.’

David Nice for The Arts Desk thought: ‘This new staging of a long-running hit, directed…by the playwright, sustains the atmosphere of curious meetings in a rural Irish pub saloon (perfectly designed by Rae Smith) all the way through to the quiet coda’.

The Independent’s Alice Saville commented: ‘its carefully interwoven strands of the mundane and the supernatural give this play an enduring strength’.

BroadwayWorld’s Alexander Cohen explained: ‘What makes it magnetic is not the ghost stories themselves, but the way they open windows into the souls of those telling them. Beneath the spookiness lies something far more human: grief, regret and endless longing.’

The Standard’s Nick Curtis found: ‘The Weir retains its power to beguile and unnerve. It also proves a splendid vehicle for the mighty presence of Brendan Gleeson‘.

3 stars ★★★

Chris Omaweng at LondonTheatre1 was left cold: ‘Some interesting and mildly amusing stories helped to maintain interest, but I was never deeply invested in proceedings.’ He explained: ‘Something atmospheric appears to be lost by presenting this play in a West End proscenium arch playhouse, a distancing effect, if you will, that would not have been there in a studio space.’

Critics’ average rating 4.4★

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

The Weir can be seen at the Harold Pinter Theatre until 6 Dec 2025. Buy tickets direct from theweirplay.com

If you’ve seen The Weir at Harold Pinter Theatre, please leave your rating and review below

Juliet Stevenson is a powerhouse in an underpowered drama

Dorfman at the national theatre

The critics welcomed David Lan‘s well researched play about the Nazis’ policy of abducting children from occupied countries to replenish their ‘Aryan stock’. When a victim turns up years later at a woman’s flat and demands to know why she presumed to ‘rescue’ him from the Germans at the end of the War, she recalls the events of the past. The morality of her actions is questioned but there is a strong message that it is better to do something than nothing.

There was lavish praise for Juliet Stevenson‘s lead performance, Stephen Daldry’s direction and Miriam Buecher‘s set, but there was a feeling the play was too long.

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

4 stars ⭑⭑⭑⭑

Debbie Gilpin at BroadwayWorld declared: ‘this timely production reminds us of the human side of war, and highlights the subjectivity of morality in highly pressurised situations. Gripping, poignant and, at times, chilling – put it on your ‘must watch’ list.’

Marianka Swain popped up in the Telegraph and commented: ‘Lan’s sprawling, near-three-hour piece needs a firm edit. But Daldry often gives it the heart-pounding tension of a thriller’.

3 stars ⭑⭑⭑

Nearly all the critics would probably agree with Tim Bano’s statement in The Stage: ‘Stevenson is superb, conveying someone who cares deeply but brusquely, with a thorny moral absolutism that seems to reverberate through her body as physical agony.’

‘Juliet Stevenson gives a powerhouse performance’ said Theo Bosanhquet of LondonTheatre. He noted: It’s easy to feel numb to genocidal horrors but Lan humanises them and shows that intervention, however difficult the consequences may end up becoming, is always the right answer. In the end it’s a plea and a defence of good people doing something, and that’s a message we all need to heed.’

WhatsOnStage‘s Sarah Crompton described the production: ‘Stephen Daldry’s direction is devastatingly vivid, filling the small space of the Dorfman with an entire world of action and activity, letting still moments breathe. Miriam Buether has covered the long stage, with the audience packed around three sides, with a yellowing map of Europe, contested as the Allied powers seek to impose order and carve out influence.’ However: ‘the direction cannot disguise the fact that the play is too long, circling back on its arguments, and becoming over-extended and flat in the process.’

The Times’ Clive Davis declared: ‘If the occasionally baggy drama doesn’t quite justify a running time of nearly three hours, it’s held together by an imperious performance by Juliet Stevenson’.

Tim Bano for Time Out was concerned that ‘there is also a stiffness that stifles the emotion. It’s a blast of theatricality and a triumph of intellect which has obvious lessons for our times, even if they sometimes drown out the heart.’

The Guardian‘s Arifa Akbar had reservations too: ‘the pace is too slow (almost three hours) and the characters around Ruth are generic…And there is so much plot that it does not leave enough space for you to feel the play’s big emotional jolts, despite the stupendous central performances. Buether’s set design is superb, but its middle span of empty space does not lend itself to emotional intimacies.’

Anya Ryan for the Standard was a lone voice in being dissatisfied with Juliet Stevenson’s performance: ‘Stevenson, although as assured onstage as ever, seems to lack compassion.’

Critics’ average rating 3.2⭑

Complex and long but compelling story of toxic masculinity

Almeida theatre

We often talk about mixed reviews but rarely are they so diametrically opposed as the 5 and 1 star scores that greeted Romans: A Novel. Alice Birch’s tale of the roots of toxic masculinity, told through the stories of three brothers and a whole century of events, managed to grip some critics but completely repel one. The fans liked her complex expressive writing and were interested in what she had to say, but.. well, see the extract below from the one star review in The Times for an alternative viewpoint. The actors were universally praised.

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

5 stars ★★★★★

Lucinda Everett for WhatsOnStage explained: ‘this is no shaming takedown; there are no cheap shots at manhood here (OK, maybe a few). It’s something much more useful. An era-spanning, heart-shattering exploration of the male experience – so often drenched in loneliness, repression and impossible expectation’. She was full of praise for the author: ‘Few working playwrights can match her instinct for story and form, but her mastery of language is almost mystifying. The stylistically kaleidoscopic script is also rhythmic, poetic, fiercely funny, deeply rooted in character, and at times literally breathtaking; it winds with brute emotional force.’

Katie Kirkpatrick for BroadwayWorld held it in high regard: ‘With an ever-shifting form, an array of subtle references, and an intricate, thought-provoking script, this is a play that many will find difficult and impenetrable. At its core, however, it’s a truly perceptive piece that understands masculinity like little else.’ She insisted : ‘It’s a play that really has something to say, beyond the standard ‘men are bad’ – Birch explores loneliness, honour, and a feeling of deserving more that really confronts our present moment’.

4 stars ★★★★

David Jays for The Guardian wrote: ‘Romans is a fascinating, upsetting project, and Sam Pritchard’s alert production quivers with tension under Lee Curran’s sculptural lighting. Ultimately, patriarchy seems a legacy of damage, its ravening adventures dwindling unhappily into domestic life.’

’it’s the writing that dazzles: surreal, savage and at times startlingly empathetic’ said Time Out’s Andrjez Lukowski. He told us: ‘Birch’s darkly hilarious prose is gripping, and Sam Pritchard’s production agreeably taut and minimalist, a showcase for the words and actors’.

The Standard’s Nick Curtis found it: ‘an effortful watch, but a rewarding one.’ He described how ‘Birch tracks the progression of the novel through romance, realism, modernism and postmodernism… Through all the playful shifts in mood, pace and tone, her voice remains sharp and unsparing: she has an uncanny ability to bring things into crystalline focus with a chilling image or a phrase.’

Dave Fargnoli of The Stage explained: ‘This is no straightforward act of adaptation. Birch has constructed an intricate analysis of form and structure, sampling widely from literary genres – Bildungsroman, epistolary, Boys’ Own adventure – to tell a timely story of toxic masculinity and the lifelong search for purpose and meaning. The result is bewildering, bleak and often darkly funny.’

Claire Allfree for the Telegraph called it a ‘formidable if provocatively unwieldy three-hour play, which examines the last 150 years of testosterone-fuelled cultural narratives through the diverging stories of three estranged brothers.’

3 stars ★★★

LondonTheatre’s Theo Bosanquet liked it but: ‘This near-three-hour sweep of the patriarchy in its various iterations is a piece that throws up no end of provocative moments and ideas. It will keep you talking long into the night. But it also feels baggy and unfocussed at times, a smorgasbord of ideas that never quite cohere into a satisfying whole.’

1 star ★

The Times’ Clive Davis was having none of it: ‘What’s particularly irritating about Alice Birch’s terminally dull play… is that it spends nearly three hours congratulating itself on its grand psychological insights when it has, in fact, nothing original to say.’ He saw it as symptomatic of today’s playwriting: ‘Romans is an empty vessel but it does convey a worrying truth about the state of theatre: we’re awash with outstanding actors but they’re starved of good new writing.’

Critics’ average rating 3.8★

Romans: A Novel can be seen at the Almeida Theatre until 11 October 2025. Buy tickets direct from the theatre.

If you’ve seen Romans: A Novel, please leave a review and rating below

 

The year’s best show so far, say the critics

Garrick Theatre

Now transferred to the West End, the Menier Chocolate Factory revival of Mel Brooks‘ musical The Producers has gone down even better with the critics. The reviewers lavished praise on Brooks, director Patrick Marber, and stars Andy Nyman and Mark Antolin who play the Broadway producers who try to create a flop in an effort to fleece their backers, the flop in question being a tribute to Hitler. The average rating of 4.5⭑ is as high as any current West End show. Reviews of the original Menier run are included after the reviews of the West End opening.

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

5 stars ⭑⭑⭑⭑⭑

It’s ‘the funniest show in London’ said the Standard’s Nick Curtis. ‘I honestly can’t find fault with it.’ For Chris Omaweng at LondonTheatre1 it was ‘a fantastic night out, just the tonic for anyone who doesn’t mind generous doses of impertinence delivered with exuberance and joy’.

The Times’ Clive Davis declared: ‘this feels like the show we need right now: a comedy that holds nothing sacred except the right to hold nothing sacred. Marber, the choreographer Lorin Latarro and the costume designer Paul Farnsworth blend spectacle, discipline and daftness. The chorus are supremely well drilled’.

Theo Bosanquet at WhatsOnStage called it ‘a giant slab of feel-good escapism and genuine hilarity’. He said: ‘It’s anchored by a pair of outstanding performances from Andy Nyman and Marc Antolin’. BroadwayWorld‘s Aliya Al-Hassan was pleased to see: ‘The whole main cast returns to the show and don’t miss a beat with their energy, deft movement and incredible comic timing. The ensemble is one of the best I have seen, each actor bringing huge character to the smallest parts.’

Anya Ryan at LondonTheatre announced: ‘Only a true misery guts could pick faults in Patrick Marber’s revival of Mel Brooks’s The Producers.’ (Andrjez Lukowski at Time Out take note!) She found: ‘it delivers one belly laugh after another. And still, there is so much more to this production than good, old-fashioned tomfoolery. Sewn together with an unceasing ability to laugh at itself, it is a musical as radical and joyously subversive as when it first appeared on film in 1967.’

4 stars ⭑⭑⭑⭑

The Telegraph’s Dominic Cavendish referred to it as ‘a winningly funny proposition for a new generation – and Marber pulls out all the stops to raise the Garrick roof.’ Paul Vale for The Stage noted that Patrick Marber ‘saturates this slick musical comedy with a wealth of physical gags, exquisitely timed double takes and an expertly judged sense of the absurd that enhances the show’s momentum.’ Adam Bloodworth at CityAM labelled it ‘a comic masterpiece’.

3 stars ⭑⭑⭑

Only Andrzej Lukowski of Time Out was lukewarm: ‘The Producers is a fine musical that had its moment a quarter century ago.’ But he added ruefully: ‘you’d have to be made of stone not to laugh at it’.

Critics’ Average Rating 4.5⭑

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

The Producers can be seen at the Garrick Theatre until 19 September 2026.  Buy tickets directly from the theatre

Read Paul Seven’s review of The Producers here

Reviews from the run at the Menier –

Aliya Al-Hassan in BroadwayWorld (5) gave top marks: ’It’s far from subtle, but is funny, irreverant and witty.’ She praised the stars: ‘Nyman revels in his lank-haired, slightly chaotic persona. He has a palpable chemistry with Marc Antolin‘s adorably coy and neurotic Bloom.’ And the creative team: ‘Patrick Marber shows astute direction in his first musical. Lorin Latarro’s vibrant choreography defies the constrictions of the space, never seeming to be over-crowded or too busy.’

Helen Hawkins on The Arts Desk (5) called it ‘an uproarious adult panto.’ She said,  ‘Andy Nyman is the dynamo of the show, a convincing wheeler-dealer…His Leo Bloom, Marc Antolin, is spot on too, nervous and silly, but equally amiable’

The Guardian’s Arifa Akbar (4) said, ‘Still so original, and delightfully – daringly – funny, it is revived by director Patrick Marber with such vigour, sparkle and controlled wildness that it renders itself the London show of the festival season – funnier, camper and more outre than pantomime.’ She found it ‘irresistible, absurd and joyful, both celebrating and sending up the power of theatre. A blast of a show.’

WhatsOnStage’s Sarah Crompton (4) declared, ‘It’s not at all subtle, but speeds along with such pleasure at its own absurdity that it’s hugely entertaining.’ She said, ‘Nyman and Antolin anchor the show while everyone else goes so far over the top that the roof is in danger of coming off. Both Harry Morrison as the Nazi-loving author of the show and Trevor Ashley as the fabulously gay director Roger de Bris are unleashed into wild excess’.

Matthew Hemley for The Stage (4) pointed out, ‘this is a musical that still guarantees laugh after laugh after laugh, with a genuinely brilliant score from Brooks.’ He continued, ‘Marber keeps the show whizzing along, and Lorin Latarro’s slick choreography makes brilliant use of a tight space’. He described the stars:  ‘Nyman and Antolin work delightfully together, Nyman a ball of frustrated energy, Antolin on top form as his nervy, blanket-hugging sidekick. They sing and dance wonderfully, and they’re very funny, too – both the physical and verbal comedy is a genuine treat.’ He went  on, ‘The highlight, however, comes in the form of Trevor Ashley’s Roger De Bris, the director tasked with helming Springtime for Hitler, who eventually finds himself playing the Nazi leader…(his) expressions, voice and comic timing are spot on. His Judy Garland-infused Hitler is a wonder.’

The Financial Times‘ Sarah Hemming (4★) said, ‘director Patrick Marber, choreographer Lorin Latarro and the versatile cast go at it with unadulterated glee, plundering every cliché in the book and mischievously pickpocketing the musicals tradition.’ She continued, ‘At its heart are Nyman and Antolin, both terrific and a wonderful double act’ and concluded, ‘Despite all the absurdity…it’s rather sweet: a ridiculous love-letter to friendship and to the sheer craziness and passion of show business.’

Over at LondonTheatre (4) Olivia Rook showered praise all round and picked out various members of the cast: ‘Trevor Ashley is perfectly cast as the scene-stealing director Roger De Bris…Harry Morrison also gives a stand-out performance as the crazed Hitler fanatic Franz, spitting out his words with relish in a throaty German accent, and Joanna Woodward’s endearing, Marilyn Monroe-esque Ulla is a delight.’

Time Out’s Andrzej Lukowski (4) decided, ‘The Producers is a bit dated, a bit slow in getting going… But its pillorying of fascist iconography remains hysterically funny and steely sharp – perhaps sharper than it was before.’

Although Dominic Cavendish at The Telegraph (4) spent a chunk of his review comparing Nyman and Antolin unfavourably with the stars of the original movie, nevertheless he found it ‘perfectly suited for the festive need for cheer’.

Louis Chilton in The Independent (4) commented, ‘as a satire both of fascist nationalism and showbiz, The Producers remains ever-relevant. Directed by Patrick Marber … this production does a lot with a small, intimate stage; Lorin Latarro’s choreography is showy and dynamic – but lets the comedy rightfully hoard the focus…The jokes are rapid, the satire outrageous. How could it possibly fail?’

Critics’ Average Rating of Menier production 4.2★

If you’ve seen The Producers at the Garrick Theatre or the Menier Chocolate Factory, please share your review and rating below

‘A marvel of a show’

Royal Court Theatre

A town turns deaf overnight after a deaf boy is shot dead by a soldier. What follows in Dead Centre’s adaptation of a long poem by Ukrainian writer Ilya Kaminsky, mixes a show-within-a-show, puppetry, projections, and more, in a dizzying spectacle that looks at the nature of both war and theatre. It is written and directed by Dead Centre’s Ben Kidd and Bush Moukarzel in collaboration with BSL poet Zoë McWhinney.

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

5 stars ⭑⭑⭑⭑⭑

‘This is capital-T theatre: every moment of it thrills’ said Holly O’Mahony for LondonTheatre. She detailed many of those thrills in her review, ending: ‘It’s a brilliant showcase of what theatre can do, and a beautiful story of resilience, performed with spectacular creativity.’

Katie Kirkpatrick for BroadwayWorld agreed: ‘Deaf Republic is a marvel of a show. Using puppetry, live video, aerial, and a combination of spoken English, BSL, and captions, this is the kind of theatre that steps not only out of the box but into a whole new world.’ She explained; ‘It’s a visual spectacle, sure, but behind every gasp-worthy moment lie smart, prescient ideas. Parallels are drawn between sign language, poetry, and theatre, illustrating the amount of thought that has gone into the adaptation process.’

4 stars ⭑⭑⭑⭑

The Independent‘s Alice Saville declared it to be ‘an experimental epic of war and resistance that’ll make you rub your eyes and reach desperately for something real to hold on to. Puppets, circus, signing, film projections, spoken word – in scene after surreal scene, they pile on different storytelling techniques to explore how we talk (or don’t talk) about terrible things’. She concluded: ‘Deaf Republic is a slippery thing… It resists the easy, misleading clarity of a news report to show a world where normal life has been upended, exploded, silenced. And, fittingly, it leaves its audience grasping for a language to express what they’ve seen.’

Time Out‘s Andrzej  Lukowksi told us: ‘Dublin’s Dead Centre is a true marvel, a theatre company that makes intensely visceral works that feel like they’ve been wrenched from a beautiful dream and a screaming nightmare simultaneously.’ He described some of the details: ‘Kevin Gleeson’s droning sound design is gorgeous and primal. The interplay of Grant Gee’s dreamy video work and the gauzy scrims that descend from the ceiling is beautiful and disorientating. Jeremy Herbert’s set includes a full-sized car, which is just very cool.’

Dave Fargnoli reported for The Stage: ‘the piece plays, sometimes dizzyingly, with ideas of language, empathy, agency and resistance. The playful, metatheatrical text is delivered in a blend of British Sign Language, spoken lines, and surtitles. Moukarzel and Kidd’s lucid, confident direction holds the many threads together, employing video segments, live footage and some cheekily subversive puppetry, each new layer intentionally highlighting the artificiality of live performance.’

The Financial Times’ Sarah Hemming found ‘the sign language that runs through Kaminsky’s original takes on living form as an ensemble of deaf and hearing actors act out the story, buzzing between sign languages, surtitles, film and spoken dialogue. And language is just one strand of a richly textured, shape-shifting piece (directed by co-writers Ben Kidd and Bush Moukarzel) that draws on age-old theatrical tools of resistance — allegory, irony, puppetry — to add nuance and depth and, most significantly, to switch perspective.’ She vividly explained: ‘Perhaps most potently, Deaf Republic foregrounds the act of translation at the heart of all theatre: that this is manifestly not real, and yet it can express a reality that we struggle to articulate.’

Claire Allfree in the Telegraph called it ‘a wondrous two hours of storytelling’.

Chris Omaweng of LondonTheatre1 noted: ‘Some intriguing ideas are introduced in a visually impressive and marvellously unsettling production.’

3 stars ⭑⭑⭑

For Theo Bosanquet at WhatsOnStage: ‘It suffers somewhat from over-ambition, as it struggles to tie its disparate ideas together.’ However, ‘there’s a dystopian darkness underscoring it that leaves a lasting impression, and the fact it ends with a joke, told by the soldier, is as bleak a coda as one could imagine.’

David Jays for The Guardian described how ‘signing impels the show: a vivid choreography of communication. Signing, speech and surtitles are variously combined; panic and violence are loud in every register.’ He observed: ‘Dead Centre are masters of meta-theatrical dazzle. Here, we rarely watch in a single register. Live film sits atop the stage picture. Scenes are screened in dollhouse miniature then replicated at full scale (ingenious designs by Jeremy Herbert). A hovering drone scans the audience. There are so many moving parts that spectatorship becomes a testing exercise in awareness.’

The Times‘  Clive Davis had reservations. He acknowledged that the writers ‘have conjured up hallucinogenic tableaux, combining puppetry with video close-ups and a sliver of circus theatrics which demonstrate how easily everyday life can slip into random bloodshed.’ But he felt ‘At times, Deaf Republic has more of the static quality of an art installation.’

Critics’ Average Rating 3.9⭑

Deaf Republic can be seen at the Royal Court Theatre until 13 September 2025. Buy tickets directly from the theatre

If you’ve seen Deaf Republic at the Royal Court, please leave your review and rating below