Theatre
A gratifying evocation of 1960s sweets – but I wanted more: Toast reviewed
Nigel Slater is popular because he’s an exceptionally meek cook. Not for him the sprawling restaurant empire or the transatlantic…
An exceptional dystopia that’s made for TV: The Phlebotomist reviewed
The Phlebotomist by Ella Road explores the future of genetics. Suppose a simple blood test were able to tell us…
Has Bruce Norris bitten off more than he can chew?
Bruce Norris is a firefighter among dramatists. He runs towards danger while others sprint in the other direction. His Pulitzer-winning…
Slow-moving tale with a strong echo of Brideshead: Alys, Always at the Bridge reviewed
Nicholas Hytner’s new show, Alys, Always, is based on a Harriet Lane novel that carries a strong echo of Brideshead.…
Deserves its classic status: Jesus Hopped the ‘A’ Train at the Young Vic reviewed
Jesus Hopped the ‘A’ Train by Stephen Adly Guirgis deserves its classic status. This wordy and highly cerebral play pulls…
A torpid seminar on why Trump is the Antichrist: Shipwreck reviewed
When reviewers call a work ‘important’ they mean ‘boring’ and ‘earnest’. And in those terms Shipwreck is one of the…
The worst Arthur Miller play I’ve ever seen
All About Eve is Cinderella steeped in acid rather than sugar. Eve, or Cinders, is a wannabe star who uses…
Danny Dyer is not so much an actor as a fairground attraction: Pinter Seven reviewed
The Dumb Waiter is a one-act play from 1957 that retains an extraordinary hold over the minds of theatre-goers. It’s…
Cost of Living at Hampstead Theatre isn’t a bad show – and it contains a star in the making
Hampstead has become quite a hit-factory since Ed Hall took over. His foreign policy is admirably simple. He scours New…
A winning hoax: When We Have Sufficiently Tortured Each Other reviewed
The NT’s new play is an update of Pamela, a sexploitation novel by Samuel Richardson. It opens with Stephen Dillane…
A facile indulgence: Pinter Six reviewed
The cast of Party Time includes John Simm, Celia Imrie, Ron Cook, Gary Kemp and other celebrities. They play a…
What a relief we can finally admit Jimmy Porter was a pain in the neck
Gary Raymond must have been wondering if it was the end of a promising career — curtains. He was starring…
One masterpiece, one dud and one interesting rediscovery: Pinter Five reviewed
One masterpiece, one dud, and one interesting rediscovery. That’s Pinter Five. Victoria Station is a hilarious sketch which might have…
A masterpiece of pro-Trump propaganda: Sweat at the Donmar Warehouse reviewed
Sweat, set in the Pennsylvanian rust belt, looks at a blue-collar community threatened by a factory closure. The script uses…
‘Brexit unleased something monstrous’: James Graham interviewed
‘I try to interpret the most generous version of somebody’s actions,’ says the dramatist James Graham. This rare ability to…
Dick Clement on Porridge, Kirk Douglas and having seven projects on the go
Given their track record, you might think that Dick Clement and Ian La Frenais would be spared the struggles that…
A horror show that appeals to the intellect but not the gut: The Tell-Tale Heart reviewed
The Tell-Tale Heart is based on a teeny-weeny short story by Edgar Allan Poe. The full text appears in the…
Gary Kemp on pop, Pre-Raphaelites, politics and playing Pinter
The first thing Gary Kemp bought when Spandau Ballet started making money was a chair. He’s very proud of that…
I couldn’t wait to escape this opaque, witless horror show: True West reviewed
Sam Shepard was perhaps the gloomiest playwright ever to spill his guts into a typewriter. The popularity of his work…
![David Schwimmer has produced a new film of Alexander Zeldin’s play LOVE for the BBC. [Photo: Jose M. Osorio/Chicago Tribune/TNS via Getty Images]](https://www.spectator.com.au/wp-content/uploads/2018/12/8Declead.jpg?w=410&h=275&crop=1)
David Schwimmer on his new BBC film
There is very little art about modern poverty, because who wants to know? It is barely acknowledged, unless there is…
![Carl Mullaney as a charismatic Dame in Lyric Hammersmith's Dick Whittington. [Photo: Tristram Kenton]](https://www.spectator.com.au/wp-content/uploads/2018/12/Theatre_1.jpg?w=410&h=275&crop=1)
Lyric Theatre’s Dick Whittington is the opposite of festive garbage
One of the biggest stars of the 1970s was the professional lard-bucket Mick McManus, who plied his trade as an…
Intelligent, unfussy, literate – the West End needs more plays like this: Switzerland reviewed
I know nothing about Patricia Highsmith. The acclaimed American author wrote the kind of Sunday-night crime thrillers that put me…
Join a Jacobean jury at the Globe. Early modern theatre goes immersive – will it work?
James I and VI liked to term himself Rex Pacificus. Like most politicians who talk a lot about working for…
One of the finest productions I’ve seen at the Globe – a triumph of crony casting: Macbeth reviewed
Michelle Terry, chatelaine of the Globe, wants to put an end to penis-led Shakespeare by casting women in roles intended…
Lee Evans’s acrobatic clowning is the best thing about Pinter Three
Pinter Three appeals to opposite poles of the play-going spectrum. The birdbrains like me will enjoy the music-hall sketches while…
