David Dawson shines in this interesting but ultimately uninspiring retelling of Friel’s imperfect work, which only occasionally glimmers with beauty.
Alan Bennett’s new play is set in a hospital – and it seems that, in surgery, the heart has been ripped out, and what we’re left with is a cold, empty play, devoid of life and laughter.Read more "Allelujah, Bridge Theatre 2018 – Review"
Eyam should tell a story of unity, but bogged down in a running time of 3 hours, baffling excuses for comedy, and misguided writing, Eyam doesn’t work – despite glimmers of beauty.Read more "Eyam, Globe Theatre 2018 – Review"
Where a lesser production may choose to make Tamburlaine’s story savage, masculine, coarse, Boyd’s production shows us Godliness at its most violent.Read more "Tamburlaine, RSC 2018 – Review"
The meeting of Patricia Highsmith and this young stranger seems to dance around the violent, skirt around disaster.Read more "Switzerland, Theatre Royal Bath 2018 – Review"
The Macbeths are gritty, sexy and steely, but one is left with the feeling that star casting fails to dazzle.Read more "Macbeth, RSC 2018 – Review"
The bloodthirsty story of the last Yorkist King is stylish and delicious, and tragic in all the guiltiest ways.Read more "Richard III, Shakespeare’s Rose Theatre 2018 – Review"