Monday, April 15, 2024
Our theater critics and a reporter discuss the big winner — “Sunset Boulevard” — and the rest of the honorees at Britain’s equivalent of the Tonys.
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Ivo van Hove’s stage adaptation of the 1977 John Cassavetes film, with music by Rufus Wainwright, turns a taut character study into a corny melodrama.
SOURCE: The New York Times Subscription at 08:42PMMonday, March 25, 2024
“For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy” and “Red Pitch” offer generous portrayals of male bonding.
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In a stage adaptation of Oscar Wilde’s “The Picture of Dorian Gray,” Snook plays all the characters — with the help of screens.
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Jez Butterworth’s new play explores the family dynamics of a song and dance troupe that didn’t make the big time.
SOURCE: The New York Times Subscription at 10:24AMMonday, January 22, 2024
The Belgian director’s revival of “Jesus Christ Superstar” showcases some of his signature aesthetic techniques. But it’s an odd pairing.
SOURCE: The New York Times Subscription at 01:54PMTuesday, December 19, 2023
Ralph Fiennes and David Tennant take Shakespeare’s psychodrama along divergent paths in two simultaneously running shows.
SOURCE: The New York Times Subscription at 08:36AMThursday, December 14, 2023
“Stranger Things: The First Shadow,” a London theater show based on the Netflix series, pummels the audience with sensory overload and its lavish budget.
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A London production adapted from Eliza Clark’s debut novel refuses to justify its unreliable narrator’s violence, but lacks narrative depth and complexity.
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In London, transforming Chekhov’s “Uncle Vanya” into a one-man show is an impressive feat, but it costs the play its pathos.
SOURCE: The New York Times Subscription at 10:55AMMonday, August 21, 2023
In a revival of Lucy Prebble’s play at the National Theater, in London, Paapa Essiedu and Taylor Russell are terrific as a couple who meet during a pharmaceutical trial.
SOURCE: The New York Times Subscription at 05:55AMThursday, August 17, 2023
This year, the stronger productions in the open-to-all event were on a par with many in the more prestigious, curated Edinburgh International Festival.
SOURCE: The New York Times Subscription at 10:33AMFriday, August 11, 2023
In plays from Scotland, Korea and Switzerland, theater companies explored questions of belonging, with varying degrees of success.
SOURCE: The New York Times Subscription at 10:07AMThursday, August 10, 2023
At the Edinburgh Festival, Geoff Sobelle presents a dinner party as a theatrical spectacle, in which silliness is the end in itself.
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A revival reimagines the polarizing musical for the 21st century while a new show offers a bawdy riposte.
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A new James Graham play about the soccer coach Gareth Southgate is a lively romp, but its core message about embracing male vulnerability feels soppy.
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A London revival of Andrew Lloyd Webber’s partner-swapping musical is a camp amoral romp. But is this obsession really the same as romance?
SOURCE: The New York Times Subscription at 12:12PMThursday, April 13, 2023
The Royal Shakespeare Company adaptation of Maggie O’Farrell’s hit 2020 novel is elegant and tasteful — but also formulaic and sentimental.
SOURCE: The New York Times Subscription at 04:06PMTuesday, April 4, 2023
The show, in London, skewers its protagonist through maximalist kitsch, but it comes with a tone of finger-wagging moralism that’s no fun.
SOURCE: The New York Times Subscription at 03:36PMWednesday, March 29, 2023
The British experimental theater company Complicité turns the Nobel laureate Olga Tokarczuk’s novel “Drive Your Plow Over the Bones of the Dead” into a thought-provoking, entertaining…
SOURCE: The New York Times Subscription at 11:24AMWednesday, February 1, 2023
On London’s West End, Aidan Turner and Jenna Coleman star in a lightly dystopian comedy that succeeds as a portrait of a troubled couple, but falls short as political satire.
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