All stories by Mert Dilek on BroadwayStars

Friday, September 30, 2022

The Crucible, National Theatre review - visually stunning revival of Miller's classic drama by Mert Dilek

Lyndsey Turner paints this seminal drama with disturbing colours How can this beauty arise from such ugliness? The Crucible, Arthur Miller’s 1953 drama about the Salem witch trials of 1692…

SOURCE: theartsdesk.com at 09:43AM
Friday, September 9, 2022

Who Killed My Father, Young Vic review - Hans Kesting excels in this solo show by Mert Dilek

Édouard Louis’s book is brought to life in a fierce performance A bare interior with tarnished walls, a single bed, and an oxygen tube. The stage seems to have been set for a Beckett play…

SOURCE: theartsdesk.com at 08:07AM
Saturday, May 21, 2022

My Fair Lady, London Coliseum review - tasteful revival powered by stirring performances by Mert Dilek

Bartlett Sher's Broadway production comes to London with aplomb First staged in 2018, Bartlett Sher’s Lincoln Center Theater production of My Fair Lady is London’s latest import from B…

SOURCE: theartsdesk.com at 05:33AM
Saturday, April 30, 2022

Jerusalem, Apollo Theatre review - Mark Rylance blazes in this astonishing revival by Mert Dilek

Jez Butterworth's 2009 play is evergreen in its excellence At long last, the giant has come back. Over a decade after its critical apotheosis on both sides of the Atlantic, Jez Butterworth…

SOURCE: theartsdesk.com at 04:33PM
Thursday, April 28, 2022

Prima Facie, Harold Pinter Theatre review - Jodie Comer sears the stage by Mert Dilek

'Killing Eve' star's stage debut is a triumph National statistics tell us that, in the year ending September 2021, 41% of rape victims in England and Wales eventually withdrew their support …

SOURCE: theartsdesk.com at 08:48AM
Monday, April 25, 2022

Jackie Sibblies Drury’s “Marys Seacole” at the Donmar Warehouse by Mert Dilek

Jackie Sibblies Drury is one of the most exciting voices working in American theatre today. The Pulitzer Prize-winning writer of Fairview and We Are Proud to Present a Presentation… has a …

SOURCE: thetheatretimes.com at 04:29AM
Monday, November 8, 2021

The Sugar House, Finborough Theatre review - appealing but uneven family drama by Mert Dilek

Alana Valentine's play about crime and poverty in Australia receives a spirited production The complex history of capital punishment in Australia may not be familiar to many Londoners, but t…

SOURCE: theartsdesk.com at 09:03AM
Wednesday, October 27, 2021

albatross., Playground Theatre review - interconnected intimacies by Mert Dilek

An adroit cast does justice to Isley Lynn's complexly woven narrative "You need to get better at communicating", says one character to another in Isley Lynn’s albatross. Indeed, the same…

SOURCE: theartsdesk.com at 06:06AM
Tuesday, October 26, 2021

“The Tragedy of Macbeth” at the Almeida Theatre by Mert Dilek

What does it take to stretch Shakespeare’s shortest tragedy to a runtime of over three hours? Not, as it turns out, a tedious crawl through the play. Rather, an electrifying but patient jo…

SOURCE: thetheatretimes.com at 01:26AM
Friday, March 13, 2020

E.V. Crowe’s “Shoe Lady” at the Royal Court by Mert Dilek

“Would you rather have one shoe or no shoes?” Viv is here to show us that missing only one shoe is not necessarily the better option. Having lost one of her shoes on the way to work, she…

SOURCE: thetheatretimes.com at 12:44AM
Monday, March 9, 2020

Corpse! review at Park Theatre, London – ‘farcical revelations and reversals’ by Mert Dilek

Evelyn Farrant, the scheming actor at the centre of Gerald Moon’s 1983 play Corpse!, would like to believe that he is the

SOURCE: The Stage Registration at 01:30PM
Wednesday, March 4, 2020

The Apologists review at Omnibus Theatre, London – ‘brilliantly performed trio of monologues’ by Mert Dilek

What goes into an apology, and what comes out of it? The three plays assembled in The Apologists approach these questions from

SOURCE: The Stage Registration at 07:52AM
Friday, February 28, 2020

Look Back in Anger review at White Bear Theatre, London – ‘intimate revival of a landmark play’ by Mert Dilek

John Osborne’s Look Back in Anger is often remembered for its association with kitchen sink realism. Marking the play’s return to London

SOURCE: The Stage Registration at 09:46AM
Saturday, February 22, 2020

Antoinette Nwandu’s “Pass Over” at the Kiln Theatre by Mert Dilek

Antoinette Nwandu’s play Pass Over is a palimpsest. Its outer surface looks familiar: haunted by the ever-present threat of a murderous police force, two black men are paralyzed into inact…

SOURCE: thetheatretimes.com at 03:25PM
Wednesday, February 19, 2020

Tony Kushner’s “The Visit” at the National Theatre by Mert Dilek

Now that’s what I call a star turn. Hitting the brakes on an express train, Lesley Manville lands on the National Theatre’s Olivier stage surrounded by thick smoke, supported by prosthet…

SOURCE: thetheatretimes.com at 11:34PM
Sunday, February 16, 2020

Stef Smith’s “Nora: A Doll’s House” at the Young Vic by Mert Dilek

A woman walks into her home. Then does another. And another. Stef Smith’s Nora: A Doll’s House is not merely an adaptation of Ibsen’s 1879 play. It is three adaptations superimposed on…

SOURCE: thetheatretimes.com at 01:06AM
Friday, February 14, 2020

Tom Stoppard’s “Leopoldstadt” at Wyndham’s Theatre by Mert Dilek

Towards the end of Leopoldstadt, a young writer named Leonard is handed a sheet of paper with his family tree on it. The chart spans four generations and bears the imprint of two dozen lives…

SOURCE: thetheatretimes.com at 11:13PM
Wednesday, February 12, 2020

Crongton Knights review at Belgrade Theatre, Coventry – ‘an energetic and engaging adaptation’ by Mert Dilek

“Tonight’s been a drama-overload,” observes one of the “magnificent six” in Crongton Knights. She is not exaggerating: Emteaz Hussain’s adaptation of Alex

SOURCE: The Stage Registration at 08:28AM
Friday, February 7, 2020

Chris Bush’s “Faustus: That Damned Woman” at the Lyric Hammersmith by Mert Dilek

Could diabolical interference be the only way for a woman in 17th-century London to advance in life without being bound to a man? For Joanna Faustus, the answer is in the affirmative. So she…

SOURCE: thetheatretimes.com at 03:15AM
Friday, January 31, 2020

Chekhov’s “Uncle Vanya” at the Harold Pinter Theatre by Mert Dilek

The wilting characters of Uncle Vanya would like us to believe that their scenes from country life should not amount to much, except, perhaps, for an endless succession of tedious trifles. T…

SOURCE: thetheatretimes.com at 09:40PM
Monday, January 20, 2020

Cops review at Southwark Playhouse, London – ‘undercooked play about police corruption’ by Mert Dilek

Set in Chicago in 1957, Tony Tortora’s Cops zooms in on four jaded police detectives trying to navigate a police force steeped

SOURCE: The Stage Registration at 08:01AM
Friday, January 17, 2020

Hamlet: Rotten States review at Hope Theatre, London – ‘playful ambition and genial humour’ by Mert Dilek

Imagine if the “rude mechanicals” from A Midsummer Night’s Dream were asked to stage Hamlet in just an hour and with only

SOURCE: The Stage Registration at 11:36AM
Thursday, December 19, 2019

Shelagh Delaney’s “A Taste of Honey” at the Trafalgar Studios by Mert Dilek

It is hard to believe that Shelagh Delaney wrote A Taste of Honey when she was only nineteen. This increasingly textured and knotty play, which received its first—and famous—staging in 1…

SOURCE: thetheatretimes.com at 01:00AM
Sunday, December 15, 2019

John Webster’s “The Duchess of Malfi” at the Almeida Theatre by Mert Dilek

This Duchess of Malfi is a cool one. It is so cool that it has lost its gripping temper and, with it, some of its fire. A surprising drop in temperature, because director Rebecca Frecknall h…

SOURCE: thetheatretimes.com at 01:47AM
Thursday, December 12, 2019

Martin Crimp’s “Cyrano de Bergerac” at the Playhouse Theatre by Mert Dilek

“You into words?” Jamie Lloyd’s magnificent treatment of Cyrano de Bergerac very much is. Refracted through Lloyd’s modestly masterful staging, Martin Crimp’s vigorous, insightful …

SOURCE: thetheatretimes.com at 02:43AM
Tuesday, December 10, 2019

The Little Prince review at Omnibus Theatre, Clapham – ‘a joyously sparkling interplanetary journey’ by Mert Dilek

Based on Antoine de Saint-Exupery’s beloved classic The Little Prince, this year’s festive show at the Omnibus Theatre promises a joyously sparkling

SOURCE: The Stage Registration at 04:34AM
Sunday, December 8, 2019

Jackie Sibblies Drury’s “Fairview” at the Young Vic by Mert Dilek

Fairview is a scorching minefield that looks like a green meadow. At long last, London audiences can enter the beguiling terrain of Jackie Sibblies Drury’s 2018 play in a flawless Young Vi…

SOURCE: thetheatretimes.com at 02:55AM
Friday, December 6, 2019

Cinderella – The Rockin’ Panto review at Artsdepot, London – ‘somewhat baggy panto’ by Mert Dilek

Written and directed by Peter Rowe, New Wolsey Theatre’s “rockin’ panto” Cinderella lands in North Finchley with a glittery, flaming bouquet of

SOURCE: The Stage Registration at 09:49AM
Thursday, December 5, 2019

Jude Christian’s “Cinderella” at the Lyric Hammersmith by Mert Dilek

’Tis the season for Christmas pantos across the UK, and there could not be a more ideal opener to this mad tradition than Lyric Hammersmith’s joyously woke Cinderella. Written by Jude Ch…

SOURCE: thetheatretimes.com at 09:52PM
Monday, December 2, 2019

The Wind of Heaven review at Finborough Theatre, London – ‘rare revival of Emlyn Williams’ play’ by Mert Dilek

First performed in 1945, Emlyn Williams’ play The Wind of Heaven depicts a Welsh village caught in spiritual turmoil in the wake

SOURCE: The Stage Registration at 05:10AM
Thursday, November 28, 2019

Elena Ferrante’s “My Brilliant Friend” at the National Theatre by Mert Dilek

Adapting novels for the stage is a tricky business. When the novel in question happens to be wildly popular and epically proportioned, the challenges faced by the adapter can escalate withou…

SOURCE: thetheatretimes.com at 11:59PM

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