thetheatrereviewer
The Theatre Reviewer
For the theatre-lovers of London, a blog dedicated to reviewing theatres. www.theatrereviewerblog.wordpress.com
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Renamed: The Performance Critic
To visit The Performance Critic, please click here or copy and post the following link into your browser:
www.leejamesbroadwood.com/tpc
The Theatre Reviewer, now called The Performance Critic, has a new home on my website.
For this reason, this specific site now serves only to redirect readers and will eventually be discontinued.
Review requests are still being accepted! To request a review…
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This account is no longer active.
The Theatre Reviewer has been renamed to The Performance Critic and now has a new home: www.leejamesbroadwood.com/tpc
Subscribe to my website to keep up to date with future publications, and to be informed when new products, professional services and sites become available.
#theatre#theatre reviews#performance#performing arts#theatre criticism#art#drama#contemporary theatre#critics
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This account is no longer active.
The Theatre Reviewer has been renamed to The Performance Critic and now has a new home: www.leejamesbroadwood.com/tpc
Subscribe to my website to keep up to date with future publications, and to be informed when new products, professional services and sites become available.
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[Review:] ASCENT, Museum of Comedy, London.
[Review:] ASCENT, Museum of Comedy, London.
“A promising text but poorly constructed, desperate to please all senses.” 2.5 ★
NB: Lucy Loughnane both co-wrote and performs in this semi-autobiographical play. The character she has written is also called Lucy. To distinguish these three, mentions of ‘Lucy’ will refer to the character with which we are presented; ‘Lucy Loughnane’ or ‘Loughnane’, however, refer to the artist as a performer uniquely; and any considerations of the artist as the co-playwright will be further…
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[Review:] I HEART MICHAEL BALL, Etcetera Theatre, London.
[Review:] I HEART MICHAEL BALL, Etcetera Theatre, London.
“An engaging, if perhaps inappropriate, text, in need only of further texturisation and faster momentum.” 3.5 ★
This review will consider I Heart Michael Ball, a play written and performed by Alexander Millington
One notably successful element of this performance is the manner in which it includes and relates to its audience. Prompting them to respond to specific questions and addressing them almost throughout, Millington allows the audience to feel engaged within the performance yet in such a way that…
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[Review:] THE WASP, Hen & Chickens Theatre, London.
[Review:] THE WASP, Hen & Chickens Theatre, London.
“An exemplary performance; a wildly entertaining text excellently performed.” 4 ★
This is a truly excellent play, wonderfully written by Morgan Lloyd Malcolm, and expertly cast, with direction by Wendy Bollard.
Comedy is instrumentalised well in the former portion of this text, with quick-witted quips, character idiosyncrasies and the general disparity between the two coaxing us to connect, understand, bond with and enjoy each of the characters respectively. Having drawn us…
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[Review:] COLLOQUIUM, Hen & Chickens Theatre, London.
[Review:] COLLOQUIUM, Hen & Chickens Theatre, London.
“A greatly improved text, though creatives need to reconsider rhythm and performance style.” 3.5 ★
This performance has seen quite a drastic transformation since I was asked to review it back in 2021, and it is always a pleasure to see how artists refine and reshape their work.
I will not treat this review as a study of the performance’s ‘progression’ or ‘development’ from this former version to the current, however. Instead, I will treat this as a unique performance in its own merit, only…
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[Review:] BLISS, Etcetera Theatre, London.
[Review:] BLISS, Etcetera Theatre, London.
“An exceptional play; gripping, coherent and wonderfully performed.” 4 ★
This review will consider Bliss, a play written by Phoebe Mills, directed by Léoni Hughes, and currently being staged at the Etcetera Theatre.
This is an excellent performance, well-conceived, well written and marvellously performed — perhaps the best cast I have seen in a while, in fact. The story we are presented has good intrigue and is coherent and well structured, if slightly predictable,…
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[Review:] HACKNEY WICK WRESTLING, Colour Factory, London.
[Review:] HACKNEY WICK WRESTLING, Colour Factory, London.
“A good show but one which misaligns aim and execution and whose wrestlers are disconnected from the live experience.” 2.5 ★
This review will consider Hackney Wick Wrestling, a show presented by independent wrestling school and promotion Hustle Wrestling, taking place for one night only at the Colour Factory.
In terms of aesthetics, the vast majority of the wrestlers are indistinct at best. Amidst the mere shirtless men, it is difficult to discern any established wrestler types beyond the overly caricatural: the…
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[Review:] UNTITLED SPARKLY VAMPIRE PLAY, Omnibus Theatre, London.
[Review:] UNTITLED SPARKLY VAMPIRE PLAY, Omnibus Theatre, London.
“A confused, incomplete and incoherent text made merely watchable by good performers.” 1 ★
I must, unfortunately, start this review this review by detailing some negative initial impressions walking into the house, somewhat immortalised by subsequent happenings. As I entered the house, two members of the crew were gossiping, one lounging over the seats, another stood broadly at the control desk, talking across the distance with her. Loudly skindering, relaxed, ignorant to the now…
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[Review:] 24, 23, 22, Omnibus Theatre, London.
[Review:] 24, 23, 22, Omnibus Theatre, London.
"Excellent actors and a gripping, articulate story, but staging needs further refinement." 3.5 ★
This is certainly a captivating and thought-provoking performance, tackling well its themes of responsibility, pressure, self-depreciation, unrequited love and mental illness. A most articulate and profound piece of theatre that I would certainly recommend readers see.
Joe Marty (playing Brendon) and Ruth Page (playing Fran) have an excellent and palpable chemistry, evidenced in their shared…
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[Review:] ABIGAIL, The Space, London.
This review will consider Abigail, a play written by Stephen Gillard (also the play’s director) and Laura Turner. It is currently being performed at The Space, presented by Fury Theatre.
Aesthetically, this is a rather sleek and mostly accurate performance, beyond the lack of layers or headwear in costume or the erroneous inclusion of Mrs Constance’s (Sophie Kamal) scarf, for example. Costume…
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[Review:] SCAB, White Bear Theatre, London.
[Review:] SCAB, White Bear Theatre, London.
“A gripping story vitalised by a talented performer.” 4 ★
NB: The character played by Conor Lowson is never named in this text and so shall be referred to simply as ‘Lowson’s/his character’ in this review.
Overall, this is a very impressive one-man performance written by Luke Stapleton and directed by Jamie Biddle. With a well defined and coherent plot and characters, this play is wonderfully brought to life by performer Conor Lowson and his powerful,…
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[Review:] BIRDIE'S ADVENTURES IN THE ANIMAL KINGDOM, Harrow Arts Centre, London.
[Review:] BIRDIE’S ADVENTURES IN THE ANIMAL KINGDOM, Harrow Arts Centre, London.
The atmosphere as the audience enters is clever, artistic and well-constructed: beams of yellow and blue splitting through a hazed dim stage, and two simple white fabric flats. A simple set design by Cheng Keng but a dynamic one. With the accompaniment of relaxing music (composed by Grace Joy Howarth), the creatives have created the perfect environment to settle, calm and relax the young audience…
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[Review:] THE BONE SPARROW, Theatre Peckham, London.
[Review:] THE BONE SPARROW, Theatre Peckham, London.
"An enjoyable and engaging performance but lacking originality and sufficient detail in places." 3 ★
I shall start with this performance’s most impressive feature: its aesthetic. The set for this performance (designed by Miriam Nabarro, constructed by Mercury Theatre Colchester) is incredible in its multifunctionality and malleability. It allows for a distinguished and refined visual for each and every one of the performance’s various locations. Though simple in its foundations, the barrenness…
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[Review:] DIRTY CORSET, The Pleasance Theatre, London.
[Review:] DIRTY CORSET, The Pleasance Theatre, London.
“An enjoyable rollercoaster performance but one requiring further structure and transparency.” 2.5 ★
NB: The ‘characters’ presented to us in this performance have been left unnamed. For purposes of distinction, forenames will be included to refer to the actors’ roles, and full names or surnames will be included in reference to the actors themselves.
This is a fun, quirky and unique performance whose peculiar comedy is endearing and refined. It lacks, however, a great sense of underlying…
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[Review:] SAD, Omnibus Theatre, London.
[Review:] SAD, Omnibus Theatre, London.
“A lacklustre performance lacking depth and originality, if initially and visually appealing.” 1.5 ★
This review will consider SAD, a play written by Victoria Willing, directed by Marie McCarthy and staged at the Omnibus Theatre.
Firstly, the set. This is a truly beautiful set design by Alys Whitehead. It is intricate and detailed, hyperrealistic and, most importantly, appropriate to the text. Because of how immaculate this design is, however, elements that are not so refined stick out sorely…
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