Theatre is subjective. When you're fortunate enough to see multiple shows in a year, you're bound to encounter one that leaves you feeling somewhat indifferent. This was that show for me. Tilda Swinton's visceral portrayal of Ella/Max was not to blame. In fact, it would be hard to pinpoint the exact moment I realised this simply wasn't for me. Translated by Anthony Vivis from Manfred Karge's original text, Man to Man is brought to the stage once more - 30 years ago at this sa

I love a trip to Sonning. I've reviewed many a production at this venue, and all have been incredibly unique. Two things never seem to change, however: the quality of the food, and the diversity of the productions on offer. As I've said in a previous review, this venue doesn't necessarily target audiences of my generation, and its shows often reflect this through revivals of niche twentieth century plays that are inevitably quite dated. That said, this one felt slightly diffe

Many a great afternoon was spent at The Mill at Sonning in recent months, and not least because of the atmosphere. So, when I heard about a similar experience with a Sonning show right here in London's West End, I knew I had to jump at the opportunity. Instead of the usual two-course meal, I was treated to a lovely afternoon tea - complete with its traditional scones and mini sandwiches - all whilst watching Noel Coward's Still Life. For one week only, you too can experience

Based on Harper Lee's timeless novel, Aaron Sorkin’s adaptation of To Kill A Mockingbird returns to the West End after several years away. The story is told by Scout Finch, the youngest daughter of the town's renowned lawyer Atticus Finch. During the course of the play, Atticus represents a Black man, Tom Robinson, who is accused of heinous crimes against the daughter of Bob Ewell. It is a difficult but wonderful story, as through his actions, Atticus teaches his children emp

We are all familiar with World War One to some extent, having learned about it in school from a young age. Many people recognize that the assassination of Archduke Franz Ferdinand was the key event that sparked the Great War. However, what many of us are not aware of is how Gavrilo Princip became one of history's most infamous murderers. Rajiv Joseph's 2017 play narrates the tale of how a group of young revolutionaries got involved in the plot to kill the Archduke. The show o

This show follows the story of four very different siblings as they come together to discuss how to split the assets left to them following their mother's death. It is a delicate subject, one that is hard to tackle on stage without depressing audiences completely in the face of that most inherent of human flaws: greed. It starts off as an introduction to all the characters: Olivia (played by Sally Phillips) is considered the matriarch of the group, Jonny (JJ Feild) is the old

"Some do cocaine, I do cabaret" Written by Olivier and Tony Award nominated playwright Peter Quilter, this show follows the story of a "mischievous and musical" woman, Allegra (played by Dame Maureen Lipman), who often finds herself in trouble for her peculiar ways. Her brother Ronen hires a woman to help her deal with household chores as she advances in age, and out of it is born a beautiful friendship anchored in the simple joys of life. It's a moving story full of heart, a

Kurt Vonnegut's Slaughterhouse-Five finds itself on stage, boldly adapted by Eric Simonson. The novel, published in 1969, remains one of the great anti-war works of the twentieth century, blending autobiography, science fiction and dark comedy into something wholly its own. It follows Billy Pilgrim, a World War Two veteran who becomes unstuck in time and ends up captured by aliens from a planet called Tralfamadore. The narrative is deliberately non-linear; it is altogether un

Care is a translation of the French play 'Une Morte Dans La Famille' by Alexander Zeldin, now making its Young Vic debut under Zeldin's direction. It tells the story of Joan (Linda Bassett), who finds herself in a care home following a series of bad falls. Her daughter and difficult grandsons are all she has left in the world, but when she finds herself confined against her will, she makes the best of her situation amongst a cast of fascinating characters. The writing of this

For its 70th Anniversary season, the Royal Court is rolling out the red carpet for an incredible lineup of shows and artists. 5 months into the year and we have already had some phenomenal works grace its stages, both upstairs and downstairs, including Guess How Much I Love You? (with BAFTA winning actor Robert Aramayo and Olivier Award Nominee Rosie Sheehy), The Sh*theads and John Proctor is The Villain. This month, we are going back to the roots of the theatre with a 2-in-1

Once in a while, we come across a piece of writing that is so masterfully crafted that it feels like nothing short of pure genius. Now, this doesn't happen often, and it is even more rare that this piece of writing unites the minds of its viewers in agreement with this assessment. This play by Kimberly Belflower is that piece of writing. John Proctor is the Villain is a one-in-a-lifetime production—a show that speaks to every generation alike. Handling topics as delicate as

Spitfire Girls shines a light on the unspoken heroes of the Second World War - the women who fought stereotypes and deep rooted misogyny to serve their country. The show follows two women as they enlist to join the Air Transport Auxiliary (ATA), flying planes from factories to deliver them to the Royal Air Force during the war. Whilst these women were not on the front lines of the fighting, their job was essential in assuring the security of the soldiers who were. Although t

There’s a quote in the show’s programme that reads “Our age is the age of the refugee, the displaced person, mass immigration.” We live in terrifying times. Uncertain and uncomfortable times. When the status quo is constantly being challenged, corruption is reaching far and wide and our reliance on human bonds is stronger than ever. A story like The Beekeeper of Aleppo perhaps never felt more relevant than it does right at this moment. It follows the story of Nuri ( Adam Sin

Based on the beloved ITV series, this original story provides yet another case for Inspector Morse (played here by Tom Chambers ) to add to his repertoire. When a young actress suddenly dies during a performance of Hamlet , a gripping investigation begins, gradually uncovering elements from the inspector’s past. As with the television series that inspired it, the production attempts to balance an intricate mystery with a more introspective look at its central character. The p

Told through a series of monologues and duologues, this show follows Dodi and Ava as they attempt to cope with their separation. It is a touching story that places heart, grief and identity at its centre, developing the queer narrative seamlessly without it becoming an area of focus. It was particularly refreshing to see diversity present on stage without the need for it to be overtly explained or justified. By treating it as an unremarkable part of everyday life, the product

Once in a while, an avid theatre-goer encounters a production that leaves neither a "good" nor "bad" impression, but rather a lingering sense of displacement - the feeling that "this just wasn't for me." Such was the case with this reviewer and the latest staging of Jeffrey Bernard is Unwell. It is a strange experience to sit in a room full of laughter and feel like the only one missing the punchline, yet that dissonance is exactly what defined the evening. Jeffrey Bernard (R

A 50-hour-long marathon of improvisation. Yes, you read that correctly: 50 hours. As this reviewer writes, people still have another 24 hours of complete and utter madness to sit through. The Pleasance puts on this event every year, and for regulars it seems to be an absolute highlight. This year, we find ourselves in Pleasanceville in the year 1980… something — a sort of makeshift parody of the Stranger Things universe. The event works in a very clever way: every odd hour (

Theatre is subjective. Not every story will suit everyone; one is bound to find a piece that simply does not speak to them. I realise that beginning a review in this way does not bode especially well for the production in question. Whilst that instinct is not entirely misleading, there is, in truth, much here to unpick. It is only fair to preface any discussion by noting that this is a show steeped in blood and gore, and one which proves genuinely terrifying at points. Camill

The Mill at Sonning has one of those stellar reputations — and not without good reason. As one of the few remaining dinner-and-theatre experiences, it offers the kind of outing that feels genuinely distinctive from the moment you arrive. Having previously reviewed productions at this venue, this reviewer can say with complete honesty that, while not every show has been an outright success, the overall calibre of the experience has always compensated for any shortcomings on st

This poignant new play by Luke Norris follows a young couple confronted with a choice every human being dreads. At their 20-week pregnancy scan, what should be a moment of uncomplicated joy becomes the beginning of something far more devastating. Without giving too much away, the play charts the unbearable grief of the life they imagined, while quietly interrogating the philosophical and moral questions surrounding parental autonomy and choice. Its strength lies in its restr