Review: The Thrill of It All, Riverside Studios

Written for Culture Wars “We’re going to take you on an adventure,” intones an impish woman in a sequinned dress, “with a capital A.” Her vo...

Review: Parachutists or On the Art of Falling, Barbican Pit

Written for Culture Wars It’s not just gravity that makes us fall. Hearts can have an equal pull, according to this charming but bitty piece...

Review: Tribes, Royal Court

The Royal Court sets out once again to expose the ‘er’ at the centre of liberal sensibilities in Nina Raine’s expressive and articulate play...

Review: The Charming Man, Theatre 503

Written for Culture Wars To be frank, it’s astounding that The Charming Man made it through the Theatre 503’s literary department in its c...

Review: Ivan and the Dogs, Soho Theatre

Written for Culture Wars The Ivan of Hattie Naylor’s title might as well be known as the Moscow Mowgli. In a severely impoverished Russia, ...

Review: The Redemption Solos, Old Red Lion

Written for Time Out Though both contain a death averted after a change of heart, the two monologues that make up the Underground Collective...

Review: Hamlet, National Theatre

Written for Culture Wars Rory Kinnear’s Hamlet is a marked man; most definitely “the observed of all observers.” The Elsinore he inhabits is...

Review: A Number, Mernier Chocolate Factory

Written for Culture Wars Caryl Churchill plunges straight into a number of dilemmas, both ethical and epistemological, in her disarmingly i...

Review: Faust, Young Vic

Written for Culture Wars There’s no doubting that Vesturport, Iceland’s primary theatrical export, have gone for flair with their circus-he...

Review: The Sleepers Den, Riverside Studios

Written for Time Out While Peter Gill's latest directorial venure plays at the Bush, a mile down the road his 1969 debut play gets a ten...

Review: On Ageing, Young Vic

Written for Culture Wars "When I had my first hip replacement," says a twelve year old into a tabletop microphone, "I had a p...