Review: The King’s Speech, Wyndham’s Theatre

Written for Culture Wars David Seidler’s theatre script is, of course, the original. The one spotted by Tom Hooper’s mum at the Pleasance th...

Review: Foté Foré, London Roundhouse

Written for Time Out Footballers are forged on the streets of Brazil; entrepreneurs in London's East End, and acrobats on the beaches of...

Review: Vera Vera Vera, Royal Court

To give Hayley Squires her dues, she writes impeccable dialogue. It is deft, responsive and, ninety-nine per cent of the time, handles subte...

Review: Assassins, Pleasance Theatre

Written for Time Out While Sweeney Todd stalks the West End, Stephen Sondheim's Assassins are patrolling London's fringe. Ironicall...

Review: The Master and Margarita, Barbican Centre

Written for Culture Wars Mikhail Bulgakov’s great satiric novel cries out for theatrical adaptation. Not only does it use the theatre as an ...

Review: Seven Day Drunk, Soho Theatre

Written for Culture Wars Bryony Kimmings is an enigma. Her work comes encased with whopping great quotation marks around it. So many, in fac...

Review: Sweeney Todd, Adelphi Theatre

Popular culture’s serial killers rarely resemble their real-life counterparts. Generally, we get ripped rippers and ice-cool assassins rathe...

Review: Shivered, Southwark Playhouse

Written for Culture Wars Philip Ridley’s plays are like staged graphic novels. His worlds are familiar, but fantastical: like life embossed ...

Review: Play House / Definitely the Bahamas, Orange Tree Theatre

Written for Culture Wars In his twenties, Martin Crimp wrote Definitely the Bahamas about a couple in their fifties. Now, in his mid-fiftie...

Review: Moon on a Rainbow Shawl, National Theatre

Written for Whatsonstage.com From an over-crowded patch of a Trinidad housing estate, everyone looks up at the same moon and dreams of escap...

Review: One Man Two Guvnors, Theatre Royal Haymarket

Written for Time Out A new cast moves into Richard Bean's uproarious update of A Servant to Two Masters without loss. All the bellylaug...

Review: Avon Calling, Camden People's Theatre

Written for Culture Wars Any character that spills their guts without good cause comes across as completely unhinged. Louise Platt’s Avon re...

Review: Can We Talk About This?, National Theatre

Written for Whatsonstage.com “This is shit! Islamaphobic shit!” shouts the man who has just burst into the Lyttleton auditorium. He throws s...

Review: Going Dark, Young Vic

While your eyes never get used to the total darkness of Sound&Fury’s latest, the rest of you does. At first, it feels unusual; somewhere...

Review: Abigail's Party, Menier Chocolate Factory

Written for Whatsonstage.com It wasn’t all cheesy-pineapples and fibre-lights in the 1970s. Like Alan Ayckbourn’s Absent Friends , Mike Leig...

Review: We Hope That You're Happy (Why Would We Lie?), Battersea Arts Centre

Written for Time Out Do a little dance. Chug another Bud. Get down about Haitian earthquakes, Indonesian tsunamis and starving Africans. Tha...

Review: What I Heard About the World, Soho Theatre

Written for Culture Wars For the right price, someone, somewhere will fake it like they mean it. Fancy being kidnapped? Head to Amsterdam. W...

Review: The Leisure Society, Trafalgar Studios

Written for Time Out Just as you can have a great night out in a poky dive, The Leisure Society is a feeble, puerile play that nonetheless ...

Review: Snookered, Bush Theatre

Written for Time Out Alcohol is the playwright's friend: it's the ultimate dramatic catalyst. And boy, do they catalyse themselves i...