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Elektra, Duke of York’s Theatre, London, February 2025: Punked Out
London theatre programming often feels cyclical, and at present, directors and theatres seem to be turning their gaze towards Greek tragedies. What’s driving this wave of classical Greek theatre? Perhaps directors and actors are seeking new classical challenges beyond Shakespeare.
The Devil Wears Prada: The Musical, Dominion Theatre, London, December 2024: Too much Prada, not enough Devil
As for the score of The Devil Wears Prada, I genuinely cannot recall a single melody from the show. Even at the interval, I wouldn’t have been able to hum a tune from the first act if my life depended on it. The music sounds like something one might have heard in a particularly suspect gay disco circa 1985.
The Little Foxes, Young Vic, London, December 2024: The People vs. Lillian Hellman
Lillian Hellman was what was often described in her time as a “broad” — a hard-drinking, hard-swearing, chain-smoking, and relentlessly hardworking woman. She was also one of the greatest playwrights of her generation, her work standing shoulder to shoulder alongside that of Arthur Miller, Tennessee Williams, and Thornton Wilder.
Death of England: Delroy, @sohoplace, September 2024: Dearth of Storytelling
How does one define Britain in the 21st century? Who are the English, and what do they represent? After Brexit and fourteen years of Tory rule, Britain seems to be a nation without identity — struggling to find its place in a world that bears little resemblance to her past glory days.
Slave Play, Noel Coward Theatre, London, July 2024: Theory Takes the Stage
Harris began writing Slave Play while a student at the Yale School of Drama, this is significant, as the play is imbued with many of the talking points of American academia. In truth, Slave Play isn’t a play per se, but rather a series of vignettes tied to what feels like an academic thesis.
2:22 A Ghost Story, Noel Coward Theatre, August 2021: Time’s Up
Broadway and the West End need a better calibre of producer. Being able to raise money should not be enough; we need producers who possess creative qualities, have a worldview beyond profit, and who actually have a vision about the type of theatre that should be presented in the 21st century.