GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Best of 2019: London Theatre
VERY BEST: "Master Harold"... and the Boys
[Helen Maybanks]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
THE YEAR began with a flurry of Arthur Miller productions which left his canon feeling surprisingly dated.
A sprinkling of stardust with Wendell Pierce and Sharon D Clarke could not fully re-energise the Young Vic’s Death of a Salesmen and the sense of anarchy in Jay Miller’s production of The Crucible at The Yard was more enigmatic than eerie.
The West End transfer of The Price packed the biggest punch of the impromptu season, with David Suchet's star turn as Jewish furniture dealer Gregory Solomon resurrecting Miller’s piercing critique of consumerist society.
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MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Following his death a month ago, DENNIS WALDER assesses the achievement of the playwright who developed his work in the townships