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Review of ‘Love Omar’: “Arabian night is hardly a stroke of genius”
I didn’t love him. Or like him. Just like I didn’t love or like this play either. It’s not a bad concept. But it’s a clumsy execution. Very clumsy. To the extent that, if it hadn’t been for the final 20 minutes, I wouldn’t know what the point of this piece is. Nor what it…
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Review of ‘End of the Rainbow’ (2026, Soho Theatre): “Technicolor revival dazzles, but it still is a bit green”
Judy Garland is back. In the flesh. In the spirit. And in the drag. Before anyone jumps to conclusions, let me be clear: this is no drag show. And for the most part, it doesn’t come across as one. But the fact that the winner of American RuPaul’s fifth edition stars in it cannot be…
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Review of ‘An Ideal Husband’ (2026, Lyric Hammersmith): “Company’s better half shines despite others’ ungroomed acting”
You can’t go wrong with Oscar Wilde. Unless, of course, the National Theatre gets involved — their latest, irritatingly fatuous production of Earnest speaks for itself. Fortunately, this isn’t another attempt to dumb down the sharpness and sass pouring through the pen of one of the most celebrated playwrights in the English language. And although…
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Review of ‘CARE’: “Old-age narrative is far from greying”
Some enchanting evening… An elderly man sings Rogers and Hammerstein’s most romantic anthem to the bewilderment of his fellow residents. He doesn’t know where he is. He doesn’t know who he or any of them are. Until that very moment, he didn’t even know he could sing. It’s a fascinating view. The kind that warms…
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Review of ‘Sherlock Holmes’ (2026, Open Air Theatre): “Sloppy production doesn’t speak highly of whodunnit”
There’s something poetic about Arthur Conan Doyle’s popular creation- for him, a commercial blessing and a literary curse -settling only a few yards away from his world-famous home address. Sherlock Holmes is back. Nobody can finish him off. Not even his archnemesis, Moriarty. Not even the man who made him, lived off his success, and…
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Review of ‘The Boy Who Harnessed The Wind’: “Airy musical has power but no electricity”
I wish it had succeeded. Much like I wished to root for its main character. It’s not that I didn’t want the kid to build the wind generator and save his family from famine. I just wanted to be part of his journey, his struggles, and his eventual triumph. It’s surprising how a musical involving…
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Review of ‘Krapp’s Last Tape’ (2026, Royal Court): “Gary Oldman shines in somber existential play”
I’ve always found it difficult to connect with Samuel Beckett. I don’t deny his genius, but his niche appeal is undeniable, even to his most passionate lovers. That doesn’t make him better or worse. But it’s not easy to analyse a piece that you’re somehow predisposed not to enjoy. There are two reasons why its…
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Review of ‘1536’: “Anne Boleyn-themed drama needs some reformation”
“This is England, woman”. A simple line unloads all the ominous weight of a dire age — and a most dangerous situation. What once was a harmless, playful act has become a death sentence. Yes, this England. 16th-century England. And the social dynamics among men and women, nobles and peasants, and virtually anyone abided by…
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Review of ‘The Anti “Yogi”‘: “Multi-limbed spectacle needs a little extra hand”
There’s no doubt about her flexibility onstage. Both as a performer and in any yoga position. She can also dance. And even play God. Literally, you shall see some interesting interpretations of how the Buddha and Krishna are supposed to talk. It’s all in good faith, though (no pun intended — well, maybe a little…
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Review of ‘The Wasp’: “Buzzing premise for a thriller fails to sting”
I was on board the moment I saw there was murder involved. And perhaps, that was the only part of it that got me engaged. It wasn’t too big an investment anyway. There’s some brilliance shimmering through the basic pieces of The Wasp, which is returning to the London scene in a new production presented…
