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Review of ‘Slaughterhouse-Five’: “One-dimensional adaptation is lost in space”
I’m not against postmodernism. Or aliens. Or postmodernism tales about aliens. What I might have a problem with is shows that carry little meaning and demonstrate zero aptitude for engaging with their audience. It doesn’t need to be an easy watch. In fact, I like to be challenged. But there’s no actual challenge throughout the…
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Review of ‘High Society’ (2026, Barbican): “Flimsy narrative rides high on spectacle, and that’s alright with me”
It is what it is. We couldn’t have asked for more. Or less. And that is fine. In fact, it might be more than fine. Not every musical needs to be poignant, moving, or thought-provoking. And that’s okay. Because this one is nothing of the sort. Still, it works — provided that you limit your…
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Review of ‘Redcliffe’: “Promising gay romance caves in to shallow execution”
These are the words of someone who had his whole childhood and adolescence ruined by overwhelming homophobia. And yet, I’m grateful. For the fact that, despite the progress that still needs to be made, I can live truthfully and away from the pain others inflicted on me. It’s not been easy. It never is. And…
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Review of ‘Dark of the Moon’: “Wizard-themed musical is far from bewitching”
It doesn’t matter if the protagonist has magical powers. This show simply doesn’t do the trick. There’s nothing charming about it. And there’s not enough sorcery in this world to erase the boredom, disappointment, and ultimate despair audiences are put through in Dark of the Moon, a new musical based on the 1940s play by…
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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…
