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Review of ‘I’m Every Woman’: “Chaka Khan musical bio’s got the love, but it doesn’t put a spell on anyone”
Her life is nearly as iconic as her artistic legacy. But if there’s something recent jukebox musicals have taught us, it is that good dramaturgy is no longer relevant — no matter how painfully boring the recount may become. It is baffling, to put it mildly. How can such a dramatically promising premise devolve into…
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Review of ‘Cleansed’ (2026, Almeida): “Impeccable performance nearly make up for blemished play”
Someone near you will leave during the performance. That, I can guarantee. It’s not because it’s a bad watch. But it’s a tough one — a really tough one. What else can we expect from a play written by Sarah Kane other than shock and narrative uncertainty? Not only don’t we know what’s going to…
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Review of ‘Now You See Me Live’ (2026, London Coliseum): “Charming magic show does the trick, but it isn’t that spellbinding”
Maybe it’s because I grew up watching Val Valentino dig his own professional grave on TV by doing the unthinkable. If you were a kid in the 90s or early 2000s and liked to perform a few illusions (nerd), you probably know what I’m talking about. And chances are you’ll think the same upon attending…
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Review of ‘Tao of Glass’: “Celebration of Glass works in metamorphosis deficit”
The fact that the first thing I hear during the interval is someone telling their companion they can leave if they want has to count for something. Certainly, it’s affected the number of attendees. The two people sitting next to me were nowhere to be found during Act Two. Several pockets across the stalls were…
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Review of ‘Love’s Labour’s Lost’ (2026, Shakespeare’s Globe): “Spanish-themed remake isn’t that different”
It’s not Shakespeare at his best. Not in content. Not in execution. I think we can all agree on that. Even the ones who have a soft spot for the thin plot and dense oetry of one of the Bard’s early comedies. This doesn’t mean absolute disapproval. And certainly, this version doesn’t deserve it. Ultimately,…
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Review of ‘Otto & Astrid: The Stages Tour’: “Parody rock act is a joke of a show”
It is what it is. And at least I got a free bag of Cheerios at the end (that was a tasty snack). I’m not saying that was the highlight of the evening, but it’s not like this faux German emo sibling couple made the strongest impression on me — and certainly not the happiest.…
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Review of ‘Alice In Wonderland’ (2026, Riverside Studios): “Eye-catching production is shrunk by tweedle-dull performances”
It wouldn’t be the first time a show becomes successful for its visuals and its visuals alone. But this one isn’t the case. There’s praise to be given to this cute yet average adaptation of Lewis Carroll’s literary classic. But there’s some reprimand to do as well. And albeit proportionate for the most part, sometimes…
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Review of ‘Trainspotting, The Musical’: “H-themed show appropriately scores below an F”
Ignore the negativity. It’s probably sugarcoated. Nothing you have heard or read can prepare you for this show’s deplorable quality. And that concerns every single aspect of it. If you value your time and, most importantly, your well-being, I must urge you not to watch it. It is that bad. You won’t be touched —…
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Review of ‘FLOP!’: “Broadway parody cabaret is in tune with its goal, but don’t get too carrie-d away “
I know what you’re thinking. It’s like the title is begging me to be scathing. But that’s not what’s happening today. I shan’t be giving a glowing review either, I must warn. Although there is potential, it’s still a long way from becoming the uproarious cabaret parody it aims to be — or that it…
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Review of ‘The Oresteia’ (Bridge Theatre, 2026): “Modern remake of ancient classic is equally immortal”
This is the kind of play you should avoid at all costs if you’re not looking to be shocked. Or gripped. Or pleasantly aghast. It will not feature ancient deities or unpronounceable names. But it will still capture the spirit of the original (no pun intended). With a contemporary setting, Simon Stone’s adaptation of Aeschylus’s…
