Hampstead Theatre
Its producers should tape a cyanide pill to the programme: The Humans reviewed
Hampstead’s boss Ed Hall was so impressed by Stephen Karam’s play The Humans that he wanted to direct it himself.…
Contains at least 15 laugh-out-loud moments: Genesis Inc. reviewed
Listen to the crowd. I often delay passing judgment on a show until the audience delivers its verdict. This is…
Rarely have I sat through such a chaotic and whimsical script: Describe the Night reviewed
Describe the Night opens in Poland in 1920 where two Russian soldiers, Isaac and Nikolai, discuss truth and falsehood. Next…
Bold, in its way, but Ben Whishaw is ill-suited to Shakespeare: Julius Caesar reviewed
Nicholas Hytner’s new show is a modern-dress Julius Caesar, heavily cut and played in the round. It runs for two…
Speech therapy
Oslo opened in the spring of 2016 at a modest venue in New York. It moved to Broadway and this…
Wasn’t Lawrence of Arabia more annoying than this new play suggests?
T.E. Lawrence is like the gap-year student from hell. He visits a country full of exotic barbarians and after a…
Half-brilliant: Mr Foote’s Other Leg at Hampstead Theatre reviewed
Samuel Foote (1720–77) was a star of the 18th-century stage who avoided the censors by extemporising his performances. Today we’d…
Shrapnel at the Arcola works for the slayers, not the slain
Quite a hit factory these days, the Hampstead Theatre. The latest candidate for West End glory is Hugh Whitemore’s bio-drama…
Theatre: Responsible Other: an assured effort from newcomer Melanie Spencer; The Moment of Truth: Peter Ustinov fails to impress as a playwright
Dominic Cooke did it at the Royal Court. Now Ed Hall is having crack as well. Cooke’s crazy decision to…
