Laura Linney and Cynthia Nixon give strong voices to the complex women in Lillian Hellman’s play The Little Foxes
Reviews
28 April 2017
Reviews • Broadway • NYC
Review: Bandstand at Bernard Jacobs Theatre
Bernard B. Jacobs Theatre ⋄
By Alison Durkee
This new Broadway musical by the choreographer of ‘Hamilton’ looks at the painful homecomings of American WWII veterans.
27 April 2017
Reviews
Review: Cock and Bull at Southbank Centre
By Alice Saville
Politics and pain: Nic Green’s performance is an artful exploration of rhetoric and deceit.
25 April 2017
Reviews • Broadway • NYC
Review: Anastasia at Broadhurst Theatre
Broadhurst Theatre ⋄ 23rd March 2017 to 7th January 2018
By Nicole Serratore
An onslaught of digital trickery steals the show in a new Broadway musical about the Romanov princess.
23 April 2017
Reviews • NYC • Off-Broadway
Review: Wink at Theater for the New City
Theater for the New City ⋄ 19th April - 7th May 2017
By Kev Berry
Kev Berry gets frustrated with Neil Koenigsberg’s play about gender identity set in Hollywood.
21 April 2017
Reviews
Review: Lessons of Leaking at Transform 17
21 - 22 April 2017
By Catherine Love
It’s all just a game: Catherine Love reviews machina eX’s production linking gaming and politics.
21 April 2017
Reviews • Broadway • NYC
Review: Groundhog Day at August Wilson Theatre
August Wilson Theatre ⋄ 16th March 2017 to 7th January 2018
By Rafi Mittlefehldt
Hidden depth surprises in the funny and poignant adaptation of Groundhog Day.
19 April 2017
Reviews • NYC • Off-Broadway
Review: Charleses at The Brick
13th - 29th April 2017
By Robert Norman
Robert Norman reviews Carl Holder’s multi-generational study of masculinity and inheritance.
18 April 2017
Reviews
Review: Cyrano at York Theatre Royal
11 - 15 April 2017
By Louise Jones
Better than Creme Eggs: Louise Jones reviews Northern Broadsides’s hugely entertaining version of Cyrano de Bergerac.
17 April 2017
Reviews • NYC • Off-Broadway
Review: Angel & Echoes at 59E59
59E59 Theaters ⋄ 11th April - 7th May 2017
By Loren Noveck
Loren Noveck reviews Henry Naylor’s pair of one-acts about gender and violence in the Middle East.