Theatre

TIM WALKER reviews Love Letters, at the Theatre Royal, Haymarket, until February 7 (run currently paused). Theodore Roosevelt got it right when he said that it’s not the critic who counts, but the man who’s actually in the arena. I found myself recalling the American president’s words when I saw Bill Kenwright in his socially-distanced seat at the opening […]

Theatre critic TIM WALKER reviews a new production of Jack and the Beanstalk, which can be viewed at selected cinemas and online Heaven only knows what Peter Duncan’s neighbours made of what they saw going on in his garden in recent months. The former Blue Peter star got it into his head to make a Christmas panto that […]

Tim Walker on how online is not what theatre should ever be about. The great theatre impresario Bill Kenwright used to get cross with critics who, having requested two tickets for an opening night, showed up on their tod. On such occasions, he took empty seats as an insult and understandably so. I thought about […]

“Dio mio, you Americans are crazy. Fly six, eight thousand miles. Talk to Magnani. Why? I cannot win Academy Award. Is impossible.” It was the early spring of 1956 and Anna Magnani had just set Hollywood alight with her performance as Serafina Delle Rose in a screen adaptation of Tennessee Williams’ The Rose Tattoo the […]

TIM WALKER reviews Sleepless: A Musical Romance – and dubs it a ‘great stage comeback’. The old Tom Hanks-Meg Ryan rom-com Sleepless in Seattle tells the story of a little boy with an impossible dream, and that’s something the producers of this big, bold musical adaptation know all about. Michael Rose, Damien Sanders, Encore Productions, […]

Even on its first night, Sebastian Barry’s powerful piece about the redemptive power of human spirit was living on borrowed time. Trafalgar Studios, London The despair at the first night of On Blueberry Hill was all-pervading, if unspoken. It was, however, clear enough on the faces of the celebs who posed for pictures on the […]

TIM WALKER reviews Blithe Spirit at Duke of York’s in London – now closed due to coronavirus. So many people these days seem to want so many other people ‘to go back to where they came from’ 
that the phrase is becoming wearying, but poor old Charles Condomine has more legitimate reason to use it […]

TIM WALKER reviews The Prince of Egypt at the Dominion Theatre in London. I apologise for the late arrival of my review of The Prince of Egypt, but, then again, the show itself took its time on opening night. After about half an hour, Scott Schwartz, the director, walked out on to the empty stage […]

TIM WALKER reviews at Pass Over at the Kiln Theatre in London. Theatre directors talk sometimes about doing “word plays”, which I’ve always taken to be a slightly withering way of saying they’re getting together some actors to spout a lot of text. The old rule is “show, don’t tell”, but how else can a […]

TIM WALKER reviews The Upstart Crow at Gielgud Theatre, London. There’s a kind of comedy – and writer of comedies – that makes you think how funny a line is, but, for one reason or another, you don’t laugh. The Upstart Crow is such a comedy and Ben Elton is such a writer. I don’t […]

A play which is all about saluting strong women was recreated at Young Vic Theatre in London. 7. Zephryn Taitte in Nora A Doll’s House (c) Marc Brenner – Credit: Archant When Henrik Ibsen wrote A Doll’s House in 1879, he recognised the fight for gender equality was never going to be a quick and […]

TIM WALKER reviews Endgame/Rough for Theatre II at The Old Vic Theatre, London. Endgame/Rough for Theatre II. Photo: contributed – Credit: Archant Stephen Unwin, in his excellent book So You Want To Be A Theatre Director?, came as close as anyone to defining what it is to give an effective performance on stage. “The good […]

TIM WALKER reflects on the National Theatre’s sprawling, challenging, and at times scintillating, new play. A play begins life with a reading, and, certainly so far as commercial theatre is concerned, this can be a brutal experience. Actors give their time for nominal fees on the basis that it may or may not ever get […]

A talented group of actors do their best in the most hideous of circumstances. Southwark Playhouse, London, until February 22 Sir Christopher Lee once told me that all actors get to appear in terrible productions every now and again, but the trick is never to be terrible in them. The late actor’s sage words occurred […]

RAGS the musical had a great deal of potential, but the latest performance was an open-heart surgery gone wrong, writes TIM WALKER. Often considered to be one of the worst songs of all time, MacArthur Park has a special place in my heart. Jimmy Webb wrote a big, bold and beautiful score, but also the […]

TIM WALKER reviews Coming Clean – a performance at Trafalgar Studios in London until February 1st. If there’s one actress it’s always enlightening to interview, it’s Dame Eileen Atkins. “Infidelity,” she told me, “is one of the last things you should fall out with someone over.” That’s not the modus vivendi agreed by Tony (Lee […]

TIM WALKER says theatre is vital for national morale – and lists his favourite musicals, dramas, and everything stage-centric from the last twelve months. This is the time of year when theatre critics get to say what productions they most enjoyed over the preceding 12 months, and, if you bear with me, I’ll come to […]

TIM WALKER reviews a performance of the Three Sisters at the National Theatre. Quite possibly in response to the vacuity of the times in which we live, the National Theatre seems to have adopted a policy of staging very long, cerebral and earnest productions. Inua Ellams’ adaptation of Chekov’s Three Sisters – running to three […]

A dilution of Dickens, TIM WALKER reviews a stage production of A Christmas Carol. There’s a peculiar intimacy to A Christmas Carol. It’s Charles Dickens holding his readers by the scruff of the neck, saying he knows about the weaknesses of each and every one of them, and warning that if they don’t mend their […]

The big budget spectacular is lavish and extravagant – but is failed by its lack of heart. Shaftesbury Theatre, London, until May 30 Even down to the trendy ampersand in the title, & Juliet appears to have been created not by lyricists and composers, but advertising men and focus groups. It’s great of course that […]

Duke of York’s Theatre, London, until February 29. On a local newspaper, I once reported on a Townswomen’s Guild’s attempt to re-enact the Battle of Britain. I sat for nearly an hour transfixed as about a dozen old girls, with papier-mâché wings attached to their shoulders, threw themselves into the ambitious project with manic intensity. […]

TIM WALKER reviews Sydney & the Old Girl at Park Theatre, London. Miriam Margolyes has a splendidly comic face, a splendidly comic voice and a splendidly comic sense of timing. A more splendidly comic actress it’s hard to imagine. I could happily watch Margolyes reciting the entire electoral roll without becoming even remotely bored. I […]

TIM WALKER reviews the National Theatre’s latest production Ironically, the highest salary I’ve so far received in my career was when I was required to do absolutely nothing. I was working for a business start-up that no one was supposed to know about – something to do with upgrading the security technology at airports – […]

TIM WALKER reviews The Girl Who Fell which is at Trafalgar Studios until November 23. When I think of the internet, and how the world was before we had it and how it is now, I wonder if Sir Winston Churchill’s verdict on Stanley Baldwin doesn’t also hold good for its inventor, Sir Tim Berners-Lee. […]

TIM WALKER reviews Brian Friel’s Translation at the National Theatre. The grizzled old Jimmy Jack Cassie laments in Brian Friel’s play Translations: “I’m a barbarian in this place because I’m not understood by anybody.” All any of us ultimately want in life is to be understood – that’s how we establish our identity – but […]

TIM WALKER reviews Noises Off at the Garrick Theatre, and reminisces on the play’s former glory When it’s done correctly, Noises Off, Michael Frayn’s comedy about life backstage, should look like a perfectly-choreographed ballet. Actors need to pass on props – such as plates of sardines, telephones and suitcases – to one another with split-second […]

TIM WALKER says ‘Master Harold’… and the boys is a long burn production in a time of inpatient theatregoers. For most of the 100 minutes that Roy Alexander Weise’s production of ‘Master Harold’… and the Boys runs, there is a ‘least said, soonest mended’ approach to the issue of apartheid in South Africa in the […]

Aoife Duffin delivers a haunting mixture of fragility and defiance in this ‘stunning production’. Theatre is about melting the ice within, of awakening dormant cells, of making us more fully alive, more fully human, at once more individual and more connected to each other. I wish I’d written that, but it was in fact Franz […]

TIM WALKER called the performance a good-looking, good-natured, feelgood production One’s hopes for Big: The Musical were miniscule. The idea of making a show out of the schmaltzy 1988 Tom Hanks film – about a kid whose wish to be ‘big’ is granted – is of course inherently preposterous. What next: a huge water tank […]

‘A Very Expensive Poison’ is about as guttural and stereotypical as six straight shots of vodka, writes TIM WALKER Tom Brooke as Alexander Litvinenko and MyAnna Buring as Marina in A Very Expensive Poison – Credit: Archant With colour- and even gender-blind casting now commonplace in the world of the theatre, I’m not sure if […]

TIM WALKER gives a glowing review of playwright Andre Bovell’s newest ‘epic, big screen’ play. It was the playwright John Osborne who observed that it was a gift from God to be born English. Stiff upper lips, Spitfires, Scott of the Antarctic and sanctimoniousness: we’ve always been encouraged to believe that we’re superior to everyone […]

TIM WALKER reviews The Doctor at London’s Almeida Theatre Social media has helped to make identity politics an inescapable part of modern life. This has been as much of a curse as a blessing since it means we’re now required to be in an almost perpetual state of outrage over this, that and the other. […]