Theatre

Nick Payne’s Constellations makes for a long evening and a theatrical let-down

Lucy Bailey's production of Oleanna shows the play has not ages well.

Jonathan Church’s production leaves audiences out in the rain with a three-star performance

Post-lockdown audiences are treated to a fun-filled evening, courtesy of Jason Donovan and Alexandra Burke

Anything Goes with Robert Lindsay and Felicity Kendal makes for a 5-star theatre experience, despite the kooky plot

Those who feared that taking on the Dane at the age of 82 would be a mistake can rest easy - this is a triumph

Tim Walker reviews South Pacific at Chichester Festival Theatre and Be More Chill at Shaftesbury Theatre

TIM WALKER reviews a theatre production that held its own against the drama provided by the Three Lions

TIM WALKER on an ebullient show that creates an emotional occasion

TIM WALKER on a musical production which ticks many boxes, but leaves uncomfortable questions in the way it treats the issue of suicide Heathers The Musical Theatre Royal Haymarket, London; till Sept 11 *** It’s almost axiomatic that edgy, cutting edge theatre will cause offence in some quarters. Productions such as Hair – the musical that came […]

TIM WALKER reviews a cheering show breathing fresh life – and fun – back into theatre Showstopper! The Improvised Musical Garrick Theatre, London **** Playing the first Monday of each month Theatre professionals have long been aware of the need to attract younger audiences and the pandemic has given this a new impetus. Even with their two […]

TIM WALKER on Amélie the Musical at the Criterion Theatre in London. An admirable effort, but for what purpose? I counted 16 cast members on the stage in Amélie the Musical and I was stunned. It’s the sort of thing that, before the pandemic, I would have taken for granted. Now, I find myself fixating on the arithmetic: West […]

Tim Walker gives three stars to Walden at the Harold Pinter Theatre in London until June 12 To say that Stella and Cassie are sisters who have grown apart is an under-statement. Cassie (Lydia Wilson) is a celebrated astronaut who’s just returned from a year on the moon. Stella (Gemma Arterton) has, in the meantime, […]

TIM WALKER on one of the few pieces of ‘serious theatre’ to get going after lockdown Reasons You Should(n’t) Love Me Kiln Theatre, London ***** Don’t let anyone kid you that theatre is coming back in leaps and bounds. We’re talking at best about small, hesitant, faltering steps. There’s the occasional costly stumble, too, as […]

Theatre reviewer TIM WALKER sees an old favourite returning to the stage after lockdown The Mousetrap St Martin’s Theatre, London ***** There was a lot of talk of a new kind of theatre emerging after the lockdowns – edgier, more relevant and representative – but maybe, after a traumatic experience, there’s something to be said […]

Jason Solomons looks at how Anthony Hopkins and Olivia Colman helped take The Father from French fringe play to the Oscars It started life as a one-set play in a fringe theatre in Paris. Nine years later, The Father is now, as they say, a major motion picture and a very strong contender for this […]

Britain needs its theatres back because Britain IS theatre – a country obsessed with role-playing When I stumbled on the English National Opera’s rendition of Handel’s Messiah recently and watched it for a while, I suddenly burst into tears. There, in the empty London Coliseum where the ENO were performing amidst the shadows of the empty […]

Bill Kenwright’s Love Letters and the National’s After Life have announced opening dates – but a full return for the London stage seems as far away as ever As a theatre critic, I am sometimes asked when am I going to start reviewing theatre again. It is not an unreasonable question, especially now that there appear […]

A recent decision to remake The King and I musical is a striking one, given the production’s politically incorrect undertones and unpopularity in Thailand. Just in time for the 70th anniversary of the Broadway premiere of the Rodgers and Hammerstein musical The King and I later this month, Paramount Pictures revealed it had purchased the rights to create a […]

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 […]