All That Dazzles (UK)

“Tim Crouch's theatrical experiment still holds weight, and that even the sceptics among us (me) can appreciate the way form and structure are played with, twisted, and occasionally abandoned altogether.”

“My issue is with the execution of this piece and the performance choices that make for a jumbled and uneven musical.”

“It is a stirring and stunning production that I am proud to say has survived its transfer, and truly is, in my opinion, a perfect production of a perfect musical.”

“This is the best version of RENT I’ve ever seen, proving what can be achieved when you put the right show in the right theatre at the right time.”

“A fascinating and apt concept that, like Dylan himself, never quite finds its purpose.”

“Everything about The Hungry Ghost feels exciting.”

“Unfortunately, the production does not stop there, indulging in broad physical humour and feeble slapstick.”

“Led by Christine Baranski’s effortless prowess, Hay Fever is not simply a good night out at the theatre, it is pure bliss.”

“What truly impresses about this production is how it uses the intimacy to increase the intensity, making for a raw and often uncomfortable watch.”

“Still an enjoyable albeit an unremarkable watch, it is worth seeing if only for the fantastic performances from the cast, all of which take this disappointingly uneven play up to a higher standard.”

“Tru is a chance to see a performer at the top of their game and to be blown away by their sheer magnificence.”

“The result is an incredible play that brings a bit of New York to London and feels destined for bigger and better things.”

“Overall, Rugman’s debut play is sharp, compelling and thought-provoking, even if its ambition is occasionally constrained by repetition.”

“I think the key word to use here is ‘uneven’ as the musical demonstrates some incredible aspects - when it’s good, it’s pretty damn good.”

“Three Men in a Boat is full of mischief and eccentricity.”

“If theatre at its best has the power to make you think and feel, Catarina… is the perfect example of this.”

“Standing once as a beacon of what was to come for Michaela Coel, the show now stands as proof of her undeniable legacy, as well as a breathtaking showcase for another up-and-comer in Lauryn Ajufo's finely-tuned performance.”

“For all its occasional chaos, Deep-Heat Rivalry remains a joyous, camp, queer, relevant and gloriously silly musical revue and TV parody that leaves audiences gasping for breath, whether from laughter or shock.”

“Ultimately, however, the decision to condense three novels into two hours of theatre comes at the expense of character development and storytelling needed to make us care about the lives at its centre.”

“This is a production that slowly transforms our perceptions of the themes and characters.”

“The emotion captured through the design elements of this production is simply incredible.”

“Thelma & Louise is far from a total car crash, but it does make you feel as if it has left you lingering in midair waiting for an impact that never came.”

“This is a production that packs a powerful punch, resulting in what is confidently a knockout hit.”

“Overall, Night City feels messy, with too many characters, short scenes and not enough depth.”

“It is in no sense a bad play, but it is frustrating how it never comes alive in the way it should.”

“The whole production feels full of colour, movement and personality.”

“The Children is thought-provoking, but the pace limits some of the character development, leaving me with more unanswered questions than answers, which at times distracts from the bigger message at the heart of this play.”

“A transfer to a bigger house is not beyond the realms of possibility for this exciting and fiercely fantastic musical.”

“Kimberly Akimbo is what theatre should be, and I would encourage everyone to go and see it while it is still in London to experience something truly beautiful.”

“Holy Fool is not without its high notes, and there is some genuine potential shining through, however in its current form remains largely forgettable, a shame given what the bones of a much stronger final product might have been.”

“A smart revival, this play pulls audiences into moments of familiarity and farce, while evoking a much deeper question of whether the lives these characters have built can ever satisfy what they truly want.”

“There is a lot of potential to be found in The Story, and it is far from a bad show.”

“Andrews has achieved through his adaptation and direction is nothing short of impressive, matched and possibly even surpassed by the exceptional performances from Cate Blanchett and Nina Hoss.”

“It falls just short of being as successful as I would have liked.”

“A production as refreshing as putting ice and a slice of lemon in your drink, everyone involved have really come through to create a West End party you would be mad to miss.”

“Jeeves Takes Charge ultimately becomes an unusual contradiction: an astonishing central performance trapped inside a relatively unsuccessful revival.”

“The result is a refreshingly mild and funny production that is guaranteed to have audiences leaving the theatre with a smile on their faces.”

“What makes this production such a resounding success is its commitment to not just do the best production of Death Note but to make a musical that stands up on its own two feet.”

“What Drew McOnie has created with this production is nothing short of sensational - truly awe-inspiring and a show that has just established himself as the front-runner to sweep the Olivier Awards next year.”

“No matter your age, Dog Man: The Musical is a perfect treat, hilarious and whimsical, crafty and smart.”

“In its current form, I’m Every Woman is a muddled affair that isn’t befitting of Chaka Khan herself or the jukebox musical genre it longs to be a part of.”

“That said, there is still plenty to enjoy here, making the show far from the disaster it ought to be.”

“If you are willing to embrace the chaos, what emerges is a journey through a fascinating part of history, told with heart, humour and originality, making it a mission well worth signing up for.”

“Tao of Glass is a show like no other and one that deserves to be seen to be believed.”

“This production is a triumph in each aspect and proves that reinvigorating Shakespeare’s works is entirely possible.”

“It truly holds up to its Olivier-winning quality expectations, and is definitely worth catching while it is in the West End this summer.”

“Sadly, Cleansed was not a pleasant experience for me, though I am sure others will have wildly different takes on it and, after all, that is the beauty of theatre.”

“It is a brilliant concept, and one that Showstopper! do better than most, leading to the most reliably impressive improv shows in the UK.”

“Alastair Whatley delivers a compelling performance that never lets your attention wander and fully does justice to this theatrical classic.”

“I can safely say I have never enjoyed an experience I have attended quite as much as I did this.”

“I’ll be blunt when I say this is without a doubt the worst show in the West End this year, and a contender for the biggest train wreck ever seen on a West End stage.”

“Directed by a master of his craft who seems poised to continue moving from strength to strength, this immaculate remounting is truly not to be missed.”

“This production is as special as theatre gets, furthered by Ben Platt's phenomenal performance.”

“Hit Machine was still music to my ears, leaving me in no doubt that this production is a huge hit.”

“This is a show unlike anything I have ever seen before, and I found myself as enraptured as any show I have ever seen about the rapture.”

“There is definitely much to love about Here Comes J. Edgar! but there is also the sense it could have been so much more than it currently is.”

“She has masterfully crafted her experience into a compelling journey of self-discovery and reflection, delivering her story with warmth and vulnerability.”

“What Simon Stone has created here is nothing short of miraculous, bringing a timeless classic to the stage in a way like never before.”

“It may be imperfect and have a couple of issues it needs to address, but for the most part that actually adds to its charm.”

“Even in a venue that presents its own challenges, this show still manages to pack a punch, and I’m sure it will get even better as the run progresses and this cast travels with the tour.”

“Across all creative aspects, Tender deftly manages to balance endearing comedy with complicated and dark themes without either feeling out of place.”

“I found myself grinning from ear to ear from start to finish in what is the perfect tonic for this gloomy world and one of the most joyous shows I have ever seen.”

“Though it isn’t anywhere near so bad that you could say the show has been crucified, it’s fair to say this version of Jesus Christ Superstar doesn’t quite manage to exceed expectations.”

“This is another huge hit for Donmar Warehouse, who find themselves guilty of hosting a killer season with this criminally good production.”

“A Mockingbird is theatre at its best, allowing audiences to escape in a powerful story while still drawing comparisons to modern-day events to create a thought-provoking and resonant watch.”

“Whilst some choices feel somewhat clunky within the motion of the play, others are revelations that invigorate the work.”

“That is not to say it is a failure by any stretch - it just struggles to reach its full potential, and feels as if it needs a bit more development to be at its best.”

“Bringing new meaning to a rarely seen trope, you’d find it incredibly hard to hate The Misanthrope.”

“While Archduke has the gun locked and loaded, it fails to pull the trigger, leading to a show that is on the precipice of greater success, but somehow misses, becoming more of a misfire.”

“What Simon Evans and Debris Stevenson have created here is nothing short of spectacular, with Adrian Lester’s leading turn delivering a performance for the ages.”

“Pride is the show I have been waiting for in what is truly an impeccable piece of theatre.”

“Sadly, the slow reveal of the characters and their motivations takes too long to develop, making it difficult to invest in them and their predicament.”

“Joel Harper-Jackson delivers a star turn, proving what a remarkable leading man he is in what is easily a career-best performance.”

“This production is easily a hit, and that’s the truth!”

“Beautifully written, brilliantly performed and directed with real confidence, Sting is another triumph for the Young Vic.”

“This is a sublime production of About Nothing that captures the hearts and minds of its audience.”

“Exaggerated characters and poor pacing lead to a rare misstep for the Old Vic.”

“I A Mixtape is innovative, daring, and compelling.”

“Combined with several powerhouse performances, it ensures Driftwood leaves a lasting impression.”

“This is a production not to be missed: a performance that exists only in the very moment that you watch it.”

“War Horse really is a beast of a show, and one that deserves its place in history.”

“While that ambition is admirable, it is also where some of the production's challenges arise.”

“However, an intriguing concept, vicious direction and spectacular cast make for a night that deserves to be witnessed, despite its structural shortcomings.”

“One of the most entertaining musicals you will see this summer, High Society will easily make you fall in love.”

“It may not completely cast the spell it hopes to, but it still makes for a very good night at the theatre.”

“The Rainbow is the theatrical equivalent of this in a production that doesn’t just represent all the colours of the rainbow, it’s pure gold.”

“Peter Shaffer’s story has thrilled audiences and got them talking for more than fifty years, and this latest production more than lives up to the high standard that has come before.”

“The result is a show every bit as powerful as the windmill that features in it.”

“To create a world as rich as the one StarKid have, and then take their unique brand of stories to theatres around the world is a testament to their skill and creativity.”

“Having spent much of its runtime beating around the bush (buh-dum-tss), I’m Not Being Funny lands on an ending that is both emotionally precise and structurally satisfying.”

“A fantastic evening that cements Royal Court's 70th year as one of its strongest ever, and certainly a double feature worth waiting for.”

“The evening moves quickly and never loses its grip.”

“I couldn’t have loved this special production of Avenue Q any more if I tried.”

“The play is joyful and moving while never making light of the setting.”

“Whatever the reason, this performance didn’t quite land in the way I had expected, is as much a mystery as the reason Heisenberg came to Copenhagen.”

“The result is a thrilling production that feels sleek, slick and stylish, but with enough substance to back it up.”

“This is a production with real promise, well worth seeing as it continues to develop.”

“The performances are very strong, and the creative choices are inspired.”

“As R.O.I. questions the cost of progress, Hampstead Theatre’s latest investment proves more than worthwhile in a play rich with ideas, building to an almighty payoff.”

“A remarkable debut from Danielle Phillips and Mad Friday Productions, Children of the Night is a night out you’ll never want to end.”