Honest, first-hand reviews of London shows, plus the most comprehensive review roundups around: every critic's verdict in one place, updated as new reviews land.
The first notices for English National Opera’s new Tosca are in, and the critics part company sharply. Annilese Miskimmon, ENO’s artistic director, moves Puccini’s thriller out of Napoleonic Rome and into a concert hall…
The reviews are in for Ceilidh the Musical, and they are among the warmest of the autumn. It is the first show to come to London from Alan Cumming’s tenure as artistic director of Pitlochry Festival Theatre, where it…
The notices for Carmen are in, and Damiano Michieletto’s staging, first seen at Covent Garden in 2024 and now revived by Dan Dooner on the Royal Opera House’s Main Stage, divides the critics far more over its director’s…
Reviews are in for The Revlon Girl, Neil Anthony Docking’s play about four bereaved mothers of Aberfan who invite a Revlon saleswoman to their weekly meeting above the village hotel, months after the 1966 disaster.
The reviews are in for Hidden, the dance-circus show from Motionhouse that opened its London premiere run at Sadler’s Wells East on 27 October.
The reviews are in for Birmingham Royal Ballet’s Swan Lake, which reached Sadler’s Wells on 28 October for a six-performance London run after its autumn season in Birmingham.
The reviews are in for Girls, Theresa Ikoko’s award-winning first play, revived by JMK Award winner Ewa Dina in the Maria at the Young Vic, where it runs until 21 November.
The reviews are in for Memoriam, Noga Flaishon’s Papatango-shortlisted play, which opened at Southwark Playhouse Borough on 26 October and runs until 21 November.
The reviews are in for Roleplay, the solo show written and performed by Hannah Reilly that sold out at the Edinburgh Fringe and has now transferred to Soho Theatre, where it runs until 21 November.
Opening nights, casting announcements and what the critics really thought — rounded up by our editors. No spam, unsubscribe in one click.
