Since retiring as a musical theatre performer, Stuart has maintained a busy professional career in commercial sectors ranging from media and sport, to risk management. As a member of the Critics’ Circle, he regularly attends and reviews press nights for drama productions, musicals, opera and dance.
By Stuart King Friday, August 8 2025, 14:52
ROMEO & JULIET — This community production of William Shakespeare’s romantic tragedy, is a collaboration between Stratford East and Sadler’s Wells.
Romeo and Juliet production image. Photo by Charlie Flint
By Stuart King Wednesday, August 6 2025, 09:52
Mozart, the boy prodigy and musical genius who followed in his sister’s footsteps and was subjected to the tyrannical diktats of his ambitious and domineering father Leopold, is forced to perform for the crowned heads of Europe. We’ve been here before. Only now, the well worn story of Wolfie Mozart has been turned into a musical, but with a bare minimum of Mozartian leggiero.
Jack Chambers in Saving Mozart. Photo by Danny Kaan.
By Stuart King Monday, August 4 2025, 09:37
It’s a brave man who attempts delivery of a one hour play where his only co-star is a large, inanimate, but dangerous looking cactus. Paul Keating has done just that, tackling the spiky subject of post-Covid isolation in Michael Wynne’s drama CLIVE which has just opened at the Arcola.
Clive at Arcola Theatre. Photo by Ikin Yum.
By Stuart King Friday, August 1 2025, 09:34
Jordan Waller’s comedy A ROLE TO DIE FOR opened at the Marylebone Theatre this week, having previously had an out of town try-out at the Barn Theatre, Cirencester where it starred West End favourite Janie Dee in the central role of film producer Deborah. For this run, EastEnders’ Tanya Franks steps into Ms Dee’s mighty heels, aiming to convince us that she is the all-powerful producer of the James Bond franchise and daughter of the once dominant main man.
Obioma Ugoala (Theo) and Tanya Franks (Deborah) in a Role to Die For. Photo by Steve Gregson
By Stuart King Sunday, July 27 2025, 08:38
Compton Mackenzie’s bizarrely affected and convoluted 1928 lesbian satire, set on an island dubbed Sirene (which was almost certainly a substitution for Capri), underwent a lockdown musical makeover courtesy of Sarah Travis and Richard Stirling, ostensibly as a vehicle for the students at Guildford School of Acting. The reworked piece now earns a limited run at the intimate Jermyn Street Theatre.
Amira Matthews in Extraordinary Women. Photo by Steve Gregson.
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