Stuart King
17 Jun
Reviews 
Review: BARBER SHOP CHRONICLES at the National Theatre
By Stuart King Saturday, June 17 2017, 08:10
BARBER SHOP CHRONICLES which enjoyed its world premiere at the Dorfman on 7th June, is Inua Ellams’ third play at the National. Perhaps unsurprisingly given the title, the action - or more accurately, the barbed dialogue exchanges - all take place within the backdrop of a barber shop and (on the basis that differing parts of the world may be home to differing opinions), we are treated to six establishments, located in London, Harare, Kampala, Lagos, Accra and Johannesburg.
16 Jun
Reviews
Review: TOMMY at Theatre Royal Stratford East
By Stuart King Friday, June 16 2017, 12:44
The Who’s 1969 concept album forms the basis for Pete Townshend’s rock opera, last seen in London’s West End back in 1996 at the Shaftesbury Theatre; the story of a “…deaf, dumb and blind kid (who) sure plays a mean pinball”, wowed audiences then, and does again here.
02 May
Reviews
Review: THE TREATMENT at the Almeida
By Stuart King Tuesday, May 2 2017, 16:14
"It's a mindfuck, Clifford", states one of the characters in Martin Crimp's play THE TREATMENT (first staged at The Royal Court in 1993) which is being given a new outing at the Almeida under the direction of Lyndsey Turner, who’s brought something of a midas touch to several successful productions in recent years.
03 Apr
News
Everything you need to know about 42ND STREET at the Theatre Royal Drury Lane
By Stuart King Monday, April 3 2017, 09:20
This musical is Broadway's story about Broadway; those for whom it is home and the starstruck, from-out-of-town wannabes eager for their big break, a slice of success in the spotlight and with a bit of luck, (or someone else's misfortune), a fleeting dalliance with stardom.
16 Mar
Reviews
PARTENOPE: English National Opera at The Coliseum Theatre
By Stuart King Thursday, March 16 2017, 13:09
When choosing to stage a near 300 year old piece by the master of recitative and opera seria George Frideric Handel, "Partenope" is often sidelined in favour of one of his better received works; indeed it remained unperformed for some 200 years of its existence, due largely to a belief that the original story and libretto were convoluted, frivolous and poorly structured.
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