Stuart King
14 Oct
Reviews 
Review: MY NEIGHBOUR TOTORO at Barbican
By Stuart King Friday, October 14 2022, 09:52
After considerable advance publicity and marketing, the RSC’s joint venture with Joe Hisaishi to bring MY NEIGHBOUR TOTORO to the stage, has opened and given early audiences and reviewers much to ponder.
Mei (Mei Mac), Satsuki (Ami Okumura Jones) and Tatsuo (Dai Tabuchi). Photo by Manuel Harlan © RSC with Nippon TV.
06 Oct
Reviews
Review: THE BOY WITH TWO HEARTS at Dorfman, National Theatre
By Stuart King Thursday, October 6 2022, 09:12
Based on the true story of an Afghan family who escaped the Taliban and travelled via traffickers to the UK, THE BOY WITH TWO HEARTS has been written by Hamed and Hessam Amiri (and adapted for the stage by Phil Porter) as a tribute to their late brother Hussein.
Shamail Ali, Dana Haqjoo, Elaha Soroor, and Houda Echouafni in The Boy With Two Hearts at National Theatre. Photo by Jorge Lizalde
05 Oct
Reviews
Review: BLUES FOR AN ALABAMA SKY at National Lyttelton
By Stuart King Wednesday, October 5 2022, 09:41
The eruption of the cultural and intellectual Black American experience which coalesced to form the Harlem Renaissance of the 1920&30s in New York, spawned a dazzlingly diverse array of talents who still inform popular culture to this day. But as the play begins, much of the vibrancy has begun to decline, heralding the gradual onset of the Great Depression.
Samira Wiley (Angel), Ronkẹ Adékoluẹjo (Delia), Sule Rimi (Sam) & Giles Terera (Guy) in Blues for an Alabama Sky. Photo by Marc Brenner
04 Oct
Reviews
Review: THE MILK TRAIN DOESN’T STOP HERE ANYMORE at Charing Cross Theatre
By Stuart King Tuesday, October 4 2022, 09:27
Tennessee Williams’ considerable output during his lifetime, ensures that his name is rarely out of the West End, but whereas The Glass Managerie, Cat On A Hot Tin Roof and A Streetcar Named Desire (among others) are frequently dusted-off, Milk Train… is a far less frequently observed beast, despite containing some of the playwright’s more personal musings on mortality and longing.
Sara Kestelman and Sanee Raval in The Milk Train Doesn’t Stop Here Anymore. Photo Nick Haeffner
26 Sep
Reviews
Review: AÏDA at the Royal Opera House
By Stuart King Monday, September 26 2022, 09:50
Verdi’s four act Egyptian tale of forbidden love and compromised loyalties set amidst a backdrop of war with the ancient kingdom of Ethiopia, premiered in 1871 and receives a welcome reimagining at Covent Garden in Robert Carsen’s new production which boasts an uber-modern military setting, courtesy of Miriam Buether.
(RAMFIS) Soloman Howard in Aida at the Royal Opera House © Tristram Kenton
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