Stuart King
15 Mar
Reviews 
Review: COSI FAN TUTTE at English National Opera, London Coliseum
By Stuart King Tuesday, March 15 2022, 11:04
ENO’s 2014 staging of Mozart’s last Opera buffa collaboration with librettist Lorenzo Da Ponte has been dusted-off for another outing, but the production’s faded 1950s Coney Island funfair and motel setting (courtesy of set designer Tom Pye) hasn’t aged especially well — despite some cast members’ valiant attempts at resuscitation.
Nardus Williams and Amitai Pati in ENO's 2022 Così Fan Tutte. Photo Lloyd Winters.
04 Mar
Reviews
Review: BACK TO THE FUTURE at Adelphi Theatre
By Stuart King Friday, March 4 2022, 08:08
The high octane freneticism of the movie has been neatly translated into a theatrical experience with all the whimsical exuberance of the original — plus a few added layers of corny in-jokes, fantastic special effects and of course, tightly choreographed musical dance numbers.
Olly Dobson as Marty McFly in Back to the Future the Musical
03 Mar
Reviews
Review: AFTER THE END at Theatre Royal Stratford East
By Stuart King Thursday, March 3 2022, 09:05
In the cramped, subterranean world of a small urban nuclear bunker, Louise awakens to learn that nerdy friend Mark has saved her from almost certain death as a small mushroom cloud rises above the city. They’ve supplies to last 2 weeks and now need to hunker down and get along until it is safe to venture out.
Nick Blood and Amaka Okafor in After The End at Theatre Royal Stratford East (Credit The Other Richard)
02 Mar
Reviews
Review: WHEN WE DEAD AWAKEN at The Coronet Theatre
By Stuart King Wednesday, March 2 2022, 12:08
The charmingly faded grandeur of the Coronet Theatre in Notting Hill Gate once again welcomes the Norwegian Ibsen Company for their third collaborative effort — this time breathing life into the playwright’s last major work WHEN WE DEAD AWAKEN from 1899.
18 Feb
Reviews
Review: RAIN AND ZOE SAVE THE WORLD at the Jermyn Street Theatre
By Stuart King Friday, February 18 2022, 08:06
Whilst Crystal Skillman’s play may itself feel somewhat over-extended simply in trying to cover too much real and metaphysical ground, this small-scale London production has capitalised on the creative team’s considerable theatrical inventiveness and displays elements which demonstrate imaginative ingenuity and perhaps surprisingly (for the usually staid Jermyn Street venue) even some technical wizardry.
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