Stuart King
10 Jun
Reviews 
Review: THE CONVERT, Above the Stag Theatre (Vauxhall)
By Stuart King Friday, June 10 2022, 09:25
Taken to The Facility, an institution for corrective measures which exists in an unspecified future time and place, we learn how two inmates Alix and Marcus undergo curative therapy and hope to avoid being sent to the Other Place from which no-one ever returns.
08 Jun
Reviews
Review: TONY! THE TONY BLAIR ROCK OPERA at Park Theatre
By Stuart King Wednesday, June 8 2022, 23:33
Park Theatre has achieved something of a coup in landing TONY! which was the hot ticket among the theatre Press corps on Wednesday evening, mainly due to the involvement of comedian Harry Hill who has provided the book.
Kaye Brown, Charlie Baker and Gary Trainor in Tony! [The Tony Blair Rock Opera] at Park Theatre. Photo by Mark Douet.
08 Jun
Reviews
Review: THE RITE OF SPRING at Sadler’s Wells
By Stuart King Wednesday, June 8 2022, 10:17
Pina Bausch’s ground-breaking 1975 choreography for Igor Stravinsky’s The Rite of Spring has remained intact but here, embodied by a new generation of dancers assembled from various African countries, it has taken on an ecological urgency all its own.
The Rite of Spring at Sadler's Wells.
08 Jun
Reviews
Review: STARCROSSED at Wilton’s Music Hall
By Stuart King Wednesday, June 8 2022, 09:46
The quintessentially dilapidated historical charm that is Wilton’s Music Hall in East London, plays host to Rachel Garnet’s widely acclaimed play Starcrossed in which she poaches Shakespeare’s supporting characters Mercutio and Tybalt (from Romeo and Juliet) as her male leads in a tale of their own secret and forbidden love. It premiered during NYC’s 2018 Fringe and subsequently reappeared for a short run in Washington DC in 2019. This marks its London debut.
Starcrossed at Wilton’s Music Hall. Photo by Pamela Raith.
30 May
Reviews
Review: SAMSON ET DALILA at The Royal Opera House
By Stuart King Monday, May 30 2022, 08:28
It could reasonably be asserted that Camille Saint-Saëns’ operatic treatment of the biblical Samson and Delilah story, received a decidedly cautious reception when its first sections were explored before an audience. Consequently, it was many years after work had begun, that a fully staged production was finally mounted at Weimar in 1877 — and only then with the vehement support and championing of Franz Liszt.
Samson et Dalila at the Royal Opera House. Photograph by Clive Barda
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