Marianka Swain

Alan Ayckbourn’s 1969 farce receives an affectionate Old Vic revival directed by Phillip Breen, with two overlapping dinner parties exposing marital infidelity and suburban tensions. The technically demanding staging is skilfully handled by a strong cast, though the production suffers from pacing problems and some line flubs. Roger Allam earns the biggest laughs as the vague, paternalistic Frank, while Dorothy Atkinson, Ayesha Antoine, Adam Gillen and Laura Elsworthy also receive praise. The period setting preserves the play’s forceful observations on class, marriage, gender inequality and English repression.

Matthew Bourne’s The Car Man, a sensual and violent dance-theatre reworking of Bizet’s Carmen, relocates the story to a claustrophobic 1950s American town. The Sadler’s Wells touring production is praised as more satisfying than its Royal Albert Hall presentation, with strong performances from Ashley Shaw, Will Bozier, Anna-Maria De Freitas and Harry Ondrak-Wright. The review highlights the lucid storytelling, Terry Davies’s musical adaptation, and the vivid neon-lit design, concluding that the production is an ideal, blistering summer show.

Ruthie Henshall’s memoir recounts her five-year relationship with Prince Edward, blending candid stories from royal life with episodes from her own troubled upbringing and theatrical career. Anecdotes detail the couple’s secret courtship, interactions with members of the Royal family and Henshall’s immersion in their world, set against the challenges of maintaining privacy and personal ambition. The narrative highlights the incompatibility between Henshall’s commitment to acting and the constraints of royal life, ultimately explaining why the relationship faded despite lingering affection. The review praises the book’s entertaining storytelling and frankness.

A survey of notable modern portrayals of Hamlet highlights the distinct interpretations brought by leading actors including Andrew Scott, Benedict Cumberbatch, Rory Kinnear, David Tennant and others, examining how each production’s concept and performance choices shaped their version of Shakespeare’s prince. The article explores diverse approaches ranging from youthful vulnerability to political rebellion, cross‑gender casting and psychological intensity, illustrating the role’s continuing adaptability and cultural resonance.

A new Frank Sinatra bio-musical at London’s Aldwych Theatre delivers glossy staging, strong performances and over 20 Sinatra hits, but suffers from weak, expository writing that lacks emotional depth. Supported by the Sinatra estate, the production portrays Sinatra’s charm alongside his flaws, while standout performances from the female cast and stylish choreography elevate the material. Despite its shortcomings, the show remains an entertaining theatrical portrait with potential for further development.

A lively anniversary revival of Avenue Q at London’s Shaftesbury Theatre updates the irreverent adult puppet musical with modern references while retaining its sharp humor and warm-hearted themes. Strong performances, inventive staging and confident direction highlight the blend of outrageous comedy and feel-good storytelling, earning an enthusiastic audience response and reaffirming the show’s enduring appeal.

Rosamund Pike’s acclaimed performance in Inter Alia has reignited discussion of her place among Britain’s leading performers, showcasing her technical precision and versatility in a demanding stage role. Her career has swung between prestige period pieces, uneven Hollywood projects and standout turns in films such as Gone Girl, I Care a Lot and Saltburn, where her sharp comic edge has been most apparent. After stepping back for family life, she has re-emerged with carefully chosen parts that highlight her range. With Inter Alia headed for Broadway, questions emerge over whether she will embrace a renewed Hollywood ascent or continue pursuing eclectic, sometimes unconventional roles aligned with her own interests.