Nick Curtis is The Standard’s chief theatre critic, co-host of the Standard Theatre Podcast, a feature writer and an award winning interviewer. Although he has written predominantly for the Standard for three decades his work has also appeared in most major English newspapers and magazines from Radio Times to Tatler to GQ....
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VIEW
Nick Curtis is The Standard’s chief theatre critic, co-host of the Standard Theatre Podcast, a feature writer and an award winning interviewer. Although he has written predominantly for the Standard for three decades his work has also appeared in most major English newspapers and magazines from Radio Times to Tatler to GQ.
Jerry’s Girls at Menier review: undemanding cabaret
Much of this feels like it was written by AI fed on 1930s Tinseltown cliches
Richard III at Shakepseare's Globe: Michelle Terry shines
Bizarre pacing choices and gabbled lines undermine the production – but the Globe’s artistic director makes for a compelling king
Passing Strange at the Young Vic review: undeniable verve and brio
This fondly ironic coming-of-age story has style and swagger, but lacks a bit in the substance department
Denise Gough: I can talk about my abuse and addiction now
The award winning actress talks about returning to her greatest role almost a decade on, how society has changed towards addiction and joining the Star Wars universe
Fawlty Towers: The Play: laughs aplenty in this loyal stage adaptation
John Cleese’s ragefully impotent Torquay hotelier Basil Fawlty is uncannily reincarnated by Adam Jackson-Smith
People, Places & Things at Trafalgar Theatre: a triumphant revival
Denise Gough is magnificent in a return to the role that made her a star
Between Riverside and Crazy at Hampstead: rude, crude and vigorous
There’s a lot to enjoy here even if Stephen Adly Guirgis’ tricksy script hides a mawkish redemption arc
Mary Said What She Said at the Barbican: Isabelle Huppert is riveting
This is no easy star vehicle – it’s a bold challenge to the great French actor’s technique, charisma and rigour and she rises to it
Twelfth Night at Regent’s Park Open Air Theatre : stylish and sexy
This playful and gorgeously designed take on a perennial favourite is only marred by a lack of pace
Spirited Away at the London Coliseum: relentless inventiveness
The show captures scale and perspective in a way theatre rarely achieves but it’s not entirely clear who it’s aimed at
Much Ado About Nothing at the Globe: a joyful, sunkissed production
Amalia Vitale and Ekow Quartey are arch and spirited as the central, wittily unwilling lovers
The Cherry Orchard at the Donmar: utterly captivating
Hits the play’s poles of tragedy and comedy with devastating accuracy
Laughing Boy at JST: shocking social care drama feels hideously timely
This tragic true story is powerful as an act of representation and testimonial, even if it’s a flawed show
Minority Report at Lyric Hammersmith: by turns smart and daft
Why doesn’t theatre do more sci-fi? This adaptation of Philip K Dick’s novella may offer some answers
Player Kings at the Noel Coward: McKellen is remarkable as Falstaff
This rheumy, phlegmy performance by Britain’s greatest living classical actor is played with relish and superb comic timing
Gunter at the Royal Court: a punky take on 17th century bewitching
This is a scrappy, hectic medley of violent action, music and clever stage effects
Underdog: the Other Other Brontë at the NT – slick, knockabout fun
This take on the Brontës, with language saltily updated, is playful but slender
Life with Oscar at the Arcola: sloppy and self-indulgent
Despite some manic magnetism from the show’s writer-performer, this autobiographical tale is mired in cliché
Long Day's Journey into Night at the Wyndham's: Brian Cox is magnetic
This take on one of the great family dramas of 20th century American theatre is full of pathos and ruined grandeur
