Don Juan, Edinburgh Fringe Festival

by guest critic Joanna Trainor

Allô you gorgeous creatures, this entire review is going to be written in a very sexy French accent so that’s how you should read it.*

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Broken Wings, Theatre Royal Haymarket

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by guest critic Amy Toledano

It is rare that a new musical has the kind of oomph that Broken Wings has in a run lasting just four days. This show has shown that a brilliant cast, outstanding musicians and phenomenal score can create true magic.

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Othello, Shakespeare’s Globe

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By Laura Kressly

Who knew one of Shakespeare’s greatest tragedies could be funny? Director and composer Claire van Kampen has tapped into a rare rhythm that sees Iago as a weaselly, clownish man lacking power and finesse, yet still manages to twist Othello into knots. Played by Mark Rylance, one of the finest actors of his generation, his performance is the strongest feature of this production.

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Exit the King, National Theatre

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By Laura Kressly

There’s little that’s exciting about watching a petulant, man-child of a king taking 90-odd minutes to die whilst his two wives, a housekeeper, a guard and a ‘doctor’ debate his legacy and the reported collapse of his kingdom. But the design, that climactically progresses along with the king’s death, in this new version by Patrick Marber is a fine reward for enduring the tedium of snarky melodrama that makes up most of the performance.

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The Laundry, Drayton Arms Theatre

by guest critic Amy Toledano

The Laundry is a lovely collaboration of writing by 15 Degrees Theatre that explores womanhood across many generations and across many cultures. Travelling across Europe from Russia, the play begins with two sisters and ends in three stories that will have you wanting to ring your mum the minute it ends.

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