Nick Curtis is Evening 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.
ABOUTVIEW
Nick Curtis is Evening 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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War Horse at the National Theatre: Remains tremendously moving
The return of War Horse to the National Theatre comes with added resonance in our time
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High Society: Helen George gives star turn opposite Felicity Kendal
This adaptation of Cole Porter’s musical at the Barbican is ruled by the Call the Midwife star
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Black Comedy: Mixes physical comedy and emotional cringe
Peter Shaffer’s farce at the Orange Tree Theatre is somewhat dated but crowd-pleasing nonetheless
Beetlejuice the Musical: An absolute scream
This adaptation of the Tim Burton classic brings vaudeville chaos to the Prince Edward theatre
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End of the Rainbow: Judy Garland's corpse dragged out yet again
Jinkx Monsoon’s show at Soho Theatre Walthamstow caused our theatre reviewer to consider stabbing himself in the leg
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CARE at Young Vic: A singular, compassionate piece of work
Set in a care home, this is a powerful, empathetic look at a crumbling system supporting the elderly
Quartet in Autumn: Crisply funny study of four lonely office workers
This adaptation of Barbara Pym’s novel is a compelling study of ageing workers grappling with meaning
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Equus review: A fine revival of a deeply odd but significant play
A forceful revival of Peter Shaffer’s strange play at the Menier Chocolate Factory with a standout lead performance
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The Boy Who Harnessed The Wind: Good-hearted but long-winded
This musical based on the true story of William Kamkwamba @sohoplace is heartfelt if a little laborious
Mother Courage and Her Children: Big, bold populist political theatre
Michelle Terry gives a bravura performance in this first staging of Brecht at Shakespeare’s Globe
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Stage Kiss at Hampstead Theatre: Amusing but lightweight comedy
Sarah Ruhl’s theatrical comedy about two actors exes reigniting the spark entertains but lacks chemistry
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Sherlock Holmes at Regent’s Park Open Air Theatre: A garbled take
A baffling mix of previous takes on Holmes doesn’t have much of a clue
1536 at Ambassadors Theatre: Believe the hype, this is electrifying
Ava Pickett’s award-winning play set during Henry VIII’s reign transfers to the West End and retains every bit of its power
Krapp’s Last Tape review: Gary Oldman is sublime
Gary Oldman brings his Beckett show to the Royal Court for a commanding display
A Midsummer Night’s Dream: A winningly sunny show at the Globe
Director Emily Lim’s version is one full of audience participation and a playful spirit
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Grace Pervades review: Ralph Fiennes sends himself up delightfully
A warm and witty look at British theatrical pioneers at the Theatre Royal Haymarket
Mass at Donmar Warehouse: An easy win for a smugly liberal audience
This drama about a US school shooting has fine acting but can’t rise above hand-wringing
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Please Please Me: Clumsy look at Epstein's obsession with Lennon
Tom Wright’s play at the Kiln takes on the life and times of The Beatles’ manager in a stripped-back production
The Price: Arthur Miller's post-Crash drama shouldn't work this well
Arthur Miller’s post-Depression play is unsurprisingly timely again at the Marylebone Theatre
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Between the River and the Sea: The personal can't avoid the political
At the Royal Court, Palestinian actor and Israeli citizen Yousel Sweid’s autobiographical stand-up theatre indirectly approaches the Gaza crisis via his divorce
Avenue Q review: An illicit, profane, puppet joy
This Tony-winning legendary production revives at the Shaftesbury Theatre with hilarious offensiveness still intact