#104 - "Hayley Atwell - all raptor smirks and does-not-compute tics" - theatre review, Dry Powder

Hampstead Theatre

Sarah Burgess’s play is a smart, snappy, somewhat predictable indictment of high finance with a delicious antiheroine. Hedge fund manager Jenny is a millennial Gordon Gecko, a money-making calculator without empathy or guile, and she is brilliantly incarnated here by Hayley Atwell, all raptor smirks and does-not-compute tics. Jenny’s rival Seth (Tom Riley, a deft foil) brings their boss Rick (Aidan McArdle) a deal to restore the firm’s tarnished reputation, but our Jenny sees dollar signs. Will conscience or capitalism win? Take a wild guess! But it’s credit to Burgess, to Anna Ledwich’s sleek production, and most of all to Atwell, that we come out rooting for Jenny.

#103 - restaurant review, Mookrata

Above Shuang Shuang, Shaftesbury Avenue, W1D 6LU

To Mookrata, which friends immediately dub ‘muckraker’, a six-month Thai pop-up above Shuang Shuang serving the eponymous mashup of Chinese hotpot and Korean barbecue. Broth (ours was fragrant, creamily yellow Pad Thai) is poured into a reservoir around a central hotplate: you cook veg in the liquid and protein on top. The fun of DIY dinner is slightly lost on someone my age, but I was impressed by the freshness and abundance of the ingredients, the bold flavouring and above all the price. Were I young and on a date and looking for something to break the ice, or simply starving for copious spicy food, this would be ideal.

#102 - "Sheer direct force" - Theatre review, Julius Caesar 01/02/2018

Bridge Theatre

At first I thought I’d seen the defining parts of Nicholas Hytner’s energetic take on Shakespeare's political drama – audience as mob, raucous live music, obvious political parallels – done before and better at the Globe. By the end I was won over by the sheer direct force of a show where a prime cast is almost upstaged by the Bridge theatre’s versatile, shape-shifting auditorium. David Calder is Caesar (more Bush than Trump), David Morrissey, Antony, but the real fizz comes from the heated relationship of Ben Whishaw’s torn Brutus and Michelle Fairley’s adamant Cassius. The supporting cast is strong, and it’s a thrill to see this theatre put properly through its paces.

#101 - "Recreated and rejuvenated" - restaurant review, Joe Allen 25/01/2018

2 Burleigh St WC2E 7PX

I hadn’t been to old favourite Joe Allen for years when its basement premises were suddenly sold. What a joy, then to walk 40 yards west to find it recreated and rejuvenated. The décor and theatre posters are unchanged, but lacklustre service and cooking has been revamped. A breakfast of blueberry pancakes (best ever, said my connoisseur) and a well-judged bacon bun, excellent coffee and mocktails (the hard stuff starts at 10am) felt more like the Wolseley than the old off-menu burger days. And daylight is a definite bonus in a place I used to visit in the small hours. Maybe we’ve both grown up.

#100 - "Delicate interactions to savour" - theatre review, John, 25/01/2018

National Theatre, Dorfman

Not slow – unhurried. American playwright Annie Baker sets her own studied pace for this relationship drama with intriguing supernatural and existential overtones. Young couple Elias and Jenny try to heal problems with their relationship in the doll-cluttered Gettysburg guesthouse of Mertis (delightfully eccentric Marylouise Burke). The presence of Mertis’s blind friend Genevieve underlines that all the characters are, or feel, watched. Is the house haunted by ghosts of the Civil War, or is a higher power looking down? Baker is content to pose the question, and I was content to ponder it and savour the delicate interactions she weaves.

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