Latest news with #TilltheStarsComeDown
Time Out
26-06-2025
- Entertainment
- Time Out
The 10 best new London theatre openings in July 2025
News From Rachel Zegler in 'Evita' to Rosamund Pike's National Theatre debut, it's another big month on the London stage By the standards of any other city, July in London is a pretty damn busy month for theatre. Here, it's the start of the summer slowdown, with few of the big subsidised venues running a show over the hols, most big new West End shows keeping their powder dry until the autumn, and much of the industry decamping to the Edinburgh Fringe, which this year begins at the very end of the month. Nonetheless, there's still plenty to keep us going, including loads from the National Theatre which is opening a show in each of its three theatres plus one in the West End. Really, though, there's only one show on people's lips at the moment – and it handily takes our number one spot. The best new London theatre openings in July 2025 What is it? If last year was Brat Summer, this one is Balcony Summer. Hollywood star Rachel Zegler's nightly 9pm-ish performances of 'Don't Cry for Me Argentina' in Jamie Lloyd's revival of Andrew Lloyd Webber's finest hour (don't @ me) has made headlines around the world thanks to the fact she's not singing it in the auditorium but on the outside front balcony, to an increasingly large nightly crowd. Even if the rest of it is rubbish it deserves the number one slot for such an audacious gesture. But as it's essentially a reworking of Lloyd's excellent 2019 Open Air Theatre production, we're expecting it to be pretty damn good. London Palladium, now until Sep 6. Buy tickets here. 2. Inter Alia What is it? It's a month of London shows, heavily dominated by the National Theatre: you can catch last year's Michael Sheen-starring Nye again, plus see The Estate and Till the Stars Come Down below. But pick of the bunch has to be Susie Miller's Inter Alia, the follow up to her massive Jodie Comer-starring smash Prima Facie. Reuniting with director Justin Martin, it stars the mighty Rosamund Pike – making her NT debut – as a maverick high court judge struggling to balance her work and home life. National Theatre, Lyttelton, Jul 10-Sep 13. 3. Girl from the North Country What is it? A welcome return home to the Old Vic for Conor McPherson's Bob Dylan sort-of-musical. A dark and brooding yarn of the American Dustbowl – certainly not autobiographical – it follows the inhabitants of a Minnesota boarding house as they grapple with poverty, madness and worse. There are, of course, Dylan songs – though on the whole they're not the ones you expect. It's an ensemble piece, but Olivier winner Katie Brayben is probably the biggest name as the witchy Elizabeth, who gets to sing 'Like A Rolling Stone'. Old Vic, now until Aug 23. 4. Till the Stars Come Down What is it? This is nice: Beth Steel's poignant, beautifully observed, subtly devastating drama about an Anglo-Polish wedding in the town of Mansfield was one of the best shows to be staged at the National Theatre last year, and while you wouldn't instantly peg it for a West End transfer, it's lovely that it's getting one. The great Siobhan Matthews returns as bride-to-be Sylvia at the head of a partially recast ensemble that also includes The White Lotus 's Julian Kostov as her intended Marek. Haymarket Theatre Royal, Jul 1-Sep 27. Buy tickets here. 5. Sing Street What is it? A little over a decade ago playwright Enda Walsh scored a walloping great transatlantic musical theatre hit when he adapted John Carney's Irish indie film Once for the stage. Now Walsh turns his attention to Carney's 2016 coming-of-age film Sing Street, which follows the exploits of a schoolboy named Conor who forms a band in '80s Dublin. Expect to be charmed. Lyric Hammersmith, Jul 8-Aug 23. Buy tickets here. 6. The Estate What is it? Arguably me and the National Theatre should just get a room. But it's a big month for them, okay? The Estate feels like the great unknown of this list. Starring the excellent Adeel Akhtar as an Asian politician with a sudden, unexpected chance to seize the role of Leader of the Opposition, it's made all the more intriguing by the fact that it's written by Shaan Sahota, a first time writer (who is also a doctor). Most people don't get their debut plays staged at the National – one assumes she's pretty good. National Theatre, Dorfman, Jul 9-Aug 23. 7. The Merry Wives of Windsor What is it? Globe boss Michelle Terry becomes possibly the only artistic director in history to programme Shakespeare's preposterous Henry IV-spin off twice: following an earlier indoor production of The Merry Wives, Sean Holmes directs this outdoor one, starring George Fouracres as Sir John Falstaff, mysteriously reincarnated to the Elizabethan court. Holmes is great on the weirder bits of Shakespearean whimsy – expect something a bit harder and darker than you'd usually expect from the Wives. Shakespeare's Globe, Jul 4-Sep 20. Buy tickets here. 8. Noughts & Crosses What is it? A revival of Dominic Cooke's 18-year-old stage adaptation of Malorie Blackman's seminal racial dystopia is probably the randomest moment of Drew McOnie's first season in charge of the Open Air Theatre. But it's also a pretty cool one that shows associate artistic director Tinuke Craig is hopefully going to be allowed to put her own imprint on the theatre, as she heads up her first production here. Regent's Park Open Air Theatre, now until Jul 26. Buy tickets here. 9. Nature Theatre of Oklahioma: No President What is it? London's first chance to see this revered avant-garde US company as it plays a string of dates at the Southbank. Subtitled A Story Ballet of Enlightenment in Two Immoral Acts, I have no idea why the show is called No President, but it focuses on a showdown between rival gangs of former actors and ex-ballet dancers, taking each other on to protect a mysterious theatre curtain and whatever might be behind it. Queen Elizabeth Hall, Jul 9-11. 10. Burlesque the Musical What is it? There is a lot of potential for a big glitzy West End musical adaptation of Christina Aguilera's cult-ish 2010 film, which comes with a songbook of tracks from the film written by Aguilera and Sia. There are eccentricities to this production: a very limited West End run, the fact that its original director was dumped after last year's regional dates, and the fact that US reality show contestant Todrick Hall is now director, choreographer, writer of some new songs and the co-star, which is… a lot of hats. These are eccentricities rather than failings though: let's not prejudge.
The Guardian
01-04-2025
- Entertainment
- The Guardian
(This Is Not a) Happy Room review – Amanda Abbington on the guest list for toxic reunion
A wedding is repurposed into a funeral in writer-actor Rosie Day's dark comedy. It might be a twisted spin on Richard Curtis's Four Weddings and a Funeral except the focus is not on a happy family of friends but on the dysfunctional Henderson brood. Eric Henderson, a less than perfect father, dies just before he can tie the knot with his third wife, leaving his children, his ex and the arriving guests in a room filled with bows and balloons. There is his eldest, Laura (Andrea Valls), a new mother cum human rights lawyer who looks more like a Chelsea Sloane and speaks to her hen-pecked husband Charles (Tom Kanji) as if he were an incompetent PA; middle-child Simon (Jonny Weldon), a 35-year-old hypochondriac; and the youngest, Elle (Day), an actor who has made it to Hollywood. They are joined by their less than perfect mother, Esther (Amanda Abbington), to deal with grief, anger over the past and a surprise. It is a spiky scenario but comes – like Curtis's film – with too many soft edges. Under the direction of Hannah Price, a talented cast is assembled but underused. Abbington is a potent presence but her character, for too long, is given functional lines, flitting on and off stage. Weldon, also a comedian, is entertaining but his character is at the centre of a revelation that is not dealt with in any depth. The sibling relationships capture crabbiness and switch sweetly to camaraderie but do not reach below the surface of their testiness. A forgetful great-aunt is chucked into the mix for comic effect and so is – conveniently – a psychologist who duly analyses this family. The balance between comedy and darkness tips unevenly to lightness. The theme of toxic family inheritance is an onerous one that has been expertly explored across the ages, from the canonical plays of Tennessee Williams to Beth Steel's dysfunctional family wedding in Till the Stars Come Down. That legacy hangs heavily over this offering. Day's writing is sprightly but does not bring enough true conflict or emotional complication. The reference to Philip Larkin's poem on family dysfunction seems too handy, the script's reflections on mortality too passing. So the play becomes the sum of its wisecracks. A reckoning between Esther and Laura at the end contains a charge missing from the rest of the play. It is the first time the drama's veneer cracks open to reveal something deeper and more painful beneath. At King's Head theatre, London, until 27 April
