Review: Behind the Beautiful Forevers, National Theatre
Many cities have stark socio-economic contrasts. Take London for example: one moment you could be standing amongst some of the most obscenely expensive shops an...
Samuel Sims
Review: Made In Dagenham, The Adelphi
The rather tiresome but quite successful fashion for creating musicals based on movies has settled down this year. Instead we have seen Broadway transfers (Urin...
Review: La Bohème, London Coliseum
Call me crazy but I'm partial to a love story with some believability. I find myself feeling frustrated and bored with my experience of Puccini's La Bohème, whi...
Review: Urinetown, Apollo Theatre
Ultra-violence with a cracker of a smile on its face is one of my favourite things; add in singing and it becomes a large gorge-fest of brand spanking new fun. ...
Review: Speed-the-Plow, Playhouse Theatre
There's an undeniably cliched 80s feel to David Mamet's three-hander, Speed-the-Plow. It captures a Working Girl-esque image of corporate America, of the dog-ea...
Review: The Girl of the Golden West, London Coliseum
I like neon yellow lights on the front of a Wild West saloon as much as the next theatre critic, but even Mimi Jordan Sherin's lighting and Miriam Buether's set...
Samuel Sims
Managing Director
Sam is a freelance writer with work published in Vice, the ipaper and The Stage, among others. He hails from Hull, 2017's City of Culture so you probably won't understand a word he says.