I’ve been a fan of Tamsin Greig ever since the first episode of the criminally underrated Episodes, so I’d have been quite happy just watching her sit on stage—like Sigourney Weaver in that recent disaster of The Tempest. Luckily for all of us, Greig didn’t just sit. She took on some heavy material in The Deep Blue Sea and delivered it without theatrics or showy breakdowns—just pure pain and flashes of quiet fury.
Mrs Warren’s Profession: Selling sin, buying freedom
George Bernard Shaw’s 1893 play Mrs Warren’s Profession is a bit of a mouthful. For the current production at the Garrick Theatre, the creative team trimmed the text, but it still feels a touch too long. That said, its core themes—sex work, limited opportunities for women, institutional hypocrisy—remain relevant in 2025. And when the cast is this good, you almost don’t mind the extra speeches.
My Master Builder: Grand design, poor execution
I’m all for reuse and recycling, but modern reimaginings of classic plays rarely work. More often than not, they feel like conceptual show homes: stylish on the surface, structurally unsound underneath.
Fiddler on the Roof: Tradition and change
Watching Fiddler on the Roof at the Barbican, in Jordan Fein’s production, was an unexpectedly personal experience. Hearing songs I once rehearsed myself, a quarter of a century ago, felt almost like opening an old diary. Yet this version was worlds apart from our school theatrical experiments.
