Ava Wong Davies is a critic with London Theatre. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.
If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.
David Mamet’s little-performed 1977 duologue, The Woods, returns to London 21 years after it first premiered, in Russell Bolam’s confident production that never manages to escape the fundamental limitations of its text. Full Review
Oddly enough, the classic family drama has become increasingly hard to come by in post-pandemic London theatre. Sian Carter’s debut play, developed and co-produced by Talawa Theatre, steps into that gap in the market with relish. Full Review
Moulin Rouge! is determinedly set on entertaining its audience; and if that intention can lend itself to a blandness in its slower moments, and a smoothness around some of its edges, then there’s almost always a diamond of a number around the corner. Full Review
The script ... is serviceable, if not overly adventurous – it ... does little to deepen the characters. The same goes for the new music ... for the most part, it’s filler. Stephanie McKeon’s Anna is delightfully gutsy ... and Samantha Barks as Elsa is both ethereal and commanding. Full Review
Yasmin Joseph’s debut play, a beautifully rendered love letter to Notting Hill Carnival, is a kinetic, strikingly confident piece of work that also happens to be the most “live” that live theatre has felt since its return. Full Review
At its highs, Amélie is very high indeed. It is a shame that there is a frankly unforgivable level of racial homogeneity in the cast...and Lucas has seemingly sidestepped the opportunity to update some of the more questionable aspects of this 20 year old film. Full Review
...a self-consciously low-key production — really, more of a poetry reading than a piece of theatre... It’s testament to Ellams’s extraordinary talent that this autobiographical show is as engrossing as it is.' Full Review
Rice does a fairly remarkable job in making the text as lucid as it is, even if depth of character is sacrificed for breadth of narrative. In the end, it is the tireless ensemble who anchor the show. Full Review
The play is a sprawling piece of work, and the pacing is oddly modulated, with a first half that takes its time setting up its chess pieces, and a second that lands only some of its gut-punches. Much of the play feels overly mannered. Full Review
There are many (quite literally) moving parts in After Life, but by some miracle each part feels tempered and bolstered by the other parts around it, rather than a series of more disparate elements tied together. Full Review
...a lovingly crafted, warmly entertaining piece of work — Mercy is a delightful presence, and a joy to spend an evening with...Stories about friends and family... feel less immediately gripping.' Full Review
Though there is something cathartic about watching someone articulate a righteous anger... Beat the Devil comes across as somewhat slapdash, with a lumbering heavy-handedness that feels more akin to a first draft...' Full Review
Miriam Battye’s London Royal Court debut is a springy, if wobbly, exploration of contemporary womanhood...Battye’s text is a soup of half-thoughts and scalpel-sharp observations...But the play never fully coalesces.' Full Review
It does feel like some of the storytelling moments haven’t fully coalesced into the production as a whole...But at its best, A History of Water has an intoxicating, headily persuasive energy to it.' Full Review