Brian Logan

Brian Logan is a critic with The Guardian (UK). 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.

Reviews (19)
The Guardian (UK)

"It’s all beautifully, intricately assembled – and very funny. Not just in a so-ghastly-it’s-funny way, but funny about the gap between slick corporate comedy and Noble’s own life, and endlessly funny in the small, sweet details of that humdrum reality." Full Review

The Guardian (UK)

for a previous production With no frills to the staging, the amplification a bit irregular, and the ending less of a climax and more of the same, there’s space for the show’s qualities to be brought into sharper focus. But it’s still great fun... Full Review

The Guardian (UK)

Mind you, the singing is top-notch: Ellena Vincent’s Jasmine is particularly strong...[Not] all wishes come true. Your dreams of a fun Christmas night out, on the other hand, will. Full Review

The Guardian (UK)

There’s a wicked pleasure to be had in the sharpness (sacrilege, even) of Kingsman’s satire. The show is also laugh-out-loud silly. 'One-Woman Show' [will be greeted with irrepressible laughter] night after night ... which it richly deserves. Full Review

The Guardian (UK)

But far from being “angry”, Seriously Annoying is heartfelt and celebratory. The emphasis is more personal than in some of Thomas’s political work, as he looks back on his Clapham childhood and violent dad to explain the professional public nuisance he later became. Full Review

The Guardian (UK)

But Edwards – AKA Justin Johnson – is a likably unpretentious host and, as you’d expect from the self-described “Steven Spielberg of dance”, the choreography catches the eye. Full Review

The Guardian (UK)

for a previous production "Long’s humor here is of the gallows variety. Yes, she ends with a clarion call to keep the faith, stay activist, not wallow in despair. Important things to say, but not terribly cheering–for the first time, one senses Long needs the inspiration as much as we do. In 'Something Better' she tries to fire up her optimism, with only partial success. It’s studded with excellent moments, but the overall effect is as plaintive as it is funny." Full Review

The Guardian (UK)

for a previous production "Even by the standards of today’s mental-health-conscious comedy, Gethard’s show is intimate and explicit…Gethard’s openness and frankness are affecting, and he has built a comedy set around them with considerable skill and good humour…What is bleakly funny – and beautifully articulated by Gethard (with help from the Smiths) – is how broken we become, how far from dignity and capability we fall, when depression takes a grip." Full Review

The Guardian (UK)

for a previous production "It helps that she’s thrown out most of the baggage that accrued to this once-naff art form: the creepiness, the stiffness, the tragic co-dependency. Handy, too, that she’s filled the breach with sass and straight-talk, alongside tonal variety and a ruthless self-awareness. More than that, Conti restlessly pushes at what can be done with her vocal skill…Conti just picks up on her volunteers’ body language and, before you know it, personalities develop and scenarios unfold." Full Review

The Guardian (UK)

for a previous production "Sometimes the play falls victim to the confusion it depicts. But if this monologue takes time to come into focus, it finally reveals the rootlessness of a young man without a country, on a continent at war with itself - and the ripples that his decisions cast...Sometimes his narration is too sombre - but elsewhere, the emotional meter is deftly calibrated." Full Review

The Guardian (UK)

The best moments are the most delicate – Le Gateau’s fragile take on Whitney Houston, say, before that number devolves into a stompalong. Full Review

The Guardian (UK)

The pleasure, then, has little to do with story or characters, which are flimsy. It’s found instead in the irreverent gags (Captain Hook being recruited as the school’s head of IT) and apropos-of-nothing sequences... Full Review

The Guardian (UK)

In lieu of character progression, events become increasingly manic and overblown as the play progresses, leaving its most fertile dramatic terrain – the everyday poignancy of the two divorcees’ lives – in its wake. Full Review

The Guardian (UK)

[Jennifer Saunders gives] a lovely physical performance. But around her, the production never settles. Saunders is on form – but apart from her, blitheness is in short supply. Full Review

The Guardian (UK)

In Luke Sheppard’s production, unfolding on a frumpy front-room set with glamour concealed, My Son’s a Queer offers something for everyone. Full Review

Magic Goes Wrong
West End
The Guardian (UK)

for a previous production Stunts and tricks go awry in this slapstick romp, though the running gag makes it hard to conjure suspense. Full Review

The Guardian (UK)

for a previous production "By the end, I yearned for the expressivity of a human being – because this is essentially a standup show spoken from a human perspective that doesn’t play to puppetry’s strengths at all. None of which is to deny McIvor’s skills in the niche of standup puppetry..Randy’s identity is unclear here...There’s ample compensation in Randy’s explosive delivery and some good jokes about hoarding and Harper Lee. But, conceptually, the show doesn’t quite add up." Full Review

The Guardian (UK)

for a previous production "Unsurprisingly for a show set in a steel container, 'Mouse' can feel claustrophobic, and couldn’t be accused of getting quickly to its point. But as ever, it’s easy to submit to Kitson’s playfully showy writing and his spirit of romantic melancholy that steers for the heart of what being alive is all about…The occasional clunkiness is forgivable in a show this humane and open-hearted." Full Review

Butt Kapinski
Soho/Tribeca
The Guardian (UK)

for a previous production “An interactive golden-age detective movie is created on stage with Fleysher’s alter-ego Kapinski leaning heavily on the audience for laughs...We’re invited to notice how we take these archetypes, particularly gender ones, for granted...We never quite get the satisfying noir narrative that the show promises...But this remains a playful and atmospheric fringe curio, a light-touch role-play for anyone who likes their dicks private and their femmes fatales.” Full Review