Dominic Maxwell

Dominic Maxwell is a critic with The Times (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.

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Reviews (71)
Indecent Proposal
Southwark
The Times (UK)

This ... well-meaning, well-played version of [the 90s movie is] dramatically undercooked. A sincere but stilted evening. Full Review

Old Bridge
Shepherds Bush
The Times (UK)

Memic can really write, but this promising if flawed debut suggests that he should let his characters speak for themselves. Full Review

A Place for We
Finsbury Park
The Times (UK)

This ambitious comedy-drama about gentrification, tradition, and identity shows ... Archie Maddocks is a writer of real promise. If it’s at least half an hour too long, though, there is plenty to get your teeth into. Full Review

Hymn
Islington
The Times (UK)

Lester has a phenomenal ease about him, whether in showman mode or scraping away at the surface of the family man who wants to be more than just sensible. Sapani is a simply extraordinary stage presence. The story’s reach exceeds its grasp, but there are moments of magic. Full Review

The Times (UK)

Ayad Akhtar’s claustrophobic four-man thriller has made a winning return, five years after it was first staged here. Full Review

Anna X
Westminster
The Times (UK)

What really impresses and beguiles in Daniel Raggett’s staging is the sheer amount of ground it covers in 80 minutes, the sheer swish with which two people – and a lot of video – summon up a world in which appearances are everything. Full Review

Extinct
Stratford
The Times (UK)

Yet the greatest crisis in the history of humanity shouldn’t be this dull. Extinct is well intentioned and researched but maroons itself somewhere between drama and lecture. Full Review

The Times (UK)

...this evening of rarities is well acted, stimulating yet sluggish. And, at three hours including interval, horribly overlong...Haddrell gets strong performances but offers at least one play too many. Full Review

The Times (UK)

This time around, unfortunately, Sean Holmes’s production feels as if it has turned the corner from exuberant to effortful. Full Review

Love Letters
Westminster
The Times (UK)

Escapist? Well, yes, it’s a joy to escape to their pained yet gilded worlds. Somehow, though, their sense of alienated intimacy feels utterly pertinent to the time of pandemic. Full Review

Uncle Vanya
Westminster
The Times (UK)

Heavens, no. Like so many good versions of classics, Conor McPherson’s new adaptation feels almost impossibly contemporary in the way it packs so much lust, wit, rage and regret into its brisk but unhurried two and a half hours. Full Review

Magic Goes Wrong
Westminster
The Times (UK)

It’s executed with love, determination and skill. Tommy Cooper, you suspect, would have loved it. I know I did. Full Review

The Boy Friend
Southwark
The Times (UK)

Well, there is nothing to dislike exactly. It’s more a question of how deeply you can fall in love with a story that is so terribly, terribly slight...It’s nonsense, but nice.' Full Review

Henry VI
Bankside
The Times (UK)

Staging that starts strategically static swells and loosens as the schisms grow...It’s caustic, compressed and compelling.' Full Review

Vassa
Camden Town
The Times (UK)

I have seen shows worse than Vassa, but I have seen few productions with a less sure sense of what they are. Full Review

Groan Ups
Westminster
The Times (UK)

I’d love to say that it’s another smash...Yet it’s a baggy old evening, not quite a full-on gagfest, but too broad to sustain its aspirations to be something more substantial. Full Review

Blood Wedding
Lambeth
The Times (UK)

Yes, it loses some narrative grip near the end as the blood flows and the symbolism rises, but mostly Farber’s daring sustains an evening of magical realism that is beautiful but brutal.' Full Review

Falsettos
Westminster
The Times (UK)

complex tapestries of melody feel utterly natural...Falsettos grips and stimulates rather than devastates, perhaps because the knowingly busy writing also has a needlessly busy set that competes for our attention.' Full Review

The Illusionists
Westminster
The Times (UK)

...highly entertaining summer special...even if one magic moment doesn’t grab you, the next one is along so fast that it doesn’t really matter. Full Review

Dark Sublime
Westminster
The Times (UK)

The odd line lands, but without more story to hold its preoccupations together Dark Sublime is about two hours too long. Stick with Galaxy Quest. Full Review

Bitter Wheat
Charing Cross
The Times (UK)

That’s not reason enough to see this half-cooked show. Even at its misjudged worst, though, it’s too bizarre to be boring. Full Review

The Times (UK)

...Nicholas Hytner’s immersive, irreverent, spectacular, slyly feminist, sometimes properly dreamlike staging of Shakespeare’s summer special...The positives outweigh any overkill...' Full Review

The Times (UK)

Roger Allam gives a powerhouse central performance...the play makes something so gripping and saddening and amusing, too, from sexual politics and class politics and family politics.' Full Review

The Times (UK)

It’s fast, it’s funny, it’s tender, it’s tense, it’s a quiet triumph... Sarah Amankwah has an unforced but mesmerising loquacity and stage presence as Henry. Also: this king can SING.' Full Review

Man of La Mancha
Charing Cross
The Times (UK)

Here all the stops are pulled out but, despite the commitment of the ENO orchestra, the result is a misfire. It says much that only a giant staircase, constantly lowered in James Noone’s metallic design, was moving. Full Review

The Times (UK)

"To us, Jeff Bezos is the epitome of the capitalist, white supremacist, patriarchal violence that’s destroying the planet,” they say in the programme. Phew, big statement. And one that, even if no one is going to unpack it entirely in an hour of performance art, calls for more than just name-calling. Full Review

The Times (UK)

Kingsman performs and writes with an easy panache. She and her director, Adam Brace, use lighting, sound, voiceover and dance to deepen the fiction even as they rubbish it. It’s smart. It’s silly. Good heavens it’s fun. Full Review

The Times (UK)

All sorts of bright ideas in here that tend to feel notional and discursive rather than persuasive and personal. It’s a real shame because there are all sort of inventive touches in the staging. Full Review

Oleanna
Covent Garden
The Times (UK)

'Oleanna' is a fast-moving, exquisitely infuriating experience over 80 minutes. Bailey’s production makes the play feel both mythical and utterly of the moment. Full Review

The Times (UK)

Together, though, these star-cross’d lovers look as if they have never got past the point of asking each other what box sets they are into. The balcony scene barely registers. They don’t connect. Full Review

The Times (UK)

Never mind the tinted glasses, groovy gear and early Seventies rock harmonics: Pippin is a period piece that still has some bite. Full Review

The Times (UK)

for a previous production Yet for all the oomph in Andy Fickman’s production, Heathers the Musical is a blander rejig of a distinctive original that is motored by a disappointing set of songs. Full Review

Raya
South Hampstead
The Times (UK)

Rather, it’s wonderful to be in an intimate space up close to lifelike characters who only gradually strip back layers of flirtation, awkwardness, jollity and self-deception to reveal complex, contradictory emotional lives. I’d almost forgotten how powerful theatre’s microscope can be. Full Review

The Times (UK)

Both stories grab with their modernity as they riff on sexual mores and game-playing. Both, even at only about half an hour each, outstay their welcome as their provocative ideas start to overwhelm the plausibility. Full Review

The Times (UK)

Maria Gaitanidi’s ponderous production... finds such little fun in it all...This gruelling three-hour interrogation simply sucks the life out of its source material.' Full Review

Scenes With Girls
Sloane Square
The Times (UK)

The play is very 2020 in its wit and gender politics, but its themes are eternal as its young characters try to figure out how to live and how to love...complicated and gripping.' Full Review

Curtains
Covent Garden
The Times (UK)

Curtains ends up as a perfectly likeable, undeniably clever pastiche that doesn’t entirely solve the mystery of why it should take the best part of three hours to get the job done. Full Review

The Times (UK)

She makes this 70-minute show worth seeing, even if you don’t entirely buy into its attempts to collide the domestic with the cosmic. Full Review

Richard III
Bankside
The Times (UK)

Life at the top is nasty, brutish and fast in this invigorating pair of plays...These liberty-taking, lacerating exercises in black comedy put Shakespeare’s history plays into the present tense.' (Henry VI/ Richard III Double Bill) Full Review

The Girl Who Fell
Westminster
The Times (UK)

Hannah Price’s deftly acted production...Take away the scenes at the start and very end...and you have some unique and resonant drama that makes The Girl Who Fell something oddly memorable.' Full Review

The Times (UK)

A taste of theatre history... It’s a striking, important piece of work, but it no longer has quite the impact you suspect it once had.' Full Review

The Times (UK)

Mostly this deeply loving, oddly riveting depiction of people hanging on quietly, but determinedly at the edge of despair lets us come to our own conclusions.' Full Review

The Times (UK)

It’s not for those who want a show that just gets on with the job. It is, however, as tender as it is clever, as incensed as it is inventive. It’s a wonderful one-off.' Full Review

The Times (UK)

Sean Holmes’s playful production takes some liberties and scores more hits than misses as it does so... Holmes... makes sure the whole shebang keeps its audience in its mitts throughout.' Full Review

On Your Feet!
Charing Cross
The Times (UK)

If the overall effect is oddly pedestrian, the details are good... The megamix finale got the crowd on its feet, but I remained in my seat. Full Review

The Times (UK)

This exquisitely acted production manages to pull off the double of being as light on its feet as it is intense. Full Review

The Times (UK)

The cast swap roles, don jumpers to become schoolchildren and dance to hits of the day. It’s sometimes inspiring, sometimes exciting, but not always entirely convincing — B+. Full Review

9 to 5: The Musical
Westminster
The Times (UK)

"Calhoun’s West End production rarely takes you by surprise, but it never really lets you down either...If '9 to 5' is good rather than great, it’s because the wit is a bit obvious; because Parton tends to deal out deftly articulate midtempo tunes rather than outright belters...Whether or not you’ve seen the film, though, you always know where it is going. Its brushstrokes are broad. It’s fun, it’s neatly done, it just lacks a bit of wow factor." Full Review

The Times (UK)

The two parts of Henry IV run the gamut from terrific to tedious...The designer, Jessica Worrall, and the composer, Tayo Akinbode, cast the right mood without fuss. The performances, though, sometimes need reining in.' Full Review

The Times (UK)

for a previous production Yes, there are moments when you want a bit more context, a sniff of story, but such worries fade away...great singing, dancing and staging unite to ensure this music speaks for itself with irresistible eloquence.' Full Review