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 (96)
The Times (UK)

"It’s grisly, gimmicky, sometimes repulsive, sometimes operating in the grey areas of both morality and legality. It’s also bold, funny, wildly inventive and finally rather gorgeous." Full Review

The Times (UK)

"Far from making the play more accessible, it distracts from the fraying lives Chekhov sketches with such genius, muffles the comedy and the tragedy. " Full Review

The Times (UK)

"The good parts of this sometimes fascinating, politically questioning play by Sonali Bhattacharyya are very good indeed. ... 'Chasing Hares' is a pacy, thrilling depiction of compromise and coercion." Full Review

The Times (UK)

"Spectacle wins out over storytelling in this extravagant, exuberantly played revival ... “The most enchanted musical of all time,” it calls itself. That’s pushing it. Yet although it’s too tame to stir the soul, it’s too well tooled to lose your attention." Full Review

Jitney (London)
Southwark
The Times (UK)

It’s unsentimental but compassionate. And outstandingly well acted. It’s fractious, funny, lively enough that our suspension of disbelief can handle the cast breaking into a dance to a Bill Withers song. The evening takes on an arresting intimacy. Full Review

The Times (UK)

Do what needs to be done to make a middling play sizzle. Dramatically, though, nothing much does. Georgia Lowe’s purple and gold design is one of several successes of staging. Full Review

The Times (UK)

“I did not want the play to be a history lesson,” Chandrasekhar writes in the programme, but The Father and the Assassin is exactly that. I was left unpersuaded that a history lesson, however necessary, had sprouted into a fully functioning play. Full Review

The Times (UK)

Steel is a writer of huge ability... [but] The House of Shades is a bad play ... it tries to get so much done that it can only lapse into cliché or bombast to cram it all in. There’s no time to put flesh on those bones, though, even with an actress as exceptional as Duff at work. It takes itself so seriously that it’s hard to take seriously. Full Review

The Times (UK)

If it’s a great case study rather than a great play exactly, the cumulative effect is still quite something. Comer brings it to life in a way that suggests she has it in her to be a true stage great. Full Review

The Times (UK)

There’s that famous line about Fred Astaire and Ginger Rogers: yes, he was great, but “she did everything he did, backwards and in high heels”. Watching Nina Conti’s act is like watching one woman be Fred and Ginger. Full Review

Running with Lions
Hammersmith
The Times (UK)

This hugely promising debut play by Sian Carter depicts three generations of a Jamaican-British family finding their way through grief, guilt and mental health problems. Full Review

Peggy For You
Camden Town
The Times (UK)

Greig exudes a charm that wanders between the chaotic and the bullying...Peggy For You ends up resonant as well as amusing, whether or not you know one theatrical Alan from another. Full Review

The Times (UK)

Yet for all the high-kicking (the 12 dancers of the Tiller Girls) and flame-fuelled stunts (the Australian duo Spark Fire Dance), this is a notch less bewitching than previous pantos here. Full Review

Indecent Proposal
Elephant and Castle
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

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
West End
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
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

The P Word (London)
Shepherds Bush
The Times (UK)

"'The P Word' gives you what you want as well as telling you what you don’t already know." Full Review

The Times (UK)

"Take That fans will find much to love here. Neutrals like me may find themselves feeling kept at arm’s length...It’s an entertaining, sometimes amusing, sometimes moving, yet slightly too stage-managed evening of self-revelation." Full Review

Closer (London)
Hammersmith
The Times (UK)

"Marber’s intelligence is always tangible. It’s hard to be bored by any of the seductions, betrayals, recriminations. It’s equally hard, 25 years on, to feel that anything huge hangs on them." Full Review

King Lear (London)
Southwark
The Times (UK)

There is not a false moment in Kathryn Hunter’s performance as King Lear. Coming 25 years after she first played the role ... this magnetic performer has lost none of her [power]. [It] makes for an interesting, distinctive evening, but a long way short of a great one. Full Review

The Times (UK)

for a previous production They’re a plausibly unhappy couple. Not, though, the sort of fascinatingly fractious couple this 90-minute show needs. This Dance of Death is elegant without being resonant. Full Review

The Times (UK)

An unabashedly backward-looking play about how you can’t go back. [This is] a tender, intelligent, not quite fully realised family drama. Full Review

The Times (UK)

This is a very decent, very stylish, eventually quite audacious My Fair Lady. Not, though, a great one. If the evening doesn’t raise the heart rate, the gear change at the end ensures a decent revival ends up somewhere more memorable. Full Review

The Times (UK)

In a production by Lucy Bailey that elegantly feminises some of the power structures, Katy Stephens is a standout. The sense of fun, finally, is all the more infectious for having been tested ... [in a] production that embraces this sweet and sour play’s contradictions with a forgiving smile on its face. Full Review

The Times (UK)

It feels as if Drury is a draft away from finding the perfect way to make Seacole’s story both literal and metaphorical in the way she wants to, but this is an ambitious evening that lingers in the memory even so. Full Review

After The End
Stratford
The Times (UK)

There are notes of hope in this sombre story. Yet it’s 100 minutes straight through, and you can’t help feeling that The Twilight Zone or Black Mirror, say, might have unearthed the same buried tensions in less time. Full Review

The Times (UK)

Jez Bond and his co-writer Mark Cameron ... bunging in in-jokes from a well-drilled cast who were shifting the walls of this labyrinth as they went along. There is an element of end-of-term teachers’ panto about it: it’s never shoddy, but it is hit-and-miss. Full Review

The Times (UK)

Childress, drawing on her own experience of what it was like to be a black actress in a largely white industry, is sharp at showing how integrity is nice but rent money is essential. Full Review

Fair Play
Shepherds Bush
The Times (UK)

It’s not a perfectly balanced 90 minutes, but it’s a rich and empathetic and stunningly well-executed evening all the same. 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)

It’s not a tidy piece of agitprop, but then it’s very much a show that embraces its mess. Biscuit and Mothersole make something their own of this mixture of the personal and the political, the larky and the lacerating. 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
West End
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
West End
The Times (UK)

for a previous production 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
West End
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
West End
The Times (UK)

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