Henry Hitchings

Henry Hitchings is a critic with The London Evening Standard. 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 (70)
the end of history...
Sloane Square
The London Evening Standard

Brooding, dysfunctional family charts course from Blair to Brexit...while it’s animated by serious ideas about progressive values and packed with quotable lines, it has a frustrating lack of focus.' Full Review

The London Evening Standard

Andrew Scott is glorious in this revival of Noël Coward’s chaotic Thirties caper... It’s a fascinatingly detailed interpretation of a character...' Full Review

The London Evening Standard

Renée Fleming and Dove Cameron make striking London debuts in self-conscious show...This luxuriously cast show is an unusual hybrid of light opera and Broadway musical. ' Full Review

The London Evening Standard

There are some overblown moments, yet this irreverent interpretation has the atmosphere of a party. It’s best experienced as a groundling in the theatre’s pit, where the sense of mischief spreads like a giant smile.' Full Review

The Starry Messenger
Covent Garden
The London Evening Standard

So, not a starry mess. But it's hard to be sure what the play is really about, and the languid approach makes for three hours of nebulous theatre. Full Review

Orpheus Descending
Southwark
The London Evening Standard

Fascinating Hattie Morahan helps oddball Williams play exert grip...a fiery portrait of guilt, solitude and vicious bigotry, but almost buckles beneath the weight of its symbolism.' Full Review

The London Evening Standard

Terry appears in only the first of the three plays but is the dominant force in it. Often flailing her arms, she’s dynamic as Harry Hotspur, a character who can come across as Hamlet in reverse...' Full Review

Sitting
Dalston
The London Evening Standard

There’s a nice balance of wit and sadness in Sarah Bedi’s production... Though their mix of chattiness and needy self-consciousness can be grating, Parkinson’s ear for the cadences of comedy is, unsurprisingly, very sharp.' Full Review

Mouthpiece
Soho
The London Evening Standard

...Orla O’Loughlin’s production...feels touching and humane... Lorn Macdonald...is astounding as Declan — a ball of fiery energy, mercurial and vulnerable but also shockingly funny.' Full Review

Top Girls
Lambeth
The London Evening Standard

Lyndsey Turner’s lavish production could make more of the dreamlike surrealism of this occasion... Crucially, Churchill’s playfulness still comes across, and so does her anger.' Full Review

Downstate
Lambeth
The London Evening Standard

Haunting vision of sex abuse by a playwright with a gift for unsettling...an uncomfortable experience, flecked with humour but bleak and haunting...' Full Review

The Twilight Zone
Covent Garden
The London Evening Standard

Spooky TV tribute could do with an extra dimension. Full Review

Waitress (London)
Charing Cross
The London Evening Standard

“Though some of its ingredients are fluffy or icky it eventually whisks up a satisfying mixture of whimsy, warmth, and sadness...Bareilles has crafted a propulsive score and lyrics packed with poppy nostalgia. The best of them are soaringly delivered by McPhee...Paulus’s production is fluent without being unpalatably slick...The show has cartoonish elements, but mostly subverts its moments of sentimentality and silliness, and there’s a whole lot of humour baked into it.” Full Review

The London Evening Standard

...the songs, mostly choral and propulsive, have a crowd-pleasing warmth as well as a Celtic accent...For all its craft, there are moments when Come From Away feels like an advertisement for Canadian decency and its capacity to improve the lives of malcontent Americans. Full Review

Magic Mike Live
Westminster
The London Evening Standard

Channing Tatum's show is light on story but heavy on vigorous dry-humping...It’s probably best experienced with a group of friends — and after a few drinks. Full Review

The London Evening Standard

"A defiantly original musical. Its story is thin, transposing the well-known Greek myth of Orpheus and Eurydice to Depression-era America. But musically it’s a feast...A show that’s lush and haunting, even if overlong...The topical significance, especially in the song Why We Build The Wall, won’t be lost on anyone...With its emphasis on mood rather than action, this is the sort of show that risks being labelled portentous. But it’s tightly choreographed and genuinely inventive." Full Review

The London Evening Standard

"A triumphant show that fully justifies the hype...Mendes’s richly textured production his farmhouse kitchen is a place teeming with vitality...There are some similarities here to Butterworth’s last smash hit, 'Jerusalem,' not least a sense of the mystique of rural life. Yet 'The Ferryman' has its own distinct tang of humour and menace. A feast of intricate storytelling, it’s absorbing, soulful and ultimately shattering." Full Review

Girls & Boys
West Village
The London Evening Standard

for a previous production "Kelly is particularly concerned with male violence and the social mechanisms that exist to muffle it...A crafty 90-minute piece, which sometimes sounds like a lecture. Yet if occasionally it feels manipulative, it’s also packed with memorable lines...While the production is elegant, there’s a note of controlled fierceness throughout. What’s most arresting, though, is Mulligan’s gift for making a throwaway line devastating...It’s the kind of performance that makes the audience hold its breath." Full Review

The London Evening Standard

This lavish, romantic show blends ballet and musical theatre — to frequently gorgeous effect. Full Review

The Rat Pack
Westminster
The London Evening Standard

Yet Matthew Freeman’s 12-piece band has a nice sense of swing and plenty of brassy gusto, and despite an unadventurous structure and a few tepid gags this is an upbeat production that does what it sets out to do. Full Review

Network (London)
Waterloo
The London Evening Standard

“While Hall’s adaptation is faithful and affectionate, it also speaks vividly to the present...van Hove has created a brilliant and occasionally bewildering spectacle...It can be hard to know where to look, and that’s the point...The result is two hours of mind-boggling complexity. Sometimes the technical wizardry upsets its momentum. But the show's energy is sustained by Cranston, giving one of the richest and most agonising performances...a King Lear for the soundbite age.” Full Review

The Exorcist
Camden Town
The London Evening Standard

Theatregoers will enjoy the chance to squirm and scream at this stage version of a horror classic. Full Review

The London Evening Standard

Portrait of unlikely relationship has moments of charm...It’s also oddly predictable — flecked with moments of charm, yet sometimes clunkily portentous. Full Review

The London Evening Standard

for a previous production "Walter aside, the standout in a strong cast is Jade Anouka...But for all Ariel's dazzle, this isn’t a production that shimmers with exotic images…Yet there are some moments of beauty…Intimate, exciting, often abrasive and sometimes startlingly funny, it’s a celebration of ensemble acting and of the fertile possibilities of breaking free from conventional ideas about casting." Full Review

King Lear (BAM)
Brooklyn
The London Evening Standard

for a previous production "Doran ensures there’s a pleasing narrative clarity, but doesn’t always locate the power of Shakespeare’s tragedy...When Gloucester is blinded, the incident takes place in a perspex box...It has the effect of muffling the drama and making its ugliest episode almost camp...The best scene reunites Lear with a desolate Gloucester, and it’s here that Sher is most absorbingly intelligent. But this isn’t an interpretation that fully realises the play’s depths of grief." Full Review

The London Evening Standard

But while this is at times a noisily unsubtle show, its defining quality is a warm and joyful energy. Full Review

Bitter Wheat
Charing Cross
The London Evening Standard

David Mamet’s new play is billed as a dark farce and an attempt to examine the #MeToo movement from an unfamiliar angle. But instead of prompting nuanced discussion, it has the rancid smell of clickbait. Full Review

Strange Fruit
Shepherds Bush
The London Evening Standard

Nancy Medina’s assured revival...boasts exciting performances from Jonathan Ajayi and Tok Stephen as Errol and Alvin. But the play, with a three-hour running time and some taxing monologues, feels in need of a trim.' Full Review

The London Evening Standard

But even if a few of the jokes are limp, it’s an inventive show — full of outrageous dance routines, and delivered with a deliberately chaotic energy. Full Review

The London Evening Standard

Before the interval the production's pace is dauntingly slow... But the long second half is absorbing and its closing moments are startlingly staged. What's more, the entire cast is superb...' Full Review

The London Evening Standard

Directors Federay Holmes and Sarah Bedi are on more secure ground with Henry V, which is the pick of the three shows... even as patriotism seems to be celebrated, the very idea of being a patriot is shrewdly put on trial.' Full Review

The London Evening Standard

Wendell Pierce is riveting in the lead...while this isn’t as bold a reinvention as Elliott’s...Company, she and Cromwell have crafted something fresh, compassionate and ultimately devastating.' Full Review

A German Life
Southwark
The London Evening Standard

Dame Maggie Smith returns triumphantly. For the 100 minutes of Christopher Hampton’s monologue... she holds the audience in the palm of her hand.' Full Review

Ain't Misbehavin'
Southwark
The London Evening Standard

Packing thirty songs into a seamless 100 minutes, this is a feast of stomping, jiving, sexy escapism...Tyrone Huntley's directorial debut is boisterous and full of verve.' Full Review

Emilia
Barbican
The London Evening Standard

It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard. Full Review

Betrayal
Westminster
The London Evening Standard

This sparse, elegant production closes Lloyd’s revelatory and handsomely cast season of Pinter’s shorter pieces in the theatre that bears the playwright’s name. Full Review

All My Sons
Lambeth
The London Evening Standard

Sally Field brings an air of mystery to this complex and devastating production at the Old Vic...this is a revival that savours the complexities of Miller’s characters.' Full Review

Richard II
Bankside
The London Evening Standard

But this is an accessible, lucid account of one of Shakespeare’s least earthy, most archaic plays, and the casting raises timely questions about who controls the levers of power. Full Review

Coming Clean
Westminster
The London Evening Standard

At times the discussion of desire and jealousy is laboured, but humour is injected by the couple’s flamboyant friend William. Full Review

The Fishermen
Westminster
The London Evening Standard

Although there are a few moments where the storytelling falters, this is a highly charged vision of the rivalry and affections between siblings, as well as a tragic depiction of what it truly means to come of age.' Full Review

The London Evening Standard

Okonedo is magical in the first half, and Fiennes dominates the second...But this interpretation is full of detail, intelligence and humanity. Full Review

The Jungle
Brooklyn
The London Evening Standard

for a previous production "Directed by Stephen Daldry and Justin Martin, it’s performed with both urgency and wit...Even if some of the characters’ arguments feel too obviously shoehorned in, 'The Jungle' isn’t preachy. Instead it proves tense, moving and courageous. A tribute to hope and resourcefulness, it’s also a sobering reminder of political issues that remain tragically unresolved." Full Review

The London Evening Standard

for a previous production "Irons elishes the actorly excesses of Tyrone — and mixes his cigar-chomping dynamism with scowling attentiveness and a wintry disappointment...Manville’s interpretation is finely detailed and compassionate...In Richard Eyre’s production...this sprawling drama feels pacier than usual, though it still weighs in at three and a half hours. It remains a gruelling experience but has a naked emotional power that's genuinely absorbing." Full Review

The London Evening Standard

“”Hamilton’ is a knockout, and its cast is superb...The lyrics are densely packed, and their bristling intricacy justifies Miranda’s thesis that hip-hop is the authentic sound of the American Revolution...With its fresh take on the politics of opportunism ‘Hamilton’ feels sharply topical, but it’s also the best kind of history lesson. There are a few dramatically expedient inaccuracies, but Miranda knows which liberties are worth taking, and he makes the past exciting...Believe the hype.” Full Review

The London Evening Standard

The book and lyrics are the work of TV writer Tom MacRae, and what they lack in blazingly original storytelling they more than make up for with warmth and wit. The result is a true crowd-pleaser — big-hearted and joyous. Full Review

Glengarry Glen Ross
Westminster
The London Evening Standard

Sam Yates directs a strong revival of David Mamet's caustic Eighties play about toxic masculinity. Full Review

Young Frankenstein
Charing Cross
The London Evening Standard

Yet there are darts of wit in unexpected places, as well as a bawdy delight in some truly awful double-entendres. Even if there's a tendency to milk good jokes dry, it's hard not to succumb to the infectious daftness of this escapist crowd-pleaser. Full Review

Ink
Charing Cross
The London Evening Standard

...buoyed by [James Graham's] trademark appetite for asking awkward questions, [Ink] is a shrewd and absorbing look at journalistic ethics. Full Review

The Emperor
Brooklyn
The London Evening Standard

for a previous production "At first this looks set to be an amusing, detailed parade of oddballs and an exhibition of Hunter’s talents...Meierjohann’s intimate production accentuates Hunter’s mesmeric presence...It is at its best when it also involves Zeleke...The result is an intriguing vision of Selassie’s complexities — not a definitive account, but a suggestive take on his shortcomings and the devotion that he inspired.” Full Review

The London Evening Standard

“For once the so-called theatrical event of the year really is just that…Packed with pathos, dazzling choreography and moments of pure enchantment…John Tiffany’s finely orchestrated production is often gorgeous…If explaining the story’s more ticklish details sometimes stalls its momentum, the characterization is richly convincing…For the legions of Pottermaniacs eager to be reunited with the characters they adore, this will be a magical experience." Full Review