Nick Curtis

Nick Curtis 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 (170)
The London Evening Standard

Dwan, the leading interpreter of Beckett’s work today, treats the limitation as an inspiration, giving a performance of immensely rich texture both physically and verbally. Full Review

Walden
West End
The London Evening Standard

[Walden] is not a great play. But it is ambitious, engaged on many fronts, and forward looking in a way that’s rare for theatre: I’m always surprised how little sci-fi gets on stage. Full Review

Cruise (London)
West End
The London Evening Standard

for a previous production Still, [Cruise is] a remarkable achievement for young actor Jack Holden, who wrote the script under lockdown and performs it with vast charm, empathy and energy. Full Review

The London Evening Standard

This is a delight... Nicholas Hytner’s adaptation of Charles Dickens’s Yuletide stalwart makes the story breathe afresh, banishing the spectre of over-familiarity.' Full Review

Beat The Devil
London Bridge
The London Evening Standard

Ralph Fiennes channels David Hare's sickened fury in 'raw, urgent' lockdown play... The piece has such immediacy, and Fiennes such understated charisma, that any fear of Covid-fatigue is overcome.' Full Review

The London Evening Standard

for a previous production Yes, it’s a musical about prostitution, but this adaptation of the 1990 Julia Roberts/Richard Gere rom-com is a triumph of exuberant zest over dodgy subject matter. It matches the charm of the film but has a subversive energy all its own. Full Review

The London Evening Standard

for a previous production This biblical epic is an epic fail. A beefed up musical version of the indifferent 1998 DreamWorks animation about the life of Moses, it’s simultaneously pompous and simplistic. Full Review

Leopoldstadt
West End
The London Evening Standard

Tom Stoppard's new masterwork is an early contender for play of the year. Full Review

Endgame
Southwark
The London Evening Standard

Endgame is never less than demanding, but Richard Jones’s rigorously clear production nicely balances comic absurdity with despair....Radcliffe and Alan Cumming also have the exquisite timing and rhythm of a seasoned double act...' Full Review

Uncle Vanya
West End
The London Evening Standard

Jones deftly balances pathos and humour, but he is matched by Eleazar and Wood. This is a Vanya for our times. Full Review

The London Evening Standard

for a previous production All in all, Les Mis and the refurbished Sondheim feel fit for purpose for the next decade or three. Full Review

Curtains
West End
The London Evening Standard

Perhaps you’ll find something heroic in this snarky murder mystery musical...You could certainly do worse than this show. You could also certainly do better. Full Review

The London Evening Standard

Inua Ellams has built a fascinating but uneven story of the Sixties Nigeria-Biafra War around the characters and relationships of Anton Chekhov’s original drama. It is very funny, very sad, and very long. Full Review

The London Evening Standard

for a previous production Complex ideas about love, literature, body image and truth are expressed in its dizzyingly clever rhymes, but essentially it remains a captivating, tragicomic romance. Full Review

The London Evening Standard

for a previous production Jack Thorne’s version of the familiar tale is richly textured and shamelessly emotive, full of song and heart. This year’s staging feels shorter and more hard-hitting than the 2017 original and 2018 reprise. Full Review

The London Evening Standard

Nikolai Foster’s production, originally from Leicester’s Curve Theatre is studded with stage troupers and TV talent show graduates who do their high-kicking, wide-smiling jobs well enough. It’s exuberant, dumb fun. Full Review

Richard III
Bankside
The London Evening Standard

Though it’s a pleasure to observe a large sweep of Tudor mythology unfold across both plays, they vary wildly in quality...Richard III is a hit: Henry VI a missable curio.' (Henry VI. Richard III Double Bill). Full Review

The London Evening Standard

for a previous production The plot and message of female empowerment are pretty thin but this jukebox musical is an absolute blast and features a powerful turn from Miriam-Teak Lee. Full Review

The London Evening Standard

Real-life story of man left for dead on mountain leaves you breathless. Full Review

High Fidelity
Battersea
The London Evening Standard

Tom Jackson Greaves stages set pieces with verve and dash and his ensemble is terrifically well-drilled. It’s a mixed-bag mix-tape of a show, then: diverting enough, but unlikely to make anyone’s top five.' Full Review

The London Evening Standard

Appealing show needs to cut the bad comedy... Lucy Phelps owns this appealing but languid production of Shakespeare’s bucolic fantasy, as a skittish, tactile Rosalind.' Full Review

Translations
Waterloo
The London Evening Standard

Brian Friel’s parable about the linguistic colonisation of Ireland, set in 1833 and first staged in 1980, is easy to admire but hard to love. For a story pregnant with romance and tragedy, it’s curiously uninvolving. Full Review

Groan Ups
West End
The London Evening Standard

What’s worse than a stage full of screaming children? A stage full of screaming adults pretending to be screaming children, that’s what. Full Review

The London Evening Standard

Noises Off is always funny, but it’s always funniest the first time. I envy those discovering it in Herrin’s production — you’re in for a rib-splitting treat. Full Review

The London Evening Standard

Pin-sharp revival is as heartbreaking and funny as ever... I can’t think of a more fitting tribute than Evans’s production.' Full Review

The London Evening Standard

But my God, the writing is vivid, and Dawn Walton’s production compelling. She draws mercurial performances from her two male actors. That the only female character is a pliable accessory to them is part of the play’s argument, and part of its problem. Full Review

The London Evening Standard

for a previous production Both writing and performance are subtly modulated, preventing the story from ever tipping into simplistic tragedy or “inspiration porn”. Trigg deftly evokes the details of Juno’s life, her world, and the characters in her lively social circle. Full Review

Love Letters
West End
The London Evening Standard

for a previous production AR Gurney’s 1988 play is a dated slice of haute bourgeois Americana, but deftly handled it’s perfect for the age of Covid. Full Review

The London Evening Standard

Kristin Scott Thomas gave a tightly wound, beautifully nuanced performance as Celia... Rochenda Sandall... was riveting as a woman denying her suspicions about her husband’s nocturnal walks...' Full Review

The London Evening Standard

Jennifer Saunders is a surprising beacon of subtlety in this brash reading of Noel Coward’s Forties comedy...But this amusing, awkward production undoubtedly belongs to Saunders. Full Review

The London Evening Standard

Unfortunately, Amy Hodge’s Eighties-set revival repeatedly misfires, particularly in the labyrinthine first half. It’s by turns gimmicky, arch and silly...It’s a waste to play the whole thing for laughs.' Full Review

A Number
London Bridge
The London Evening Standard

Fine performances by Roger Allam and Colin Morgan galvanise this short, sharp meditation on cloning and identity by Caryl Churchill...This is the nature versus nurture debate minted anew.' Full Review

The London Evening Standard

Here’s an experimental production that’s almost certainly more interesting for the actors than the audience. Even in the enjoyable moments here, I was distracted by the costumes...Some experiments should stay in the lab.' Full Review

The London Evening Standard

It reduces the struggles of the would-be rainbow nation to an odd-couple double act. It feels like theatre by old people, for old people. Full Review

The Welkin
Waterloo
The London Evening Standard

There is something mechanical in the way Kirkwood works in references to unwise steaming of the female anatomy, or the endless rivalry of midwives and doctors … I just loved the sheer, gutsy audacity of it all. Full Review

Magic Goes Wrong
West End
The London Evening Standard

for a previous production Mischief is so adept at developing rapport with an audience, it works anyway. As Paul Daniels used to say: that’s magic. Full Review

The London Evening Standard

At its best it is a fine, consciousness-expanding example of this year’s trend for fashioning wise new plays out of classics. The acting is top-notch. But I wish director Nadia Fall had reined in Ellams’s excesses...' Full Review

A Taste of Honey
West End
The London Evening Standard

The play felt ponderous and dated when Bijan Sheibani’s production first appeared in 2014, but now its revolutionary verve is more powerfully realised. Full Review

Midnight Movie
Sloane Square
The London Evening Standard

Uneven tone to play about illness and life online...While I enjoyed elements of the performances, I’m resistant to shows that deliberately withhold meaning from the audience.' Full Review

The Boy Friend
Southwark
The London Evening Standard

As daft and delightful as a pink meringue, Sandy Wilson’s 1954 pastiche of jazz age entertainments is a fine antidote to our vicious times...Terrific, frivolous fun...' Full Review

The London Evening Standard

Elena Ferrante's story makes a triumphant transition to stage...a richly textured, two-part piece of theatre exploring a complex female friendship... I actually didn’t want this show to end.' Full Review

Henry VI
Bankside
The London Evening Standard

The poetry of Henry VI sounds beautiful and fresh but the story is necessarily rushed and the frantic doubling-up of actors is confusing.' Full Review

The London Evening Standard

for a previous production [The production] looks odd and overdone in London. Ultimately, this is a high school drama about stalkers, trolls and those who piggyback on tragedy. Which may be a tough sell for a London musical audience. Full Review

The London Evening Standard

for a previous production This feel-good extravaganza defies both logic and pessimism. Maybe that’s what we need right now. Full Review

The London Evening Standard

Marianne Elliott and Miranda Cromwell’s meticulous production holds you mesmerised for over three hours, and the ending is devastating. Full Review

On Bear Ridge
Sloane Square
The London Evening Standard

Although bolstered by sturdy performances from Rhys Ifans and Rakie Ayola, Ed Thomas’s Welsh play is a cheekily slight post-apocalyptic fantasy.' Full Review

Lungs
Southwark
The London Evening Standard

Matt Smith and a luminous, mercurial Claire Foy give tour de force performances in this study of a couple’s struggles and doubts on the road to parenthood.' Full Review

The London Evening Standard

Overall, this looks like an attempt to emulate Richard Bean’s hit, One Man, Two Guvnors...but ultimately it’s not quite enough to save the enterprise from mediocrity. Full Review

The London Evening Standard

It’s a fitting end to a show that sets a marker on an extraordinary career and an extraordinary talent, and which celebrates the shared human experience of watching a play. Full Review

The London Evening Standard

Weise’s taut revival shows it to be an economical, passionate piece of writing, if overly pregnant with symbolism and charged language...shows Msamati and Animashaun at the top or their serio-comic game...' Full Review