Constellations (London) London Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsShow-Score Member Reviews (5)
See it if you think you'll enjoy a non-linear two-hander that tells a basic story, but really highlights the acting.
Don't see it if you don't like non-linear plays. Read more
See it if you want to see 2 talented actors create & recreate scenes over & over to demonstrate different ways their characters’ story could play out.
Don't see it if you don’t want to be moved or challenged. Read more
See it if Omari and Russell were very good. The play kept me hooked.
Don't see it if You find non-linear plays hard to follow.
See it if You like a beautiful play, with a very poignant look at life.
Don't see it if You want more escapism. This makes you think.
See it if you want to see a subtle, tender play, clever and fun, beautifully acted, top class theatre.
Don't see it if honestly can't think why anyone wouldn't want to see this beautiful play.
Critic Reviews (9)
This is a short, sharp, smart hit of first-class drama, that humanises the randomness of the universe.
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But it’s a zingy, entertaining play. Atim and Jeremiah nail it. Wanamaker and Capaldi don’t quite. There will be some universes where it’s the opposite. But it’s hard to imagine there are any in which ‘Constellations’ doesn’t add a little magic to our summer.
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...it is also testimony to Michael Longhurst’s direction that the play feels alive with ideas, action and fizz, but is balanced with stillness and depth.
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Jeremiah and Atim were solid and amiable, but Capaldi and Wanamaker dug deeper. Instead of just portraying characters, they became them...As a technical study, it’s fascinating viewing for any students of drama.
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Think Tom Stoppard meets Sliding Doors...This ingenious revival, by original director Michael Longhust, offers four casts — and yet more variations...A starry triumph.
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[Sheila Atim and Ivanno Jeremiah] is a magical pairing, and a well nigh flawless 75 minutes of theatre...It's a total pleasure to re-encounter this magnificent play in Michael Longhurst's boldly imaginative staging.
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By opening the play out to multiple casts, it comes to feel more of a metatheatrical exercise – its dramatic mechanics more apparent – and less an eviscerating exploration of the universe.
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Atim and Jeremiah give a masterclass in presenting the shifting possibilities of interpretation, of inflection and body language, in each fresh take on these short scenes.
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