Oscar Wilde’s “The Picture of Dorian Gray” at the Theatre Royal Haymarket
A solo performance in theatre may often trap us inside a single dramatic character, taking us deep...
Read MoreMert Dilek is a critic and dramaturg based in London and Cambridge. He is a Ph.D. candidate in English at the University of Cambridge, where he holds the Camilla Mash Studentship at Trinity College. He received his M.Phil. with distinction also from Cambridge and holds a B.A. in English and Political Science from Yale University. As a theatre critic and arts journalist, he regularly contributes reviews and features to The Stage, Exeunt Magazine, and Broadway World. He also collaborates with playwrights and theatre companies as a dramaturg: he worked as a script reader for the Arcola Theatre and Bush Theatre, and currently serves on the Reading Panel at the National Theatre. For more information, please visit his website at mertdilek.com.
Posted by Mert Dilek | 19th Feb 2024 | London, Review, United Kingdom
A solo performance in theatre may often trap us inside a single dramatic character, taking us deep...
Read MorePosted by Mert Dilek | 4th Feb 2024 | London, Review, Theatre and Politics, United Kingdom
“This play is a lie,” boldly declares the poster of Sam Holcroft’s new play A Mirror, now playing...
Read MorePosted by Mert Dilek | 20th Dec 2023 | London, Review, United Kingdom
How to render Macbeth anew—and how to do it well? It’s a question that has undoubtedly preoccupied...
Read MorePosted by Mert Dilek | 17th Dec 2023 | London, Review, Theatre and Politics, United Kingdom
An American actor, an English director, and a Northern Irish playwright walk into a house in...
Read MorePosted by Mert Dilek | 25th Jul 2023 | Review, Theatre and Science, United Kingdom
Today’s obvious was most likely yesterday’s incredible. This is the conceit at the heart of Dr...
Read MorePosted by Mert Dilek | 29th Jun 2023 | Review, Theatre and Politics, United Kingdom
Martin McDonagh is perhaps better known today globally for his recent accomplishments on screen as...
Read MorePosted by Mert Dilek | 9th Apr 2023 | Review, Theatre and Politics, United Kingdom
Contemporary Black British theatre is admirably adamant about pushing its own boundaries and...
Read MorePosted by Mert Dilek | 8th Dec 2022 | Documentary Theatre, London, Review, Theatre and Politics, United Kingdom
TV is a strange medium, but James Graham is no stranger to its toxic charm. London audiences have...
Read MorePosted by Mert Dilek | 25th Apr 2022 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
Jackie Sibblies Drury is one of the most exciting voices working in American theatre today. The...
Read MorePosted by Mert Dilek | 13th Dec 2021 | London, Musical Theatre, Review, United Kingdom
Willkommen, bienvenue, welcome! Come on in: we need, after all, some respite from a world in...
Read MorePosted by Mert Dilek | 28th Oct 2021 | Adaptation, London, Review, United Kingdom
What does it take to stretch Shakespeare’s shortest tragedy to a runtime of over three hours? Not,...
Read MorePosted by Mert Dilek | 13th Mar 2020 | London, Review, United Kingdom
“Would you rather have one shoe or no shoes?” Viv is here to show us that missing only one shoe is...
Read MorePosted by Mert Dilek | 22nd Feb 2020 | London, Review, Theatre and Politics, United Kingdom, United States of America
Antoinette Nwandu’s play Pass Over is a palimpsest. Its outer surface looks familiar: haunted by...
Read MorePosted by Mert Dilek | 20th Feb 2020 | Adaptation, London, Review, United Kingdom
Now that’s what I call a star turn. Hitting the brakes on an express train, Lesley Manville lands...
Read MorePosted by Mert Dilek | 16th Feb 2020 | Adaptation, London, Review, United Kingdom
A woman walks into her home. Then does another. And another. Stef Smith’s Nora: A Doll’s House is...
Read MorePosted by Mert Dilek | 15th Feb 2020 | London, Review, United Kingdom
Towards the end of Leopoldstadt, a young writer named Leonard is handed a sheet of paper with his...
Read MorePosted by Mert Dilek | 7th Feb 2020 | Adaptation, London, Review, United Kingdom
Could diabolical interference be the only way for a woman in 17th-century London to advance in...
Read MorePosted by Mert Dilek | 1st Feb 2020 | Adaptation, London, Review, United Kingdom
The wilting characters of Uncle Vanya would like us to believe that their scenes from country life...
Read MorePosted by Mert Dilek | 19th Dec 2019 | London, Review, United Kingdom
It is hard to believe that Shelagh Delaney wrote A Taste of Honey when she was only nineteen. This...
Read MorePosted by Mert Dilek | 15th Dec 2019 | London, Review, Theatre and Gender, United Kingdom
This Duchess of Malfi is a cool one. It is so cool that it has lost its gripping temper and, with...
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