how to write a play review essay

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How to Write a Play Review

Last Updated: December 4, 2023 Fact Checked

This article was reviewed by Gerald Posner . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 876,801 times.

The performance of a play is a live experience, so it can be an exciting but difficult task to review. You have to be both the spectator, taking in and enjoying the performance, and a critic, analyzing the production. But with the right preparation and structure, you can create a well-written play review.

Sample Play Reviews

Preparing to Write the Review

• The review should also give potential audience members a sense of the play. It should let readers know if spending their hard-earned money on a ticket to the production will be money well spent.
• Noting that you thought the play was “good” or “bad” will not create a strong play review. Instead, you should be specific in your critique and have a thoughtful analysis of the production. Your opinion on the play should be supported by a discussion of the production elements and how they worked together as a whole.
• The review should also describe the situation or plot of the play without giving too information to the reader. Avoid spoiling any plot twists or turns for potential audience members in your review.

• Paragraph 1: Your introductory paragraph should describe what you saw on stage. You should also give context for the play, such as the playwright or composer of the play and where the play is being staged.
• Paragraph 2: Briefly summarize the plot of the play.
• Paragraph 3: Discuss the acting and directing. React to the performers playing the characters in the play.
• Paragraph 4: Describe the design elements of the production, such as the lighting, sound, costumes, make up, and set and props.
• Paragraph 5: React to the play as a whole. Would you recommend the play to potential audience members? You can also include a recommendation, like a star rating or a thumbs up/thumbs down.

• How does the reviewer structure her review? Does the review follow the traditional structure, with an introduction in paragraph 1, a plot summary in paragraph 2, a discussion of acting and directing in paragraph 3, a discussion of the production elements in paragraph 4, and an overall critique in paragraph 5?
• Compare two reviews of the same play. How do the reviews compare and contrast? Are they structured differently or have different critiques of the play?
• Is the reviewer overly critical of the play? Does their analysis seem well supported by scenes in the play, or a discussion of design elements of the play?
• How does the reviewer wrap up the review? Is there a recommendation at the end of the article, such as a star rating or a thumbs up/thumbs down?

• Note the stage directions, the setting notes, and the line breaks or pauses in the dialogue.
• Pick out any problematic points in the play that you might want to watch for during the production. For example, if you’re going to see Shakespeare’s “Hamlet”, you may make a note of ways the director might stage the pivotal Ophelia drowning scene. Or if you are going to a musical like “The Little Shop of Horrors”, you might note how the director will transition from the song numbers to the dialogue in the production.
• Your instructor may also ask you to pay particular attention to certain elements, like the lighting or the costumes, so make sure you are prepared to recognize them.

• For example, you may be seeing a version of “Hamlet” that is set in contemporary times and integrates technology in the production. Or you may be seeing a production of “The Little Shop of Horrors” that is set in a record store, rather than a theater. This setting change will change the context of the play, and you should then note how the setting choice is used in the production in your review.

Writing the Review

• Note if there are any write ups in the program about a directorial choice, like setting “Hamlet” in contemporary times. There may also be notes on the lighting or the sound design. Don't: judge the premise of the play based on your personal tastes. Your readers can decide for themselves whether it appeals to them. Do: consider the goals behind production decisions and be prepared to evaluate whether the play achieves them.

• The set design. Look at design elements like lighting, sound, costumes, makeup, and props.
• The acting and directing of the production. If a certain casting choice seems important, write it down. If a line of dialogue strikes you, make a note of it. Look at the way the actors say their dialogue and move around the stage. Are they serious, comedic, formal? Do they use modern slang or speech, even though the play was originally set in an older time period?
• Any “special effects” used, such as special lighting, sound or technology. Note if the production also uses audience participation to keep the audience engaged.
• Right after the performance, you should jot down any concluding notes, including your initial impressions of the production and how successful or unsuccessful you think the production was.

• Describe what you saw in detail and make the reader see what you see. Be specific and thorough in your descriptions.
• Analyze what you think the director or designer was trying to achieve. Why do you think they designed the movements, lights, sounds effects, and costumes a certain way? What do you think they were trying to make the audience feel or think?
• Judge how effective the play was as a whole. Don’t be afraid to give an honest opinion of the production but be sure you can back up your critique in the body of your review (paragraphs 2-4). Don't: make your personal opinion the main feature. Do: state your opinion honestly, grounded in specific points.

• For example, in this review of “The Little Shop of Horrors”, the reviewer begins with the line: “This Fringe classic pops up most years, with songs such as ‘Somewhere That’s Green’ and ‘Don’t Feed The Plants’ bringing the house down.” [9] X Research source
• This opening line works because it allows the reader to dive right in. In one line, the reviewer has introduced the play, noted the play is a “classic” and told the reader it is a popular musical.
• You can also start with a hook that challenges the audience’s expectations of a familiar production. For example, in this review of “The Little Shop of Horrors”, the reviewer begins with the line: “Not many musicals will issue you with a sing-a-long book with the lyrics to chorus numbers so you can join in, but this interactive production of The Little Shop of Horrors has a few surprises in store.” [10] X Research source
• This hook works because it tells you that the play is a unique take on a classic production and is interactive. Don't: write an exciting hook that has nothing to do with the rest of your review. Do: take risks with bold statements or an unusual opening.

• The full title of the play.
• Where did you see the show? Name the theater or setting where you saw the play.
• When did you see the show? Maybe it was opening night, or the last week of the show’s run. Be specific about the exact date you saw the show.
• Who wrote the show? Who directed the show? Name the playwright, the director, and the name of the production company.
• If the show is a restaging of an existing play, such as “The Little Shop of Horrors” or “Hamlet”, you should note this in your introduction. If the show is a new or original production, you should also note this.

• For example, you may summarize the plot of “The Little Shop of Horrors” with: “The Little Shop of Horrors is such an entertaining musical because of its hilarious plot involving a plant which grows to an incredible size and the romantic love story of Seymour and Audrey.” [12] X Research source

• Were the performers believable? Did their relationships or chemistry with the other characters seem natural and appropriate? Did the performers stay in character throughout the play?
• Did the performers have a vocal quality (volume and articulation) that fit the context of the play? Did their body movements and gestures stay true to the character they were playing?
• Were the performers engaging and interesting to watch? If so, why did you find them engaging?
• For example, in your review of “The Little Shop of Horrors” you may note: “The main credits of this production go to the lead roles Cath Snowball (as Audrey) and Chris Rushmere York as Seymour who created a really tangible but very shy and coy chemistry.” [14] X Research source Don't: discuss an actor's personal appearance or insult to the point of cruelty. Do: describe misguided or failed performances honestly.

• The set and the props: Did they establish the correct mood for the play? Did they add to the development of the characters, the plot, and the setting? Were they convincing and well-made?
• Did the blocking on stage make sense? Blocking means how the actors are positioned on stage within the set. Were there any awkward movements by the actors on stage? Did the set help or hinder the performances?
• The lighting: Did the lights convey a mood that fit with the tone of the play? Did they draw attention to characters or props that seemed important in the play?
• The costumes and the make up: Did the costumes and the make up of the performers suit the time period of the show? Was there a unique approach to the costumes or the make up that affected the context of the play?
• The sound: How did the music, if any, contribute to the show’s mood? Were there sound effects used in the show, and if so, how did they add to the production? If you are reviewing a musical, you should note if there was a live orchestra or if the music was pre recorded, and how that affected the tone of the play overall.
• Try to be as detailed as possible in your discussion of the design elements. For example, in a review of “The Little Shop of Horrors”, you may note: “A quirky directorial decision was to have the props and cast in grey scale. These performers were caked in grey and black make up to contrast the monstrous green plant as it ate people alive, growing bigger and bigger as the play went on.” [17] X Research source

• Note if the audience seemed attentive and interested throughout the performance. Also point to any possible adjustments or changes that could have been made to the production to make it stronger or more engaging.
• For example, you may note: “Though the production was clearly taking some creative risks by having all the performers in greyscale, not bringing in bright green plants for the show-stopping “Something Green” number felt like a missed opportunity to capitalize on this contrast.”
• Leave your reader with a clear sense of your opinion on the play and with more questions than answers about the play. For example, you may wrap up your review of “The Little Shop of Horrors” with: “This new production takes some creative risks and emphasizes the singing skills of the performers, who manage to pull off this tale of love and a monster plant with passion and conviction.”

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About This Article

To write a play review, start by taking notes during the show and writing a rough draft right afterward to capture your strongest thoughts and impressions. Then, when you're ready to write your polished essay, start with an opening sentence that makes a bold statement about the play. In the Introduction, you should also include the play's basic details, like when and where it showed, who acted and directed, and what it was about. Then, in the body paragraphs, choose elements of the play that you thought were particularly important, like the lighting, set design, or acting, and discuss whether you thought the director made a good or a bad choice. Finish with your overall impression. For more information on how to write a play review, including what to do before you go see the play, read on! Did this summary help you? Yes No

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How to Write a Play Review: A Step-by-Step Guide

Welcome to the world of play reviewing! Whether you are a seasoned critic or a newcomer to the realm of theater criticism, writing a play review can be a rewarding and exciting experience. In this guide, we will walk you through the step-by-step process of crafting a thoughtful and insightful review of a play. From attending the performance to putting pen to paper, we will cover everything you need to know to write a compelling and informative review.

Attending the Performance

The first step in writing a play review is, of course, attending the performance. When selecting a play to review, consider the genre, the venue, and the reputation of the production company. Once you have chosen a play to review, be sure to purchase your tickets in advance and arrive at the theater early to get a good seat. As you watch the performance, take notes on your impressions of the acting, the staging, the set design, the costumes, and the overall production value.

Analyzing the Play

After the performance, take some time to reflect on what you have seen. Consider the themes of the play, the character development, the pacing, and the emotional impact of the production. Think about what the playwright is trying to convey and how successful the production is in achieving that goal. Consider the strengths and weaknesses of the play and the performances, and try to form a clear and balanced opinion.

Writing the Review

When it comes time to write your review, start by introducing the play and providing some context for your readers. Give a brief summary of the plot and the themes of the play, and mention any standout performances or production elements. Then, delve into your analysis of the play, discussing what worked well and what could have been improved. Be sure to support your opinions with specific examples from the performance, and consider how the play fits into the larger context of the theater world.

Crafting a Compelling Review

As you write your review, keep in mind that your goal is to inform and entertain your readers. Use descriptive language to paint a vivid picture of the production, and be sure to back up your opinions with evidence from the performance. Avoid simply summarizing the plot or listing your likes and dislikes; instead, focus on providing a thoughtful and engaging analysis of the play. Consider the intended audience of your review and tailor your writing style and tone accordingly.

Editing and Revising

Once you have written your review, take some time to edit and revise your work. Check for spelling and grammar errors, and make sure your writing is clear and concise. Consider seeking feedback from a trusted friend or colleague to get a fresh perspective on your review. Remember that writing is a process, and it is okay to revise and refine your work until you are satisfied with the final product.

Q: How long should a play review be?

A: There is no set length for a play review, but most reviews are between 500-1000 words. Focus on quality over quantity, and aim to provide a thorough and thoughtful analysis of the play.

Q: Should I include spoilers in my review?

A: It is best to avoid giving away major plot twists or surprises in your review. Instead, focus on discussing the themes, performances, and production elements of the play without revealing too much about the plot.

Q: Is it okay to give a negative review?

A: It is important to be honest in your reviews, even if that means giving a negative assessment of a play. However, be sure to provide constructive criticism and support your opinions with specific examples from the performance.

In writing a play review, remember that your opinion is just one perspective, and others may have different thoughts and feelings about the production. Embrace the opportunity to share your insights and engage with the work of talented artists in the theater community. By following this step-by-step guide, you can craft a compelling and informative review that will inform and inspire your readers.

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Throughout his career, Ara has made significant contributions to various publications and online platforms, covering an eclectic range of topics spanning from technology and business to arts and entertainment. His writing style is characterized by its clarity, wit, and ability to connect with diverse audiences.

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Mastering the Art of Play Review Writing: Examples and Guidelines

• backlinkworks
• Writing Articles & Reviews
• October 16, 2023

When IT comes to writing reviews for plays, IT requires a unique skill set to effectively capture the essence of the performance and convey IT to readers. Mastering the art of play review writing involves combining the elements of storytelling, critical analysis, and concise communication. In this article, we will explore some examples and guidelines to help you hone your skills and write compelling play reviews.

Guidelines for Play review writing :

1. Watch the play attentively: Before you begin writing the review, make sure to fully immerse yourself in the play. Pay attention to the actors’ performances, set design, costumes, and overall production. Take notes during the performance to jog your memory later.

2. Structure your review: A play review should have a clear and organized structure. Start with an engaging introduction that provides a brief overview of the play and captures the reader’s attention. Follow this with a concise summary of the plot, without giving away any major spoilers. In the main body, analyze the various aspects of the play, such as acting, directing, staging, and script. Finally, conclude with your overall impression and evaluation.

3. Focus on the highlights: While IT ‘s important to provide a balanced view, make sure to highlight the play’s standout moments. These could be powerful performances, innovative staging, or thought-provoking themes. By focusing on the highlights, you can provide readers with a glimpse into the best aspects of the play.

4. Support your opinions: Whenever you express your opinion, back IT up with evidence from the play. Use specific examples, quotes, or moments to illustrate your point. This will demonstrate that your assessment is not arbitrary but grounded in the actual performance.

5. Avoid personal bias: While IT is expected that your review will reflect your personal opinion, try to separate your personal bias from your analysis. Be fair in your critique and acknowledge the strengths and weaknesses of the play objectively.

6. Consider the target audience: When writing a play review, keep in mind the target audience for your review. Are you writing for theater enthusiasts, casual viewers, or potential ticket buyers? Tailor your language and tone accordingly to effectively reach your intended audience.

7. Keep IT concise: Play reviews are generally shorter than other forms of writing . Aim to be concise while still conveying all the necessary information and insights. Use impactful language to captivate readers and make every word count.

Now, let’s explore a couple of examples to better understand the application of these guidelines in practice.

In the recently staged play “The Midnight Sonata,” the audience was transported to a hauntingly beautiful world. The actors’ performances were sublime, especially the lead, John Davis, who effortlessly portrayed the complex emotions of a troubled musician. The staging and lighting were equally impressive, creating an atmosphere that was both mysterious and captivating. While the script had a few predictable moments, the overall impact of the play was undeniably powerful, leaving the audience pondering the weight of their own unfulfilled dreams.

Set in a small seaside town, “Summer Breeze” aimed to evoke nostalgia and capture the essence of carefree summer days. However, the play fell short of its ambition. The performances lacked depth, with some actors struggling to connect with their characters. The script leaned towards clichés, and the pacing felt uneven, resulting in a disjointed narrative. Despite these shortcomings, the stage design and costumes successfully transported the audience to the seaside, providing a visually pleasing experience. While “Summer Breeze” had potential, IT failed to fully deliver on its promises.

1. How long should a play review be?

A play review is typically around 500 to 800 words, depending on the publication’s requirements and the depth of analysis you wish to provide.

2. Should I include spoilers in my play review?

IT ‘s best to avoid major spoilers in your play review to preserve the element of surprise for future audiences.

3. Can I express negative opinions in my play review?

Absolutely! IT ‘s important to present a balanced view in your play review, acknowledging both the strengths and weaknesses of the production.

4. How can I make my play review stand out?

Try to find a unique angle or perspective on the play. Focus on the elements that make IT special or discuss any relevant social or cultural context that enhances the understanding of the performance.

5. Should I research the background of the play before writing a review?

While IT ‘s not necessary, researching the playwright, historical context, or previous productions can provide you with a broader understanding of the play and add depth to your review.

By following these guidelines and examples, you can enhance your play review writing skills and craft compelling critiques that convey the magic of the theatrical experience to your readers.

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Despite the vast popularity of short content (quick videos and TV series broken down into small episodes), theater is still not dead and plays attract as many viewers as before. Soi, if you thought that writing a play review was a thing of the past already, you were largely mistaken. But why would someone need to write a review for a theatrical play? For starters, to inform the potential audience about what they are going to pay money for; whether a play does or does not contain controversial scenes; or whether it is worth attending, at least. Your goal as a reviewer is to give the audience an accurate opinion of the play and to provide them with a context regarding it: actors, decorations, the director, dialogues, the script, and so on. 

Before Learning How to Write a Theater Review – Watch The Play

We get that you are eager to start writing, however, the preparation is equally as important as the writing process itself. Moreover, there are a few things you should consider even before watching the play, that can help you organize your writing process more effectively.

First of all, you need to note the key details: the name of the show, its director, costume designer, and writer. You can find all of this online or by looking at the brochure which can usually easily be found at the theater. Now, we suggest you take a small notebook with you (as phones are not allowed to be used during the play) where you can jot down the answers to the following questions regarding the show:

• What kind of play is it, and what is it about? 
• What is its performance style? 
• Is the play based on a novel (or any other type of literature)?
• Is there a film adaptation of this play?
• Who are the main actors, the supporting actors? 
• How good is it (both in terms of the text and the actors’ performance)?
• Describe aspects of the performance in detail. 
• What was your and the audience’s response to the theater experience?
• Is the script complicated or complemented with the use of special effects, flashbacks, recurring image motifs, lights, staging, or other visual elements?

These are just the major questions that you can answer either as you are watching the play or after the show. Additionally, if you read the script before going to the theater, you can also compare the performance with the written text. In this case, you will need to touch upon a) whether the production realized the full potential of the script, and b) whether the actors fit into the character description you had in mind.

Other Things to Consider

We told you what you need to concentrate on when watching the play, but in reality, the research you do beforehand is also highly important. A bit of background research can help you understand the show much better without clouding your judgment. Try to learn a bit about the theater company and the director’s past projects, if available. When you arrive, take a moment to read through the play’s program—look for the director’s note and the cast biographies, which can shed light on the creative choices behind the production.

During the performance, let your immediate reactions guide your note-taking. Jot down memorable lines, effective staging, and any unique interpretations that stand out. Try to stay present and engaged, though, so make sure to balance your noting with simply enjoying the show. The intermission is a great time to catch up on your notes without missing any part of the action.

After the curtain falls, quickly organize your thoughts into a rough draft. Verify all the factual details, like names and plot points, so that everything is accurate. Think about whether the director brought new insights. Reflect on the context and the choices made in the production. For example, a modern twist on a classic play can shift its themes and dynamics. Discussing these choices will help you deepen your analysis and engage your readers by showing them new ways to think about familiar works.

Finally, approach your review with both a critical eye and a sense of fairness. Consider not just what was presented and how, but why the director and designers made those choices. What were they trying to communicate? Were they successful? Engaging with these questions will make your review both thorough and thoughtful, providing your readers with a rich perspective on the performance.

A Step-by-Step Guide on How to Write a Play Review

The first step you need to take is to outline the structure. Of course, as with all the major types of writing this one will also have an introduction, body paragraphs, and conclusion. Nonetheless, in the case of a play review, there are also a few other structural aspects that need to be included.

As you can see from the picture, there are a lot of nuances that you should consider when thinking of writing a play review. So, as we now know what to pay attention to, we can proceed to writing.

Writing the Introduction

First impressions matter. Your introduction is where you’ll present the essential details: the play’s title, the playwright, the production company, and the historical context, if relevant. It’s also where you’ll set out your thesis—your overarching impression of the play’s execution. Remember, your initial thoughts may not align with the director’s vision, but that’s the beauty of art—it’s subjective.

Writing the Statement and Summary

Now, state the essence of the play without giving away the plot. Use this part to underline the thematic heartbeat of the story, supporting your insights with evidence (maybe some lines that you noted when watching). You can snugly fit this into your introduction or let it be a bit more detailed in a standalone paragraph.

Writing the Body of the Paper: The Review

It’s time to get into the details. Piece together each clue—the actors’ silent dialogue, the set’s subtle whispers, and how they relate to your initial thoughts. Why did they choose to add those decorations and lighting? How does all of this contribute to the general theme? You need to present your analytical skills in all their beauty, not skipping on any important details.

Talking About Performances

Here’s where you get to shine. Break down the performances—were the actors convincing? Did the storyline keep you glued or had you scrolling through your mental grocery list? Remember, your voice matters. Your unique viewpoint could be the refreshing take someone needs to see the play through a new lens.

Your Conclusion

At the end, circle back to that opening act—your thesis. Reflect on whether the play lived up to your expectations or left you wanting more. You can also provide your recommendation as to whether the place is worth seeing at all and why. And then, leave a little sparkle behind—a final thought for your readers to remember long after they’ve left your page.

How to Review a Play Without Making Mistakes

As we settled down on the initial steps you need to take to go through with writing a theater review, we feel it’s important that we tell you what NOT to do during this process. Because there are a few mistakes that can affect the quality of your work and the time you spend finishing it.

Do and Don’t

Common Mistakes When Writing a Play Review

– Focusing on just one or two aspects of the play (positive or negative) when writing a review, omitting everything else. – Watching a play once, and rushing to write a review without fully understanding the plot and the artistic techniques used in it. – Not gathering information relevant to the play before watching it, and thus not engaging in the context, without which it may be more difficult to evaluate the play objectively.

Play Review Sample Template

We decided to help you out a little bit and give you a play review template, so you have a better idea of what a final writing should look like. As we don’t want to take much of your time, we made it as concise as possible, yet included all the necessary parts and information. 

What are the parts of a play review?

A play review typically includes several key components that together provide a complete analysis of the production. It starts with an introduction that sets the stage by introducing the play, its author, and the key production details. The body of the review should have a detailed description of the performance, including discussions of the acting, direction, set design, costumes, lighting, and sound. It’s also important to include a critical analysis section, where you dig into the themes, messages, and emotional impact of the play. Finally, the conclusion summarizes your overall impression and provides a recommendation for potential audiences.

How do you write a critique of a play?

Writing a critique of a play asks for a thoughtful evaluation of its various artistic elements. Begin by describing the setting, plot, and characters to give readers a sense of the production. Discuss the performances of the actors, the direction, and the technical aspects like costumes and lighting. Analyze how these elements contribute to or detract from the play’s overall effectiveness. Support your opinions with specific examples from the performance. Conclude by summarizing your thoughts and stating whether you recommend the play, providing reasons for your judgment.

How do you rate a play?

To rate a play, consider several factors such as the quality of the script, performances, direction, and technical execution. Think about the emotional and intellectual impact of the play on you and the audience around you. Ratings can be numerical or descriptive, but they should always be backed up by a detailed explanation of your assessment. It’s helpful to consider both the strengths and weaknesses of the production objectively and to compare them to standard expectations of theater to provide a balanced rating.

What are the three rules of critique?

The three rules of critique are: be honest, be fair, and be constructive. Honesty requires you to express your true impression of the work, while fairness means acknowledging the efforts of the creators and performers and considering the artistic choices made. Being constructive involves offering criticism that is useful and intended to improve understanding or encourage reflection, rather than merely pointing out flaws without context or suggestion for improvement.

What is formal analysis of a play?

A formal analysis of a play is a detailed examination of its structural elements—like plot, themes, dialogue, pacing, and character development—and how these contribute to the overall impact of the play. This type of analysis looks at the mechanics of the playwriting and staging, assessing how the narrative is constructed and delivered. It considers how the elements of drama—such as tension, climax, and resolution—are handled and the effectiveness of the play’s structure in conveying its message or artistic intent. Formal analysis helps deepen understanding of the play’s artistic value and how it communicates with its audience.

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How to write a theatre review

The first rule is that there are no rules – you're writing a review to express your thoughts and feelings about a theatre show, not taking an exam. There are as many ways to write a review as there are personal responses to any production. There is no right or wrong. Allow yourself to develop your own distinctive voice , and be honest about what you really think about a production: convey your enthusiasm for it or explain why you disliked it. Don't worry about going out on a limb. A timid theatre review is often a dull read. The hardest reviews to write are not about the shows you passionately loved or hated , but about ones that were just so-so.

If you are aiming to get your review published in a newspaper or on a reviews website , then you will need to write your review to a certain length and to fit a particular format. Make sure you do your homework about the length and style of reviews of a particular publication, online or otherwise, before you approach them. A traditional theatre review often begins by giving the reader some background about a production, a brief outline of plot and themes, a sense of what the staging looks (and sounds) like; it offers an evaluation of writing, production and performances and concludes with a summing up. It's pretty basic GCSE coursework stuff. (Coursework that I suspect I might fail if I had to do it.)

But it doesn't have to be like that. Particularly in the digital age, when a theatre review can be a succinct and witty 140-character critique on Twitter, an occasional or regular response on the comment threads of Guardian reviews or my weekly What to see blog , or a piece of writing on a blog that runs to many hundreds of words and uses the production as a springboard to discuss wider issues. The last of these often sits somewhere on a line between academic criticism and broadsheet reviews; some of the most exciting blog commentary is trying to create a genuine and informed dialogue between those making the work and those writing about it; still more matches the form of the show with critical response. Smart theatre publicists and marketing departments know these bloggers are invaluable and will facilitate access by offering free tickets to those who write regularly and engagingly.

Blogging has changed the world of theatre criticism, and for the better. A wider range of voices on many different platforms isn't challenging the authority of us full-time theatre critics but broadening it. It may never have been as hard to get paid for writing theatre criticism, but it has never been easier to be noticed for writing it and to gain yourself an audience for what you write.

I've been learning on the job for the last 30 years, and am still learning with every review I write. The best advice I can offer is to see as much theatre as you can, write about everything that you see, and always write reviews that really reflect what you felt about a show – not what you think you ought to have felt about it. Oh, and have fun. If you don't have fun writing the review, nobody will have fun reading it.

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DRAM 108 | What Is Theatre?

DRAM 108.3 | Dept. of Drama | USask

How to Write a Play Review

The nuts and bolts of the theatre review.

The play review should serve a number of functions:

• They serve as a record of a theatrical production for the future.
• They help you as an audience member, discover how the production’s elements such as: lighting design, costumes, set, direction, music etc. all contribute to your opinion of the play.
• They serve to educate a theatre audience.

Watch the following video as Michael Billington, theatre critic for The Guardian, gives us a few important tips for writing an effective and engaging theatre review.

You can explore some current play reviews from The Guardian here.

Play reviews should be specific. Avoid generalizations such as the set was “great” and the acting was “wonderful”. Tell us exactly why you thought the set was great and the acting wonderful-- providing examples to back up your ideas. Refer to the actors by name. If possible, describe the actors at work: “Smith’s quiet stillness drew our attention and allowed us to see the pain she was carrying inside.”

Play reviews should also be balanced. As entertaining as it might be to write a scathing review, remember to mention areas of commendable work as well as the areas that, in your opinion, fell short. A review of a production usually focuses on two things: the writer’s intentions for the script and the director’s concept. Sometimes these are in conflict. Does the director’s interpretation of the script help or hinder?

Your introductory paragraph might contain information about the production, its venue, and the director, and so forth. Try to begin the review in an exciting way to make the reader interested in what you have to say about the production. Rather than offer a plot synopsis early on, write about an exciting moment in the play that could provide a springboard for the rest of your review.

If you are going to provide a plot synopsis in a subsequent paragraph, make sure it’s no longer than three sentences.

Subsequent paragraphs might focus on the acting, set design, music, lights, costumes and props among other things. Ask yourself if these elements are in keeping with the playwright’s intention and/or the director’s concept. Do they serve the production? Be specific. Make the connections between your opinions and what you actually saw on stage. You can also talk about what the audience might be discussing after the play, central idea of the play, the plot structure and genre of play, (i.e. tragedy, comedy, drama, musical), and of course what you like and don't like about the play.

Your final paragraph should point back to the introduction. What is the main point you have been making with your review? The closing paragraph might offer a final impression of the production, just as your opening paragraph perhaps offered an initial impression.   (Adapted from D.S. Brenna’s How to Write a Play Review )

So that's how you can structure your essay, but  here are a few tips on how to prepare for the assignment. When you  go to the theatre, make sure to take notes either during intermission or immediately following the show so you don't forget what you observed and felt.  If you can, perhaps see it twice, so that you can just sit back and enjoy it fully the first time, and then come back a second time to analyze it. Also don't forget to take a program (if there is one) for your review. This will help you correctly name the title of the production, the playwright, and identify the actors, the director, the designers etc.

And above all, enjoy the show! Your local theatre community will be thrilled that an "informed" audience member, such as yourself, is coming to support them and someone who can appreciate their hard work.

Hopefully the play you choose to review as part of your formal assignment will go better than this....

How to Write Critical Reviews

When you are asked to write a critical review of a book or article, you will need to identify, summarize, and evaluate the ideas and information the author has presented. In other words, you will be examining another person’s thoughts on a topic from your point of view.

Your stand must go beyond your “gut reaction” to the work and be based on your knowledge (readings, lecture, experience) of the topic as well as on factors such as criteria stated in your assignment or discussed by you and your instructor.

Make your stand clear at the beginning of your review, in your evaluations of specific parts, and in your concluding commentary.

Remember that your goal should be to make a few key points about the book or article, not to discuss everything the author writes.

Understanding the Assignment

To write a good critical review, you will have to engage in the mental processes of analyzing (taking apart) the work–deciding what its major components are and determining how these parts (i.e., paragraphs, sections, or chapters) contribute to the work as a whole.

Analyzing the work will help you focus on how and why the author makes certain points and prevent you from merely summarizing what the author says. Assuming the role of an analytical reader will also help you to determine whether or not the author fulfills the stated purpose of the book or article and enhances your understanding or knowledge of a particular topic.

Be sure to read your assignment thoroughly before you read the article or book. Your instructor may have included specific guidelines for you to follow. Keeping these guidelines in mind as you read the article or book can really help you write your paper!

Also, note where the work connects with what you’ve studied in the course. You can make the most efficient use of your reading and notetaking time if you are an active reader; that is, keep relevant questions in mind and jot down page numbers as well as your responses to ideas that appear to be significant as you read.

Please note: The length of your introduction and overview, the number of points you choose to review, and the length of your conclusion should be proportionate to the page limit stated in your assignment and should reflect the complexity of the material being reviewed as well as the expectations of your reader.

Write the introduction

Below are a few guidelines to help you write the introduction to your critical review.

Introduce your review appropriately

Begin your review with an introduction appropriate to your assignment.

If your assignment asks you to review only one book and not to use outside sources, your introduction will focus on identifying the author, the title, the main topic or issue presented in the book, and the author’s purpose in writing the book.

If your assignment asks you to review the book as it relates to issues or themes discussed in the course, or to review two or more books on the same topic, your introduction must also encompass those expectations.

Explain relationships

For example, before you can review two books on a topic, you must explain to your reader in your introduction how they are related to one another.

Within this shared context (or under this “umbrella”) you can then review comparable aspects of both books, pointing out where the authors agree and differ.

In other words, the more complicated your assignment is, the more your introduction must accomplish.

Finally, the introduction to a book review is always the place for you to establish your position as the reviewer (your thesis about the author’s thesis).

As you write, consider the following questions:

• Is the book a memoir, a treatise, a collection of facts, an extended argument, etc.? Is the article a documentary, a write-up of primary research, a position paper, etc.?
• Who is the author? What does the preface or foreword tell you about the author’s purpose, background, and credentials? What is the author’s approach to the topic (as a journalist? a historian? a researcher?)?
• What is the main topic or problem addressed? How does the work relate to a discipline, to a profession, to a particular audience, or to other works on the topic?
• What is your critical evaluation of the work (your thesis)? Why have you taken that position? What criteria are you basing your position on?

Provide an overview

In your introduction, you will also want to provide an overview. An overview supplies your reader with certain general information not appropriate for including in the introduction but necessary to understanding the body of the review.

Generally, an overview describes your book’s division into chapters, sections, or points of discussion. An overview may also include background information about the topic, about your stand, or about the criteria you will use for evaluation.

The overview and the introduction work together to provide a comprehensive beginning for (a “springboard” into) your review.

• What are the author’s basic premises? What issues are raised, or what themes emerge? What situation (i.e., racism on college campuses) provides a basis for the author’s assertions?
• How informed is my reader? What background information is relevant to the entire book and should be placed here rather than in a body paragraph?

Write the body

The body is the center of your paper, where you draw out your main arguments. Below are some guidelines to help you write it.

Organize using a logical plan

Organize the body of your review according to a logical plan. Here are two options:

• First, summarize, in a series of paragraphs, those major points from the book that you plan to discuss; incorporating each major point into a topic sentence for a paragraph is an effective organizational strategy. Second, discuss and evaluate these points in a following group of paragraphs. (There are two dangers lurking in this pattern–you may allot too many paragraphs to summary and too few to evaluation, or you may re-summarize too many points from the book in your evaluation section.)
• Alternatively, you can summarize and evaluate the major points you have chosen from the book in a point-by-point schema. That means you will discuss and evaluate point one within the same paragraph (or in several if the point is significant and warrants extended discussion) before you summarize and evaluate point two, point three, etc., moving in a logical sequence from point to point to point. Here again, it is effective to use the topic sentence of each paragraph to identify the point from the book that you plan to summarize or evaluate.

Questions to keep in mind as you write

With either organizational pattern, consider the following questions:

• What are the author’s most important points? How do these relate to one another? (Make relationships clear by using transitions: “In contrast,” an equally strong argument,” “moreover,” “a final conclusion,” etc.).
• What types of evidence or information does the author present to support his or her points? Is this evidence convincing, controversial, factual, one-sided, etc.? (Consider the use of primary historical material, case studies, narratives, recent scientific findings, statistics.)
• Where does the author do a good job of conveying factual material as well as personal perspective? Where does the author fail to do so? If solutions to a problem are offered, are they believable, misguided, or promising?
• Which parts of the work (particular arguments, descriptions, chapters, etc.) are most effective and which parts are least effective? Why?
• Where (if at all) does the author convey personal prejudice, support illogical relationships, or present evidence out of its appropriate context?

Keep your opinions distinct and cite your sources

Remember, as you discuss the author’s major points, be sure to distinguish consistently between the author’s opinions and your own.

Keep the summary portions of your discussion concise, remembering that your task as a reviewer is to re-see the author’s work, not to re-tell it.

And, importantly, if you refer to ideas from other books and articles or from lecture and course materials, always document your sources, or else you might wander into the realm of plagiarism.

Include only that material which has relevance for your review and use direct quotations sparingly. The Writing Center has other handouts to help you paraphrase text and introduce quotations.

Write the conclusion

You will want to use the conclusion to state your overall critical evaluation.

You have already discussed the major points the author makes, examined how the author supports arguments, and evaluated the quality or effectiveness of specific aspects of the book or article.

Now you must make an evaluation of the work as a whole, determining such things as whether or not the author achieves the stated or implied purpose and if the work makes a significant contribution to an existing body of knowledge.

Consider the following questions:

• Is the work appropriately subjective or objective according to the author’s purpose?
• How well does the work maintain its stated or implied focus? Does the author present extraneous material? Does the author exclude or ignore relevant information?
• How well has the author achieved the overall purpose of the book or article? What contribution does the work make to an existing body of knowledge or to a specific group of readers? Can you justify the use of this work in a particular course?
• What is the most important final comment you wish to make about the book or article? Do you have any suggestions for the direction of future research in the area? What has reading this work done for you or demonstrated to you?

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How To Write A Theater Review—With Examples

• What Is a Theater Play Review?
• How to Write a Theater Play Review?
• Tip #1. Read the play
• Tip #2. Do some research
• Tip #3. Attend the show
• Tip #4. Take notes
• Tip #5. Write & proofread
• Theater Play Review Examples
• Theater play Review Paper Writing Help

Watching a theater play is a wonderful experience. You can laugh at comedies, sing at musicals, learn about history, or feel for the heroes of tragedies. A play is one of the four literary genres. It uses dialogues between characters, along with stage direction, acting, music, setting, and costume to tell a story. A play is a collaboration between the playwright, the director, the actors, the light technicians, the costume designers, and all other people behind the curtain. You need to remember this characteristic of plays if you want to learn how to write a theatre review.

A theater review is a critical response to a play you have watched. You study, analyze, and then produce a judgment or opinion on the whole production. One important thing to remember is that a critical review of a theater play does not only contain criticisms. Rather, it analyzes and contextualizes the production, points out its positive aspects, and provides suggestions when providing criticisms. Writing a theater review is a crucial part of the process of appreciating plays. However, an appreciation for theater is also necessary for writing great reviews. 

In this section, you will learn how to write a good review. Theater plays are a bit complicated to write a review on because you only get to watch it once and then render your analysis and judgment from memory. As such, writing one often starts before you even step foot into the theater. 

Part of the preparation for reviewing a play is to read it before you go to see the production. This way, you have an understanding of the major elements of the play. When you don’t have to strain to understand every bit of dialogue and know what is going on in the plot, you can focus on the other elements of the production.

Before you see the show, it helps to conduct some research to give context to your experience. However, do not overdo it—another person’s opinion may influence your experience. Instead of looking at other people’s reviews, look into the facts of the play:

• Who is putting up the show? What has this production company done in the past? 
• Who is the director? The actors?
• What kind of play is it? For instance, is it also a film?

These things will contextualize the play. For instance, give you an idea as to the director’s (and possibly the playwright’s) vision. You can conduct further research after you have watched the show to help you form your own opinion.

Need a theatre play review? I can help!

Read the program before the show, read the director’s note and the cast’s biographies. Remember what you have read when you enter the venue, however, remember to keep an open mind as well. 

With theater plays, no two performances are the same. Plus, you cannot replay it like a film. To remember the details and your thoughts, take down notes as much as you can. These details will help you write a good review. Here’s what you should take notes of:

• Set design and costume
• Actors’ performance (tone, diction, gestures)
• Special effects

As with any form of essay writing, it is best to start your critical review with a thesis and an outline to keep your thoughts organized. Start with your overall experience or opinion of the production. Then, start considering the different elements:

• Style of performance
• Actors/Acting
• Costume design

You do not have to touch on all these elements when you write your critical review. Focus on the elements that stood out the most or those that are most relevant to your thesis. Here is a theater review template:

Introduction

Provide the factual details of the play and your thesis . Here is how to write an introduction .

Provide a summary of the plot—what kind of play is it and what is it about? Talk about the main themes and conflicts, as well. 

For each element that you will tackle, you need to discuss the following:

Briefly, but in detail, describe the physical aspects of the performance. Describe only the details and scenes that support your thesis.

Interpret and analyze these elements and how they contribute to the portrayal of the story and the overall experience.

Evaluate the elements. Discuss how the elements complemented the style and format of the play.

Check our guide on how to write body paragraphs .

Summarize your review of the play and the elements you discussed. Some questions to consider:

• Is the production’s execution successful? Why or why not?
• Is the production worth seeing? Why or why not?

Then, close the paragraphs with any final thoughts. Here are tips on writing a conclusion .

After writing, edit and proofread your work .

If writing is not your best skill, the guide to how to write a theatre review may not be enough. Here is a short theater review example that follows the theater review template provided above.

Dear Evan Hansen has attracted attention long before its premiere thanks to its star-studded team. The musical is set up for greatness, having 4-time Tony nominee Michael Greif as its director, award-winning playwright Steven Levenson as its creator, and Benj Pasek and Justin Paul for music. The Broadway show is sold out, and without a doubt, each filled seat was well worth it. This Broadway musical is created for the modern audience, capturing the pervading disconnect despite the world’s increasing connectedness. 

Dear Evan Hansen is based on the novel by Steven Levenson. The plot centers on teenager Evan Hansen who writes a note to himself, as directed by his therapist, to help with his social anxiety. This note is stolen by his classmate, Connor Murphy, who then commits suicide. Evan’s note is found in Connor’s pocket, leading the latter’s parents to believe that they were friends. Unable to tell the truth, Evan covers up and inflates his story with lies and fabricated evidence and becomes entangled in a large complicated web of lies. 

Being the center of the story, the spotlight barely leaves Ben Platt as Evan Hansen. Platt’s performance did not leave a boring moment on stage. His powerful singing and portrayal of this seemingly stock character brought it to life. Evan’s awkwardness and social insecurity are visible in his constant blinking and twisted speaking. His social awkwardness is at the root of his loneliness and desperation for attention, which ultimately leads him to a path of lies. The audience feels for Platt’s Evan Hansen, and almost roots for his ruse to succeed. 

Paul and Pasek’s music underscores the narrative of Dear Evan Hansen . The songs rise and fall along with the emotions of the characters, with some songs being mellow, while others are reflective ballads. The strongest song of all is “You Will Be Found,” which closes the first act and is then reprised in the second act as the rallying cry for the social media movement following Connor Murphy’s death.

Dear Evan Hansen is a musical of the times, capturing the loneliness of today’s modern world as well as the complexity of grieving for a lost loved one. With a powerful score and performance by Platt and the rest of the cast, this musical will stay with the audience for a long time.

Here is another example of a review of Bertolt Brecht’s Waiting For Godot .

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A critical review is not a long essay, but a lot of analysis goes into it. CustomEssayMeister offers custom critical reviews for all genres, including theater plays. Simply watch the play, write down your thoughts, and let professional writers translate your ideas into a well-written critical review. Place your order now.  

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Home — Essay Samples — Literature — Macbeth — Play Review: Macbeth by William Shakespeare

Shakespeare's Macbeth: Play Review

• Categories: Macbeth William Shakespeare

About this sample

Words: 467 |

Published: Dec 12, 2018

Words: 467 | Pages: 2 | 3 min read

"Macbeth" Review Essay

Works cited:.

• Everyday Health. (2013, September 3). Get up, get out: Exercise boosts mood and self-esteem. Everyday Health. https://www.everydayhealth.com/depression/get-up-get-out-exercise-boosts-mood-and-self-esteem.aspx
• McCann, A. (2017, December 18). Impact of social media on teens: Is social media ruining our kids? Tech Times. https://www.techtimes.com/articles/217920/20171218/impact-of-social-media-on-teens-is-social-media-ruining-our-kids.htm
• Wapshott, N. (2014, October 14). Buying into Big Brother: How surveillance capitalism conquers us. Newsweek. https://www.newsweek.com/buying-big-brother-how-surveillance-capitalism-conquers-us-277792
• Carpenter, C. J. (2018). A meta-analysis of the relationship between social media use and body dissatisfaction. Journal of Eating Disorders, 6(1), 34.
• Christofides, E., Muise, A., & Desmarais, S. (2012). Risky disclosures on Facebook: The effect of having a bad experience on disclosures. Journal of Social and Clinical Psychology, 31(4), 329-349.
• Clayton, R. B., Nagurney, A., & Smith, J. R. (2013). Cheating, breakup, and divorce: Is Facebook use to blame?. Cyberpsychology, Behavior, and Social Networking, 16(10), 717-720.
• Gould, M. S., Jamieson, P. E., & Romer, D. (2003). Media contagion and suicide among the young. American Behavioral Scientist, 46(9), 1269-1284.
• Lenhart, A. (2015). Teens, social media & technology overview 2015. Pew Research Center: Internet, Science & Tech.
• Primack, B. A., Shensa, A., Escobar-Viera, C. G., Barrett, E. L., Sidani, J. E., Colditz, J. B., & James, A. E. (2017). Use of multiple social media platforms and symptoms of depression and anxiety: A nationally-representative study among US young adults. Computers in Human Behavior, 69, 1-9.
• Twenge, J. M. (2019). The smartphone generation. The Atlantic.

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Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

• First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
• Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

• What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
• How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
• What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

• The name of the author and the book title and the main theme.
• Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
• The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
• The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
• Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

• Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
• With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
• Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
• Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
• A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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• Miscellaneous

How to Write a Review Essay About a Film or Play

A review essay is a type of academic paper that teachers assign to find out what students and students think about the book they have read (the movie/play they have seen) and to check their understanding of the work. This essay is similar to a review. 

But sometimes people face problems and can’t devote all their time to studying and writing essays. And then many students ask their friends for paper help , and most of them just find special sites with specialists who will write an article for you cheaply while you do other things. 

Film Review Essay

Some modern teachers realize that today’s young people read little and instead of the traditional book review, they suggest writing a film review essay. Sometimes popular movies of recent years are offered as the subject, but more often they are asked to characterize a film based on a work of fiction.

In order to write a complete and reasoned essay about the film, it is recommended to take notes while you watch it: that way you will save your first impressions of what you have seen.

The outline of a film review essay consists of the following points:

Characteristics of the director and his creative heritage.

Brief information about the work of the original source.

Evaluation of the film: whether it is a retelling of the book or the author’s interpretation.

How the film is similar to the book, and how it differs (what plot lines are omitted or transferred differently, whether the appearance of actors coincides with the description of the characters).

Personal opinion about the film.

Conclusion (how completely the film conveys the artistic basis).

An essay-review of the play

Most often for analysis are also offered plays based on classical works of Russian literature: the plays of A. S. Griboedov, A. N. Ostrovsky, A. P. Chekhov, etc.

Plan of such an essay:

General information about the play: which theater it is based on whose work is staged.

The coincidence/differences of the plot of the play from the original book.

Characteristics of the acting (as the main artistic means of production).

Personal opinion on what has been seen.

Conclusion.

You can notice that the plan of the essay-review does not depend much on the object. The main answer to the question “how to write an essay-response?” – Combine a narrative with a reasoned opinion about a book, painting, film, or play.

Play Review Examples

Lucky guy by nora ephron.

Nora Ephron deceased at the age of 71 in June last year and at a time when she was writing her third play, Lucky Guy. There were prior notions circulated that she died of colon cancer. She had managed to make a name for herself following the amazing creation of hit movies before her demise. She began her career in the movie industry by being a journalist and won her fame as a screenwriter. Lucky Guy was well-received from critics…

The Big Knife by Clifford Odets

Dramatic Acting in the Play The Big Knife Synopsis The play The Big Knife written by Clifford Odets and directed by Robert Aldrich is mainly revolved around the character Charlie Castle. Charlie is presented to the audience as a successful Hollywood actor living an admirable person, though his life begins to falter when he is in the dilemma of his wife leaving him and having to refuse the renewing of his seven acting year contract, which makes his boss furious….

The Phantom of the Opera Review

What Makes The Phantom of the Opera Such a Spectacular Show? According to Wade Bradford from About.com (2013), at the start of the play, an opera ghost lays havoc on the crew and cast in the French Opera House in the course of tutoring a chorus girl. The ghost achieves the corrupting of the girl by way of a soprano. The ghost’s pupil gets hitched to De Chagny, which creates a problem since the ghost has too fallen for his…

Solo Play Ann

Holland Taylor’s Acting in the Solo Play “Ann” The Broadway show “Ann”, starring Holland Taylor, took place at the Vivian Beaumont Theater on the 7th of March. It was directed by Benjamin Endsley Klein and written by Holland Taylor. It is remarkable that the play dropped its original title, which was “Money, Marbles and Chalk: An Affectionate Sketch of Ann Richards” and has been shortened to “Ann”. The play presents the story of a memorable person – Ann Richards, the…

Find A Play Review Example And End Your Writing Suffering

A play review is preferably begun with the analysis of a small fragment, or an episode (phenomenon, scene, etc.). The review of the episode of a novel is carried out practically according to the same scheme as the review of an episode of an epic work, with the only difference being that the point of analysis of the dynamic and dialogical compositions of the episode should be added to the reasoning. A play review example will help you understand how to do an analysis of the whole work or just an episode of it.

Steps for Writing a Review of a Play Episode

To learn how to write a play review, example texts and brief guidelines are what you need ( go to other link to check out the complete guide)!

• The boundaries of the episode are already determined by the very structure of the play (the phenomenon is separated from the other components of the play); give the title to the episode.
• Characterize the event underlying the episode: what place does it take in the course of the development of the action? (Is this an exposition, a culmination, an outcome, an episode of the development of the action of the whole play?)
• Name the main (or unique) participants of the episode and briefly explain: – Who are they? – What is their place in the system of characters (main, capital, secondary, priceless)?
• Reveal features of the beginning and the ending of an episode.
• Formulate the question, the problem that is at the center of attention: – the author; characters.
• Identify and characterize the topic and the contradiction (in other words, the mini-conflict) that underlie the episode.
• Characterize the characters of the episode: – their relation to the event; – the issue (problem); – each other; – briefly analyze the speech of the participants in the dialogue; – make an analysis of author’s remarks (explanations to speech, gestures, facial expressions, poses of characters); – identify the features of the behavior of characters, the motivation of actions (author’s or reader’s); – determine the alignment of forces, the grouping or regrouping of characters, depending on the course of events in the episode.
• Characterize the dynamic composition of the episode (its exposure, string, culmination, denouement, and in other words, according to which pattern the emotional tension in the episode develops).
• Characterize the dialogical composition of the episode: what is the basis for the topic’s coverage of the dialogue?
• Understand the author’s attitude to the event; correlate it with the culmination and the idea of the whole play as a whole; determine the author’s attitude to the problem.
• Formulate the main idea (the author’s idea) of the episode.
• Analyze the plot, and the imaginative and ideological relationship of this episode with other episodes of the play.

Steps for Writing a Review of an Entire Play

Now we can turn to the complex review of the entire play. The success of this work is possible only if you understand the theory of play construction and if you read through a theatre play review example to see how this type of paper should be written.

You will want to focus on the following:

• The time of creation of the play, a brief description of the era.
• The play’s connection with any literary trend or cultural epoch (antiquity, revival, classicism, enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this trend appear in the play?
• Kind and genre of play: tragedy, comedy (of mores, characters, positions, satirical, everyday, lyric, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Refer to the meaning of these terms via the reference literature.
• Specificity of the organization of the action of the play: separation into actions, scenes, acts, phenomena, etc. Author’s original components of the play.
• Poster of the play (characters). Features of names (for example, “speaking” names). The main, secondary and extra-personal characters.
• Features of conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
• Features of dramatic action: external and internal; “on stage” and “behind the stage,” dynamic (actively developing) and static, etc.
• Features of play composition. The presence and specificity of the main elements: exposure, increasing emotional tension, conflict and resolution, a new increase in emotional tension, climaxes, etc. How are all the “sharp points” (especially emotional scenes) related to each other? What is the composition of the individual components of the play (acts, actions, phenomena)? Here you need to name specific episodes that are these “sharp points” of the action.
• Specificity of creating dialogue in the play. Features of sounding themes of each character in dialogues and monologues. (A brief analysis of the dialogical composition of one episode of your choice.)
• Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help to uncover the theme of the play.
• The problematics of the work. Leading problems and key episodes (scenes, phenomena), in which problems are especially sharply stated. Author’s vision of solving the problems posed.
• Specificity of author’s remarks, explaining: – the actions of the characters (the actors’ performances); – the situation on stage, costumes, and scenery; – mood and idea of scene or phenomenon; – specificity of the author’s position, expressed through remarks.
• The meaning of the name of the play.

How a Play Review Sample Can Help You

When you decide to write a play, you will benefit from reading through a play review example. Be careful if you are not confident in your writing skills – writing a play review is not an easy task. Successful work is possible only with a detailed study of theoretical materials and reading through various samples.

You should read our samples with topics similar to yours. Therefore, it is worth noting that there is nothing wrong with using other samples, you just need to remember that you can’t present them as your own. Our samples were created to reveal and represent the ideas and topics which are usually assigned to students.

In order to understand how to analyze plays in detail, you need to look through samples presented on our site. All of our samples are written using supporting materials. In our examples, you can find facts about the creation of plays, problematics and ideas, compositions of the play, and so on. Our samples don’t contain any mistakes, as all of them are proofread and edited.

All play samples include personal evaluation or subjective opinion, as this is common for review writing. Examples are written of different academic levels. Semantic integrity is one of the main features of the samples written by our writers. You can visit our dissertation writing service any time and find a sample that will help you to write your own review.

The reviews answer different questions which usually can be faced in students’ assignments. Samples contain a general examination of the subject, particular features of the subject, author’s assessment, and a conclusion. You can use our reviews for free, but only for coming up with your own ideas for your future review. You will see how to make a statement, present arguments, and draw a strong conclusion.

Use our play review samples to deal with your own writing! With our examples, your writing will be simple.

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17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

Are you interested in becoming a book reviewer? We recommend you check out Reedsy Discovery , where you can earn money for writing reviews — and are guaranteed people will read your reviews! To register as a book reviewer, sign up here.

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

Should you become a book reviewer?

Find out the answer. Takes 30 seconds!

What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

• A review will offer a concise plot summary of the book. 
• A book review will offer an evaluation of the work. 
• A book review will offer a recommendation for the audience. 

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

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Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim.  To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

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And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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