Mark Lawson is a journalist and broadcaster, best known for presenting Front Row on Radio 4 for 16 years. He writes a weekly column in the critics section of the New Statesman.
From a Dutch mash-up at the Barbican to a promenade theatre piece at the V&A – with a thousand miles in between.
Adaptations are often lamented for not living up to their source material, but the Young Vic production of Eimear McBride's novel brilliantly bucks the trend.
The Master Builder at The Old Vic is even stranger than the original - especially when it tries to negotiate modern sensibilities.
The Mother and The Father both show two characters called Anna and Pierre, who both times end up in a hospital room - but are they the same people?
As has come to be expected from late Churchill, Here We Go has a beautiful, quasi-musical structure.
It takes a lot to balance The Winter's Tale with Rattigan's Harlequinade, but KB manages it.
The decision to “Greek it up” for half a year has given the Almeida a bold and engrossing revisit to the creation myths of theatre.
Dinner With Saddam and Hangmen dare to put real people, and ideology, into their brands of dark farce.
Matthew Warchus’s first production at the Old Vic feels like a declaration of intent – but does it stand up?
The director comes across as both hypersensitive and unnervingly frank in The Blue Touch Paper.
We notice you have ad blocking software enabled. Support the New Statesman’s quality, independent journalism by contributing now — and this message will disappear for the next 30 days.
If we cannot support the site on advertising revenue, we will have to introduce a pay wall — meaning fewer readers will have access to our incisive analysis, comprehensive culture coverage and groundbreaking long reads.