Plus: Six, the musical about Henry VIII’s wives.
Cate Blanchett's National Theatre debut shows the difference between spank-me-harder clichés and words which are truly wounding.
From endless Arthur Miller to the National’s sell-out Cate Blanchett vehicle, the forthcoming year in theatre.
Hadestown turns the myth of Orpheus and Eurydice into a folk-opera with New Orleans jazz influences.
Ibsen and #MeToo: Robert Icke's rewriting of the classic tragedy suggests a way to reckon with the art of monstrous men.
The National’s Antony and Cleopatra is not Concept Shakespeare; news that many prospective audience members will greet with relief.
Ralph Fiennes's pansexual goatishness and Sophie Okonedo's haughty insecurity are potent, but this production is simply too long.
The Old Vic’s new musical depicts fallible women – rather than one-dimensional feminist heroines.
The former is oddly depoliticised, while the latter wants to make political points, but never quite lands them.
My three rules for criticism: Is it true? Does it need to be said? And would I say it to their face?
How watching the Rocky Horror shadowcast made me rethink a dramatization of Norman Mailer’s The Town Hall Affair.