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The man behind Brass Eye and Four Lions tells Helen Lewis about the confected terrorism plots that inspired his new film.
Two new plays, at the Old Vic and the National Theatre, both have incredible assets – but their set designs are on the one hand too bland, on the other too busy.
In this Idris Elba-inspired play, the dialogue is sparse, the characters are sketchy, and the celebratory ending feels unearned and trite.
In the National Theatre's new play, Kelly is 27, a virgin and desperate to know what sex is like.
The all-black cast produces strong performances on their own merits, as well as investing the story with extra layers of meaning.
When does a robot become indistinguishable from a human? McEwan’s latest novel offers one answer – when it sleeps with your girlfriend.
The National’s revival of the 1982 play reminds us of the compromises that women make to survive in a world built for men.
In her performance as John Proctor, Caoilfhionn Dunne’s gender felt irrelevant – wonderfully so.
Chiwetel Ejiofor speaks to Helen Lewis about his directorial debut, The Boy Who Harnessed The Wind.
Plus: I’m a Phoenix, Bitch by Bryony Kimmings.
Plus: Berberian Sound Studio at the Donmar.