The message of A Doll’s House is unbound by time
A new adaptation of Henrik Ibsen’s renowned play emphasises the performance’s universality – but the characters leave much to be…
ByTheatre review
Does Inter Alia understand the manosphere?
Suzie Miller’s play takes the debate and turns it on its head – but the message is muddled
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Les Liaisons Dangereuses brilliantly displays the power of emotions
While the novel focuses on the protagonists’ schemes, Christopher Hampton’s play examines the psychological impact of their torturous mind games
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Romeo and Juliet have been let down
Sadie Sink and Noah Jupe deliver thrilling performances, but Robert Icke’s direction is an assault on the senses
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Johannes Radebe makes Kinky Boots dazzle
The larger-than-life Strictly Come Dancing star is captivating as he injects life into the new production of the show
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John Proctor is the Villain is a thrilling teenage-girl take on The Crucible
Kimberly Belflower’s play, at London’s Royal Court theatre, tears into misogyny and Arthur Miller
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Summerfolk review: Maxim Gorky’s tragedy is as relevant as ever
The language is modern but the Russian dacha aesthetic gives the performance its timeless quality
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Broken Glass review: Jordan Fein’s slick directing saves Arthur Miller’s difficult play
A moving revival at the Young Vic emphasises the paralysing feeling of watching horror unfold abroad
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Cynthia Erivo’s one-man Dracula misses the point
Kip Williams’ new adaptation of the classic proves that tech can dull a performance
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I’m Sorry, Prime Minister is missing the drama
Stripped of the Westminster scaffolding, this Yes, Minister sequel unspools into endless trading of retorts and ripostes, going nowhere
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Arcadia is Tom Stoppard at his finest
The latest revival refuses to dumb the famously difficult play down
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Guess How Much I Love You? doesn’t shy away from human ugliness
The Royal Court’s new play is an emotional rollercoaster
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To wed, or not to wed?
Gecko’s The Wedding is a mesmerising spectacle – but it misunderstands marriage.
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The best theatre to see in 2026
Sexual politics dominate the year’s most anticipated plays
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Christmas Day captures the generational divide among British Jews
Questions about identity propel Sam Grabiner’s new play at the Almeida Theatre
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Bryan Cranston and Paapa Essiedu are flawless in All My Sons
Ivo van Hove’s adaptation of Arthur Miller’s play embraces the story’s raw tragedy
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Ambika Mod is luminous and feral in Porn Play
Sophia Chetin-Leuner’s new production is sure to make her a star
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Othello is missing the tragedy
Tom Morris’s production starring David Harewood makes the audience side with the wrong character
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How not to adapt a great novel
The new theatre adaptation of Alan Hollinghurst’s The Line of Beauty loses the beauty
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The Importance of Being Hyper-Earnest
Max Webster’s queer reimagining of the Oscar Wilde classic is an explosion of conflicting performances
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