To Kill a Mockingbird proves that America has regressed
The return of Aaron Sorkin’s play highlights how racial relations have soured under Donald Trump
ByTheatre review
Pride the musical: a rousing reminder that solidarity can triumph
The unlikely alliance between a group of London gays and lesbians and a Welsh mining village is a riposte to…
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Sandra Oh is getting cancelled in The Misanthrope
Whose side should we be on in this gender-flipped reimagining of Molière’s social satire?
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Glengarry Glen Ross is pulling its punches
The all-female cast of David Mamet’s Pulitzer-winning play is a confusing attempt at timelessness and modern social commentary
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“I’m Palestinian, it’s impossible to look away”
Hardacres actor Sarah Agha on her one-woman show about a child in Gaza, and finding humour in dark moments
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Shakespeare’s Adonis is out of his depth
The sustaining joke of Venus and Adonis is the comedy of its wonderful articulacy
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It’s Makerfield or break for Andy Burnham
This by-election is a once-in-a-lifetime, all-out fight between social democracy and right-wing populism
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Krapp’s Last Tape’s endless returns
Gary Oldman’s brilliant adaptation proves how much we rely on technology to relive our lives
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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…
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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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