Flick through any newspaper and at least once a week a columnist will lament the trials and tribulations of modern relationships: ghosting, situationships, adultery, all exacerbated by a drove of dating apps.
Few plays unite cast and audience in mutual struggle like Sarah Kane's Cleansed.
There is a dig at Simon Stone in the National Theatre's new Misanthrope, a jab at ultra-contemporary classical reboots staged in rotating glass boxes, the Australian auteur's calling card.
We know how it ends.
Salesmen fight for survival in a competition where first prize is a Cadillac and the rest get fired.
Peter Grimes hinges on balancing the duality between its chorus and Grimes as an individual.
The high-water mark of 60s culture has been and gone, leaving a trail of detritus in which capricious rocker Maggie Frisby finds herself.
Arthur Miller's later works are usually overshadowed by his earlier masterpieces.
We still don’t know what Kurt Cobain did in the days before his suicide in 1994.
With End, David Eldridge completes his triptych of modern relationships.
More TikTok than tragedy
****'Brendan Gleeson's West End debut is quietly soul crushing'
If grief is the price we pay for love, then Every Brilliant Thing is the receipt lovingly crumpled and stuffed into a back pocket.
In Shaan Sahota’s barnstorming National Theatre debut the personal and political are layered on top of each other until they collapse under their collective weight.
It’s hard to shake the suspicion that this revival of Conor McPherson’s Girl From the North Country is hitching a ride on the gravy train of A Complete Unknown.
Forget Arcadian landscapes and Corinthian columns.
In Intimate Apparel clothes are the nexus between class and communities.
We are in an American provincial backwater.
The West End transfer of Stereophonic is a full fat slice of Americana: anyone who dreamt of being in a band might just find those dreams resuscitated.
Jordan Fein understands that Fiddler on the Roof is more than just Jews and jazz hands.
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