Review: JEFFREY BERNARD IS UNWELL, Coach and Horses, Soho
Robert Bathurst holds fort with tale after tale in the pub from which most of them started and a few finished
Gary Naylor - Page 12
Review: SPUTNIK SWEETHEART, Arcola Theatre
Post-lockdown, Murakami's themes of emotional and sexual isolation resonate all the more in a world of increasingly technologically mediated relationships
Review: THE CONFESSIONS, National Theatre
A unique production from a unique playwright / director has its faults, but far outweighs them with its warm truths and redemptive conclusion
Review: THE BOY, Soho Theatre
Joakim Daun’s new play, made with extensive migrant input, is an often funny, sometimes heartrending tale of adjusting to changing circumstances born of tragedy and fear
Review: A VIEW FROM THE BRIDGE, Chichester Festival Theatre
It may be old enough to collect its state pension, but this classic play still has much to say about life as it's lived today
Review: AMENDMENTS: A PLAY ON WORDS, Old Red Lion Theatre
Two-hander comedy feels a little underpowered, but gathers its fair share of laughs while making valuable points on both sides of the argument
Review: DON QUIXOTE, Royal Opera House
Marianela Nuñez and Vadim Muntagirov sizzle in a crowdpleasing revival of the Royal Ballet's 2013 production
Review: QUIZ, Chichester Festival Theatre
Did they do it? It's a 50/50 and you decide.
Review: L'ELISIR D'AMORE, Royal Opera House
Liparit Avetsiyan lends emotional weight to an opera that veers a little too close to pantomime on occasion
Review: LA FORZA DEL DESTINO, Royal Opera House
Sondra Radvanovsky, Brian Jagde and Etienne Dupuis lead a wonderful cast and orchestra in a near-overwhelming production that fully justifies its four hours running time
Review: BATTERSEA BARDOT, New Wimbledon Theatre Studio
Anne Rabbitt plays the British movie star who burned out too soon in the cauldron of Hollywood's casting couch environment of the 60s.
Review: TURANDOT, Grimeborn Festival, Arcola Theatre
The thrill of operatic voices singing up close and personal in a radical re-interpretation of an opera ripe for bringing into the 21st century
Review: ENG-ER-LAND, Arcola Theatre
Hannah Kumari's warm, funny and ultimately disquieting monologue tells the story of a girl who doesn't fit into other people's idea of boxes, but becomes a lifelong fan of Coventry City
Review: THE GARDEN OF WORDS, Park Theatre
Beautiful production that expands on its source material but adds confusion as a result.
Review: LOYOLA, Grimeborn Festival, Arcola Theatre
Beautifully sung South American opera flawed a little by its overpowering religious messaging.
Review: TROUBLE IN TAHITI, Grimeborn Festival, Arcola Theatre
Boutique opera now 72 years old but could have been written yesterday in terms of its music, its themes and its relevance, performed with verve and confidence
Review: RUDDIGORE, Opera Holland Park
Super show, a little slow at first, but blossoming into an escapist entertainment that can be enjoyed as much in the 2020s as it was in the 1880s
Review: ITCH, Opera Holland Park
Jonathan Dove's music underpins and enhances the tale of a teen suddenly thrust into a world of corporate power and environmental exploitation
Review: GRENFELL: IN THE WORDS OF SURVIVORS, National Theatre
Gillian Slovo brings the heart and soul of Grenfell to the Dorfman Theatre, honouring those who live and those who do not.
Review: 80s LIVE!, Adelphi Theatre
Tonight we're going to party like it's 1989
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