Review: DANCING AT LUGHNASA, National Theatre
Josie Rourke's new production has much about it to admire, but has little to say on the changes in Ireland since the play's first incarnation on the South Bank in 1990
Gary Naylor - Page 14
Review: STRIKE!, Southwark Playhouse Borough
Striking Irish shopworkers become unlikely (and problematic) heroes in a crowd-pleasing dramedy
Review: PRIVATE LIVES, Donmar Warehouse
Fine performances and a good helping of laughs, but the violence throws a wet blanket over the fun
Review: JULIUS CAESAR, Royal Shakespeare Theatre
Touring production of play that explicitly warns of the dangers of politics as practised today loses focus by adopting a curious set of priorities
Review: FOR BLACK BOYS WHO HAVE CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY, Apollo Theatre
A necessary play that is as entertaining as it is moving
Review: ASTORIA, Jack Studio Theatre
Tony Britten's play is funny and moving if, at times, tricky to follow
Feature: 'I'm So Grateful for the Faith Shown in Me Here': The Enduring Positive Legacy of Chickenshed Theatre and Their Show RUSH
Another extraordinary Spring show has completed its run but leaves a legacy of lives changed on both sides of the fourth wall
Review: KILLING THE CAT, Riverside Studios
Existential questions abound in world premiere of a musical that does not make the fur fly
Review: DEBATE: BALDWIN VS BUCKLEY, Stone Nest
Taut and razor-sharp verbatim adaptation of a famous debate from the 60s is entertaining and enlightening
Review: LEAVING VIETNAM, Park Theatre
Richard Vergette's one-man play is never less than engaging, but one wonders why here and why now?
Review: MACBETH, Southwark Playhouse Borough
Flabbergast Theatre take a bold approach to a familiar play and hit and miss along the way
Review: GUYS & DOLLS, Bridge Theatre
As perfectly realised a revival as one could ever hope to see, full honour paid to both the incomparable source material and the times in which we live now
Review: STILL HERE, Jack Studio Theatre
Mari Lloyd's new play will speak loud and clear to young people today, but misses a chance for dramatic development as its structure all but disallows the chance to see its subjects together in the same space.
Review: TURANDOT, Royal Opera House
Come for Nessun Dorma; stay for love's triumph over death
Review: JUMPING THE SHARK, Upstairs at the Gatehouse
A comedy that certainly does not jump the shark, instead offering finely drawn characters, poignant moments and, most precious of all, big laughs.
Review: BRILLIANT JERKS, Southwark Playhouse Borough
Diverting comedy that never strays too far from some well-trodden paths
Review: THE MERCHANT OF VENICE 1936, Watford Palace Theatre
A bold and accessible Merchant that commits to exposing the antisemitism that suffuses the play
Review: AN ABSOLUTE FARCE OF A MURDER MYSTERY, The Drayton Arms Theatre
Such a lot of fun!
Review: EGYPTIANS, Gulbenkian Arts Centre, University of Kent
Verse and music enhances a production that straddles millennia
Review: GRENFELL: SYSTEM FAILURE SCENES FROM THE INQUIRY, Playground Theatre
Following up Value Engineering, Richard Norton-Taylor and Nicolas Kent once more let the evidence speak for itself in a piece of verbatim theatre that still manages to shock us
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