BWW Review: A MERCHANT OF VENICE, Playground Theatre
Shakespeare in Italy's debut production clarifies and amplifies the wonderful, if problematic, play
Gary Naylor - Page 22
BWW Review: TICK, TICK... BOOM!
Lin-Manuel Miranda brings Jonathan Larson (winningly played by Andrew Garfield) to the screen as he tries to get his first musical produced against the backdrop of New York's AIDS pandemic
BWW Review: LOVE DANCE, Chiswick Playhouse
Gentle rom-com that breaks no new ground but is easy on the eye and ear and has its fair share of laughs and 'ahhsss'.
BWW Review: ABIGAIL'S PARTY, Park Theatre
The classic play has all the set-pieces and much imitated dialogue in a revival that also underlines the persistence of the anxieties and neuroses it exposes.
BWW Review: PUNCHY! THE MUSICAL, Courtyard Theatre
Super songs from Jack Terroni rescue a play with music in which dramatic potential takes a back seat to didactic proselytising
BWW Review: THE SUGAR HOUSE, Finborough Theatre
Sydney seen through the eyes of a fracturing family over 40 years introduces many of the issues faced by post-industrial cities, but this play doesn't really explore them in any depth.
BWW Review: DOING SHAKESPEARE, Bridewell Theatre
The Northern Comedy Theatre's madcap mash-up hits more than it misses with laughs broad and subtle.
BWW Review: INDECENT PROPOSAL, Southwark Playhouse
A strange decision to return to a novel very much of its time and place appears even stranger after seeing the show.
BWW Review: BRIAN AND ROGER, Menier Chocolate Factory
The stage version of the successful comedy podcast flounders on the transition from the everyday to the absurd
BWW Review: HMS PINAFORE, London Coliseum
Not for the purists but beautiful to behold, this Pinafore updates the humour while respecting the music.
BWW Review: OLD BRIDGE, Bush Theatre
Igor Memic's Papatango Award winner introduces us to four compelling characters and reminds us of the brutality of war
BWW Review: VALUE ENGINEERING SCENES FROM THE GRENFELL INQUIRY, The Tabernacle
Richard Norton-Taylor and Nicholas Kent have fashioned a play from statements at the Grenfell Inquiry that leads a horrified audience to specific and more general conclusions and the siren call that 'this must never happen again'.
BWW Review: BROKEN LAD, Arcola Theatre
This new play raises interesting questions about father-son relationships in a world in which middle-aged men can struggle to find a role, but its lack of detail prevents its potential being realised fully
BWW Review: YELLOWFIN, Southwark Playhouse
Marek Horn's blistering satire hits plenty of marks as he gets a tune out of a fine cast obsessing about tuna
BWW Review: THE CHERRY ORCHARD, Theatre Royal Windsor
Francesca Annis is in show-stealing form in Chekhov's masterpiece of changing times in a Windsor I last saw on television coverage of Harry and Meghan's wedding - appropriately enough.
BWW Review: THE TRAGEDY OF MACBETH, Almeida Theatre
Saoirse Ronan provides a much needed opportunity to listen and learn from Shakespeare's tale of ambition's dangers amidst much wailing and gnashing of teeth
BWW Review: THE WOMAN WHO TURNED INTO A TREE, Jacksons Lane Theatre
This Swedish satire on loneliness in the city hits its marks but is undermined a little by the method of its creation
BWW Review: A PLACE FOR WE, Park Theatre
Archie Maddocks' new play treads some familiar ground, but updates it for the 21st century, as identities are forged and fractured in the contested spaces of gentrifying London.
BWW Review: THE IDEA, Jack Studio Theatre
Irrational Theatre resurrect a long neglected work from the early days of the celebrated composer and find plenty of parallels with 20th century comedy and 21st century politics.
BWW Review: METAMORPHOSES, Sam Wanamaker Playhouse
Ambitious and never less than interesting, the 90 minutes all-through running time turns already gruesome material into a tougher watch that it need be.
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