A defence, not an apology: Neil Dowden reviews Stockard Channing in Alexi Kaye Campbell’s dinner party drama.
Lacks real poignancy: The flaws in this little-performed Tennessee Williams are exposed in Jonathan Kent’s laboured production, says Neil Dowden.
The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
“Love, compassion, art and class”: Neil Dowden reviews Andrew Maddock’s new play at Theatre N16.
The martyr in the boardroom: Neil Dowden reviews Josie Rourke’s updated version of Saint Joan.
Radical themes that still reverberate today: Neil Dowden reviews the first revival of an early Howard Brenton work since 1973.
Haunting beauty: Neil Dowden reviews Lisa Dwan’s performance of Beckett’s Texts for Nothing.
Comedy gold: Neil Dowden reviews the Polly Findlay’s production of The Alchemist.
Domestic and national disintegration: Neil Dowden reviews the The Kenneth Branagh Theatre Company’s production of The Entertainer.
“As comfortable as slipping into a well-worn pair of shoes”: Neil Dowden reviews Jonathan Church’s revival of Harold Brighouse’s comedy.
Felliniesque chicness does little to lift traditional Romeo and Juliet at the Garrick.
Insightful, but essentially non-theatrical: Neil Dowden reviews Gillian Slovo and Nicolas Kent’s collaboration on jihadism.
An atmospheric staging of The Tempest marks the end of Dominic Dromgoole’s time as Artistic Director of The Globe.
Preaching to the converted.