Complex ideas and striking symbolism: Charlotte Jones makes a successful return to stage-writing with this nineteenth-century drama.
‘Lacks any sense of jeu d’esprit’: Neil Dowden reviews Christopher Hampton’s relocation of Molière to Trump’s America.
Weathering the storm: David Haig’s D-Day drama is old-fashioned and expertly acted.
No museum piece: Sean Holmes’ self-aware modern-day Sean O’Casey revival doesn’t feel revolutionary.
The bizarreness takes over from the brutality: Blanche McIntyre’s production can’t balance the horror and the humour of Shakespeare’s bloodbath.
Very much a character study, not a spy drama: Neil Dowden reviews the Hampstead Theatre’s revival of Simon Gray’s play about an unlikely friendship.
Dripping with blood and sweat: Neil Dowden reviews the opening production of the RSC’s Rome Season at the Barbican.
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.