Bullish, gentle, broken, blazing: Simon Stephens, Karl Hyde and Scott Graham’s interrogation of father-son relationships gets to you eventually.
It’s the little stuff that counts: Joe White’s debut is another special play from a special theatre.
What might’ve been: the ENB’s Tchaikovsky for kids fails to spark the imagination.
You lucky, lucky people: Michael Longhurst’s Chichester production makes a triumphant London transfer.
Self-aware and triumphantly obscure: Miriam Gillinson reviews Josh Azouz’s new play involving a giant talking baby.
Heart-ache: Miriam Gillinson reviews the West End transfer of Richard Eyre’s production of Eugene O’Neill.
It’s mad. It’s ambitious. It’s silly and frightening and really annoying: Miriam Gillinson reviews the National Theatre’s stage version of Pinocchio.
A very lovely play in lots of very lovely ways: Miriam Gillinson reviews David Eldridge’s new play about the start of a relationship.
Here is a woman who listens only to herself: Miriam Gillinson reviews the return of Jane Eyre to the National Theatre.
Trying to be big and brilliant: Miriam Gillinson reviews Christopher Shinn’s new play about a tech billionaire on a mission.
Miriam Gillinson discovers some intriguing beginnings at The Yard’s festival of bold, untested new work.
Stuff – just – happens: Miriam Gillinson reviews Conor McPherson’s new play based around Bob Dylan songs.
It’s all me, me, me: Miriam Gillinson reviews Branden Jacobs-Jenkins’ play set in the publishing industry.
My first theatre trip: Miriam Gillinson takes her two-year-old nephew to see Little Angel’s adaptation of Anna Kemp’s children’s book, and goes just a little bit bonkers.
The future is snuffed out by the past: Miriam Gillinson reviews Jez Butterworth’s epic new Irish family saga.