Theatre

On a warm evening, Regent's Park Open Air Theatre is the best in the capital

Our editor-at-large’s rundown of the pick of the week’s cinema, theatre and television

The Donmar’s Cherry Orchard is modern, radical and exquisitely boring

Tell your more pretentious friends you loved this nihilistic drama - but don’t bother watching it

London Tide meanders along without knowing what it wants to say

Casting decisions put the Bard at the centre of debate about Britishness

An 85-year-old delivers vulnerability beneath the bravado in an astonishing late-career performance

A dream provided an epitaph inadvertently appropriate for a man who spent his life producing art and literature that shocked and appalled the unsuspecting

Our editor-at-large’s rundown of the pick of the week’s theatre, television, books and cinema

This production at the National Theatre gives Nye Bevan the Churchill treatment

Opening Night is intelligent, unusual and unforgettable

A show that celebrates the NHS is worthy, surreal but seldom involving

The Morning Show star shines in a tale of deception

Brave audience members can choose to get right in the thick of the musical’s action

Our editor-at-large’s rundown of the pick of the week’s theatre, books and cinema

But Double Feature’s tale of Vincent Price’s clashes with a director is a misfire

Our editor-at-large’s rundown of the pick of the week’s film, TV and art

The Human Body, also starring Jack Davenport, is a confused homage to a David Lean classic

Our editor-at-large’s rundown of the pick of the week’s film, TV and art

The former Doctor Who’s second-act speech in An Enemy of the People is a tour de force

It’s leaving London and going out on a high

Our editor-at-large’s new rundown of the pick of the week’s theatre, film and TV

The King And I contains a powerful message about power and decency

Real-life couple Matthew Broderick and Sarah Jessica Parker fail to spark in Plaza Suite

A star is born in this high school musical with roots in French literature

This could be the most truthful play ever about putting on a play

Frances Barber is brilliant as a deranged conspiracist in Steven Moffat's play The Unfriend

While she became one of the most highly respected names in the history of US theatre, Hagen brought a European sensibility to Broadway

Nothing has been quite the same in theatre since the pandemic – investors are risk-averse and a lot of money has been lost

The Motive and the Cue is just as good second time around

This year I learned the last great showman was one of those people I had loved deeply without ever fully realising it

This high-tech masterclass is also an extraordinary piece of unforgettable theatre