Theatre

This adaptation of a Japanese children’s fantasy suggests the RSC will do whatever is necessary to get its finances back in order after the pandemic

This is an important play, beautifully acted and performed

Juliet Stevenson is on spellbinding form in the title role of this long-awaited West End transfer

It’s a pleasure to see David Tennant back on stage, even if it has turned out Nazi again

Pearl Cleage’s homage to the steamy plays of Tennessee Williams seems awfully contrived

The home secretary would benefit from seeing this story of a family fleeing their native Afghanistan

For all the remarkable events and achievements of his life, Brynner was always content for mythologies to propagate around him

There’s a lot about determinedly right-on people that invites ridicule, but Jonathan Spector's play misses the mark

At a time when British theatre is curiously apathetic, this sumptuous revival reminds us what it should be doing: rallying for decency

A hit almost a decade ago, this production now feels like a joke in very poor taste

Waleed Akhtar is a writer prepared to address issues head-on and with enormous clarity and courage

This production challenges politics, our values and the dystopia we are beginning to call normal with style and intelligence

It's a show filled with obvious and patronising themes. In trying to take on too much, it feels almost punitively long

This production misses the opportunity for laughs and instead its themes verge on patronising

This well-intentioned production, sadly, lacks any real drama

In normal circumstances this musical is the sort of thing that would have found a stage quickly enough and held on to it for months. These are not, however, normal circumstances

The Take That star is engaging, but a two hour 20 minute talk through his life story is quite the ask

The best children’s shows manage to entertain both the children and their parents, but this production tries too obviously to get both on side and satisfies neither

The National needs to be braver in its productions, but until then this is an amusing enough divertissement

Almost all big productions at the National seem to sell out sight unseen these days, but how long will this continue if they keep turning out big, unfunny flops like this?

The Mail has reviewed Bloody Difficult Women, but another newspaper continues to refuse

In a difficult year for Edinburgh, Sir Ian provides an exhilarating spectacle - but there are joys to be found elsewhere in the city

Kate Fleetwood plays a delectably wicked Cruella de Vil for all she’s worth, but this is otherwise a dog's dinner

The story is improbable but star Scott Karim can make just about any character seem convincing

Up in Scotland, my play about Gina Miller's court case against Theresa May's government over parliamentary sovereignty is causing quite the stir

Anything Goes was a lot of fun last summer but it now feels dutiful and robotic

This pared-down production is very much a star vehicle for the Game of Thrones actor Emilia Clarke

In Hamlet, Ophelia holds the promise that love doesn't recoil in the face of reality. It is time we opened our arms to the idea

Patrick Ryecart's new play Carrie on Boris is near-the-knuckle stuff

As the show's writer and sole performer, Nikhil Parmar deserves the highest praise for creating a show that's sad, funny and honest in equal measure

There’s a good play to be written about what happens to us in advanced old age. Sadly, this production is not it

Set in 2019, Roy Williams’ state-of-the-nation play tells the story of a country that’s gotten itself into a bit of a state