Theatre

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

This tale of anti-democracy activists is too clever for its own good

There is more anger, passion and insight to be had in just a few minutes of this show than any number of hours sitting through a James Graham political play

None of the characters really break through sufficiently to hold August Wilson's production together and give it any real focus

This sequel to a Henrik Ibsen classic can get overcome with its sense of how clever and novel it is

This new take on a Greek tragedy is slow, pretentious and mind-numbingly boring

Hollywood star Amy Adams is the draw in this revival and she's content just to get on with some proper acting for a change

The big numbers in this adaptation are all too familiar but they are listlessly performed and all the emphasis is on Peter Andre’s cameo turn

Bartlett Sher’s production is totally unnecessary and maybe a form of sacrilege

His review of Legally Blonde made it clear he wasn’t pleased about the casting of “fuller-bodied, nonbinary actors”

Jeton Neziraj’s new play explores the lesser-known side of Nobel Prize-winning author Peter Handke

The cast is cut down, but it's no mean feat to even attempt to put this particular whodunnit on Chichester’s main stage

Steven Moffat’s new play is a rather slight one-joke comedy - but a five-star one

With this play about the man who murdered Gandhi, Anupama Chandrasekhar has bitten off more than she can chew

Waleed Akhtar has produced an elegantly written, often very funny, piece that works precisely because it takes a moral position on Afghanistan

If part two of David Eldridge's trilogy of plays about relationships is a state-of-the-nation play, then all it has to say is that the nation is in a bit of a state, which will hardly come as a surprise to anyone

This utterly misguided take on an ancient musical will antagonise the only people it’s likely to attract

Newcomer Michael Workeye dominates this superbly written, but often intensely painful piece

The problem with Emlyn Williams’ story – the talented, impoverished young lad in a mining town being recognised by a plucky teacher – is that it’s been done before and better

The Killing Eve star's stage debut is an important play, brilliantly acted, written and directed and with something worthwhile to say for itself