Theatre

Ruth Wilson is a serious actor, but this is a singularly boring piece of theatre

Reasonably daring when first performed in 2009, Mike Bartlett's Cock now feels all mouth and no trousers

Tim Walker wanted to win over the political professionals with his debut play, and now he has

The National's staging of Small Island shows a theatre that has now totally lost its way

Max Webster's production revels in warfare when his audiences are sick to death of it

Nicholas Kenton's appointment as the Daily Telegraph's opera critic surprised MANDRAKE. Mostly as Kenton used to serve on the board of the English National Opera

Gina Miller’s QC anticipated that fans of her and her court cases against the government would approve of the production of Bloody Difficult Women, and that those who didn't, would not

A turbulent time in British political history is delivered with composure, wit and a splash of humility

Back in their homeland, state opposition meant they had to perform in secret. Now in exile, they are bringing their new play to London

One heckled at a performance of Bloody Difficult Women during some less-than-flattering comments about the former prime minister. Such is an occupational hazard of putting on political theatre

Andrew Keates' Steve isn't quite funny or sad or clever enough to command an audience's attention

Nadim Naaman's adaptation of Khalil Gibran's novel Broken Wings is worth a lot more than the sum of its parts

Writing a play about two female rivals led to a depressing realisation about who really wields power in Britain

This stage adaptation of John Travolta's famous 70s film is magnificent, joyous, life-enhancing theatre

The production is absorbing. But is it quite as clever as it seems? and, where does French playwright Florian Zeller go from here?

The production is an example of a writer who is overcome by the sheer enormity of trying to put Emily Bronte on stage, says TIM WALKER

This play's stars do their best with a chatty, speculative and somewhat credulous script, says TIM WALKER

TIM WALKER is impressed by Lia Williams' taut and efficient production

The Downton Abbey actress shows Gardner, rather than keeps telling us about her, writes TIM WALKER

Alistair McDowall's production is just incomprehensible, writes TIM WALKER

CHARLIE CONNELLY on a Jewish actress who considered a kick in the behind from Hitler the luck of her life

A stage adaptation of Pierre La Mure's novel lacks wit and intelligence, writes TIM WALKER.

At 75 minutes, this is a relatively short play. Nonetheless, you still find yourself asking “Is there much more of this?” writes TIM WALKER.

This play based on a 2014 film feels like unnecessary and somewhat frivolous theatre, says TIM WALKER

This online panto embraces the new format while keeping all the old traditions alive and well, says TIM WALKER

James Graham’s plays feel as if they’re about little more than actors regurgitating vast quantities of Wikipedia, says TIM WALKER

The play is as chaotic as the times we are living in, and offers some much needed laughter.

Powerful and poignant, the production is the National Theatre at its best.

Producer Bill Kenwright understands that the theatre is a place to laugh, and no more so than after this last year.

This mesmerising and captivating production is as breathtaking as the film.

The highly accomplished actor drones on and provides a bore of a performance.

The Charles Dickens classic has been staged for the fifth time, and still speaks to modern audiences.