Robert Icke is back in London with another classic text taken apart and reassembled. This Romeo & Juliet at the Harold Pinter Theatre is occasionally

Stefan Bednarczyk has spent decades at the piano making other people’s evenings, and now, at 65, he is quite rightly making one of his own.

Ryan Craig’s The Holy Rosenbergs is one of those rare plays that trusts its audience enough to leave them genuinely unsettled. Written in the shadow

There’s a production lurking inside this Yentl that fully earns the five-star raptures it collected in Melbourne and Sydney – and occasionally, gloriously, you catch

Hadestown has the finest score in the West End right now, and almost everything else you could reasonably ask for except a reason to care.

Hampstead Downstairs has been quietly cornering the market in thrilling studio theatre, and with Aaron Loeb’s R.O.I. (Return on Investment) it may have found its

Anna Ziegler’s world premiere two-hander arrives at the Donmar trailing the kind of critical warmth that tends to get spritzed about liberally on opening nights,

Rupert Goold’s revival of American Psycho at the Almeida Theatre in Islington is a sleek, menacing, often magnificent production that builds nearly three hours of

Andrew Lloyd Webber’s roller-skating insanity is back, and it is, against all reasonable odds, completely magnificent. That it happens to be playing in a repurposed

For its first hour, Miriam Battye’s new coming-of-age play is one of the funniest things you will see in London this year, raw, fizzing, and