Anna Gunn and Billy Magnussen are excellent in Laura Eason’s compelling new play.

Norm Lewis, for all his talent, doesn't fit in the role of the Phantom.

Robert Boswell’s undercooked play takes 80 minutes to get to the good stuff.

Cast albums from the past year capture some of the magical musical moments from Broadway.

The more facts the audience learns about the encounter at the center of the play, the more the meaning eludes them.

There were several reasons not to turn this Oscar-winning film into a play, and yet they did it anyway.

In trying to make a contemporary version of Streetcar, Benedict Andrews' production falls apart.

This new adaptation is something of a hybrid of productions past.

Chichester has another hit on its hands, with Rupert Everett and Joshua McGuire squaring off as rivals.

Yael Farber's production grips and terrifies, executed by a cast that delivers unforgettable ferocity.

With a more experienced playwright, this might have been a much more gripping play.

The mood is tense in Lucy Bailey's bloody and barbarian production.

Richard Bean’s irreverent satire riffs on the phone-hacking scandal that caused the demise of The News of the World.

David Hare's 1995 play has aged nicely, and Carey Mulligan and Bill Nighy serve it well.

The story of love won and lost amidst the maelstrom of the fall of Saigon returns to the London stage.

David Hare’s 1995 drama, though not without its flaws, still speaks to us with clarity.

Despite good acting and direction, this adaptation feels like it is following in Chekhov's footsteps.