Lucas Hnath's fictionalized account of behind-the-scenes maneuvering during the 2008 presidential campaign is tightly written, but it pulls too many punches.

This adaptation of Uncle Vanya struggles as it straddles two worlds without committing to either.

Jez Butterworth’s epic family drama is in excellent hands here, delivering plenty of shocks and surprises.

Promising new playwright Jordan E. Cooper gives a high-speed crash course in race relations.

Between Sam Gold's staging and Glenda Jackson's performance, this production unfortunately falls flat.

While not every choice lands, you can be sure that this revival is swinging for the fences.

With Glenda Jackson starring and Sam Gold directing, here is a rewarding production that breaks the mold.

Heidi Schreck’s deeply felt play is sure to get audiences pondering important questions.

Although the piece runs runs a bit long, talented actors and a savvy director get you to care about a clan of cold-blooded capitalists.

The creative team has transformed Massini’s family biodrama about the House of Lehman into a tragedy.

This superb jukebox musical about The Temptations churns out one hit after the next.

John Guare’s befuddling new memory play chases a lot of themes without really catching any of them.

Adding another high school musical to the mix, this one is loud and lively but lacking in surprises. 

Many of the productions of the past year were tinged with a political aura.

Maggie Smith gives a mesmerizing performance as a real-life woman who turned a blind eye to the Nazis' crimes.

This fragmented, unconventional piece is tough to pull off on stage, and it is mishandled here.

Two brothers try to make peace with the past in Arthur Miller’s 1968 play.

In Pinter’s tale of an affair played out in reverse, the characters are elegant in their savagery.

After a successful run in New York, Joshua Harmon's compelling new satire comes to the West End.

Ivo van Hove’s adaptation is visually striking, but it doesn't add anything to what's already been captured on film.

This heavily flawed adaptation shows that some classic movies do not need to be brought to the stage.

London playhouses looked to American voices to fill the gaps in a year where good new writing was a little sparse.