Although Stephen Poliakoff’s first stage play in 12 years asks interesting questions, the answers don't fully satisfy.

The horrors of the Holocaust can never fully be conveyed by art. Perhaps opera has the potential to come the closest.

Trevor Nunn's staging of Shakespeare's late romance comes across as an untidy, curiously dated disappointment.

As Prospero, Ralph Fiennes conducts his campaign with an almost childish pleasure in the havoc and spectacle he wreaks.

So seductive is this whirling production, it keeps any reservations about the absence of realism on the back burner.

While lacking in a dramatic, storytelling sense, The Kitchen delivers with its high-energy theatricality and an interesting statement about humanity.

The industrial space gives these new 80-minute plays the chance to be presented with an edgy, experimental feel.

A musical that has accumulated a trove of accolades since 1949 seems to have lost some of its magic on its way to modern London.

Few British productions deliver the all-American song-and-dance musical the way Timothy Sheader and Stephen Mear can.