In the play's two acts, which are separated by 50 years, blacks and whites experience a bit of a role reversal.
Although not without its flaws, Danny Boyle's production makes brilliant use of the lavish resources at the Olivier's disposal.
Odd casting choices deflate one's expectations as Sir Peter Hall's production moves along.
A very talented cast pulls the audience in, showing in the most visceral way what the characters themselves cannot see.
For the enormity of the subject matter and the firepower of the production, this play about global warming could have left much more of an impression on the audience.
As it should be with the Royal Shakespeare Company, director Michael Boyd lets his actors do the shining.
The West End has hit a hot streak, and Peter Hall carries this 1775 comedy through at a contemporary gallop.
If his book was intended to serve as a solid foundation on which to base our knowledge of the most famous French woman since Joan of Arc, then Robert Gottlieb has succeeded.
Politics takes a back seat as Lucy Bailey’s production saturates itself in the panic of mayhem and unpredictable bloody events.
The year was ladies' night when it came to musicals, and offered up plenty to the gentlemen on the drama front.