Richard Eyre’s production finds just the right mix of humor, heart and tragedy.

A family in rural 1950s Norfolk absorbs a daughter come home bursting with new intellectualism.

Soaring princesses aside, a witless book and tasteless score contribute to this musical's failure to dazzle.

Vanessa Redgrave and James Earl Jones fail to command the stage in a way that the play demands.

Terry Johnson's 1993 play uses Sigmund Freud and Salvador Dali to dip into psychiatry, art and a bit of farce.

Brecht makes savage humor out of a mediocre lunatic who became the most dangerous man in Europe.

Carrie Cracknell’s production renders Ibsen’s classic with cataclysmic force.

Mark Rylance’s production drags and drudges with heavy concepts and underwhelming performances.

Jonathan Church’s irresistible production shines with hilarious satirical moments and originality.

One wonders how on earth Clive Exton's script about a clan of low-class materialists landed financial backing or such a stellar cast.