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

The series of Pinter shorts ends strong with this final installment.

The imagery in Martin Crimp’s provocative new work is likely to stick with you, whether you want it to or not.

After all the hype about a show fueled by sex and violence with Cate Blanchett as its star, this production doesn't add up to much.

Set in a in a post-apocalyptic speakeasy, Anais Mitchell's folk opera is quirky, fiery and invigorating.

The latest presentation of Pinter’s overlooked works is remarkably relevant to today's Britain.

Not all of Pinter's early works need to be dug up, but these two are worth it.

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

Paul Ready is excellent in this spooky, shadowy production.

By not fully explaining his characters' motivations, Mark Ravenhill leaves audience members scratching their heads.