George Bernard Shaw’s play starts with men in extravagant beards barking at each other, but fails to go much further beyond that.

Nadia Fall’s dazzling production accentuates the strengths and softens the weaknesses in George Bernard Shaw’s play.

Mark Rylance surprises audiences once again, this time with a massive performance as Richard, almost merry in his manic cackle.

The Propeller company takes on two seemingly dissimilar Shakespeare plays, unafraid to mix the slippery notions of glory and defeat.

Although gay people are still fighting for equality, Harvey Fierstein's clarion call doesn't trumpet as loudly as it once did.

Joe Penhall's new play imagines what might happen in a British hospital is men could give birth.

Toby Frow’s production is a bawdy delight that shows the Globe at its irreverent best.

Although Paul Miller's production skillfully executes levels of political intrigue, it stops short of setting the stage alight.

Sophocles' warning against obstinate power – though two thousand years old – needs no updating.

Cole Porter’s snappiest, sassiest musical gets a fine turn from its director and its cast.