Not surprisingly, the stage version of Cool Hand Luke fails to deliver in the same way that the film version did.

A masterful handling of Arthur Miller’s psychological drama makes a convincing case that this should be considered among the playwright's finer works.

Edward Bond’s seminal 1965 drama paints human nature in its starkest and most difficult-to-watch form.

In his 19th century-set new play, Conor McPherson could have paid more attention to the tangible world than to that which we can't see.

While the relationship between these characters is touching, the tension brewing outside their car is not conveyed effectively.

Rock of Ages is knowingly silly and tasteless, whole-heartedly vulgar, sometimes overly frantic and altogether a brash good night out.

Despite strong performances by the cast, the peasants in this 1822 Ireland evoke little sympathy for their plight.

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.