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.

Anthony Neilson has stretched a short story into a mish-mashed mess of a theater dramatisation.

After a shaky start, this well-crafted production achieves big moments in a small space.

Joanna Murray-Smith’s engaging play features an imaginary encounter with a real-life crime writer.

Martin McDonagh's satirical play expresses something that only those in-the-know can fully appreciate.

Marianne Elliott has triumphantly reinvented and reframed this 1970 musical into a 21st-century fable of female singledom.

Josie Rourke’s innovative production is full of fine performances and provocation.