LaBute’s heavy-handed reference in his play’s title and setting to buried secrets and psychological depth is never rewarded.

In its first London revival since its 1942 premiere, the characters in Terence Rattigan’s Flare Path tiptoe around emotional landmines while war goes on around them.

Driven by character development and dramatic momentum that builds at just the right pace, you leave the theatre in no doubt that you’ve had full value for your money.

There probably is a good show to be created out of burlesque, but surely you have to do more than revive the old base acts.

Although the doors have been open to the public since last November, the new theatre swung into full operation mode with the first previews of last season’s revivals of King Lear and Romeo and Juliet.

All this current production can do is remind us of other, better takes on this classic comedy.

Richard Bean’s climate-change rom-com succeeds in making political dialectic heartwarming, human and hugely entertaining

Sharp this play may be, with its whiplash dialogue and cutting witticisms, yet in the end a lack of substance also means a lack of edge.

Unless there is a way to add something original or present it in a fresh light, a work of perfection should not be moved from the screen to the stage. 

In the play's two acts, which are separated by 50 years, blacks and whites experience a bit of a role reversal.