If you can live without the wonderfully atmospheric opening, this is a taut, exciting Macbeth with lashings of blood, bold stage effects and a true sense of atrocity.

Although this production seems to have deliberately de-sentimentalized this great text, the Chekhov classic nevertheless thrives on a cluster of beautifully observed performances.

This utterly enjoyable revival by John Dove at the Globe sparkles with suppleness of thought, cleverness of plotting and beauty of expression.

Betty Blue Eyes turns the clock back 64 years for its period setting and about 45 years in its approach to musical comedy.

Characters do a lot of smiling in this revival, possible because they’re happy, possibly because they’re covering up that they’re not.

With language shifting between painfully moving and painfully funny, Sheibani’s production promises that this play will continue to be revived.

Richard Eyre’s impeccably timed production is steeped in an almost tactile period feel for a parochial English village, full of rousing life and a sliver of darkness.

While not an outright failure, the stage adaptation of this 1964 film is bland, with a mild Gallic charm that never fully justifies its existence.

A play originally conceived for radio and then rushed to the stage by a committee of directors, Cause Célèbre would need adjustments to measure up to the playwright’s best work.

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