Director Joe Hill-Gibbins, like few before him, makes the effort to follow Tennessee Williams’ stage directions to a tee.
EV Crowe takes us through a prodding, emotional, troubling and humorous account of what young girls do to each other when the adults aren't watching.
Athold Fugard draws on his South African background in this bleak, Beckettian journey.
London stages sparkle with fascinating fare in two portraits of ruthless men.
The characters in this revival manage to surprise, even after all these years.
With each member of the family suffering from his or her own affliction and inability to communicate with anyone else, the audience is the only player taking everyone in loud and clear.
An underappreciated piece by Ena Lamont Stewart crams a large family into a small space and sets the wheels in motion.
Sarah Kane's writing doesn't hesitate to stare straight into the eyes of real-life horrow, and when the material is handled right, the result is remarkable.
Michael Colgan and Michael Gambon take us to the edge with a brooding, hypnotizing look into a man's solipsism.
Judi Dench's book (as told to John Miller) is officially not a biography and meant instead to clear some things up; yet she manages only in telling us what we already know.