Rupert Goold 's production of King Lear trumps on almost every front, with one of the truest, most empathetic Lears in memory.
This wild and sprawling hymn to multiculturalism is not perfection, but it's just the kind of play the National should be doing.
This revival of the Joe Orton classic is good, but it could have been superb with a more charismatic actor in the title role.
Joe Orton's early play is commendably revived. The flow from comedy into violence and back again is cleverly exploited by an expert cast.
There's nothing wrong with playing Private Lives for its emotional truth, rather than merely its clever repartee, but this production goes overboard.
Almost 30 years on, Duet for One has lost none of its ability to hit us where it hurts.
It's not only the travails of Richard Dreyfuss that are on view in Complicit. The play itself is weak and already dated.
This Oliver! is a blowsy, rambunctious entertainment that honors the exclamation point in the show's title.
Our reviewer ruminates on the highs and lows of the 2008 season. And offers a final tribute to a giant of the theatre scene, Harold Pinter.
Carousel is bustin' out all over in this splendid revival of the Rodgers and Hammerstein classic. Arguably, the most melodious score they ever wrote.