Hardly, if ever seen in revival, this production of Funny Girl is efficient enough to engage your attention. Its star, Samantha Spiro is no you know who (who could be another Barbra Streisand?), but she's good enough to make the role her own.

Even now, 50 years after its premiere, Harold Pinter's career-making The Birthday Party marches to its own dread-inducing drum.

The second half of Shakespeare's eight-play history cycle here presented for all too short a time.

Terence Rattigan's The Deep Blue Sea is an old-fashioned well-made play , given a fine production under the direction of Edward Hall. It still has the power to engage our emotions.

A change of venue( to the Duke of York's from the Royal Court Upstairs) has somewhat diminished the striking debut of Polly Stenham's That Face..

Director Dominic Dromgoole's production of King Lear is credibly engaging and avoids the overly respectful constipation that infects other lesser Lears.

Under director Hannah Eidinow, Ibsen's The Lady From the Sea is given a compelling production.

Harper Regan is a devastating play about the unknowability of humankind and the trust and faith that's required by the human heart.

Martin Crimp is back with his latest play, The City, in a bewitching production from Katie Mitchell that overrides much of what is irksome about the text.

This much can be said about Fram: It dares to reach out in many directions. Unfortunately, it strikes out in most of them.