No, playwright Kwame Kwei- Armah isn't quite the second coming of August Wilson. But his Statement of Regret has some powerful things to say about the need for the (British) black community to get a grip on its past so as to better handle its future.

War Horse is, in essence , an horrific World War I tale nevertheless, through a blend of puppet wizardry and touching (children's) story, it manages to be a compelling and moving theatre experience.

Michelangelo faces off against Leonardo da Vinci, for bragging rights in Florence: The prize: Sculpting the statue of David. Antony Sher's The Giant adroitly hammers out the tale of this epic competition. But, given the protagonists, he could have carved out a little bit more of the back story.

Caryl Churchill's Cloud Nine is given a rousing revival by Thea Sharrock, transporting its audience to that sacred place promised by the title.

Philip Ridley's Vincent River tells a tale of a grieving mother forced to deal with revelations about the proclivities of her deceased gay son. Sound familiar: As with Tennessee Williams's Suddenly Last Summer, this is potent and heart rending theatre.

Long overdue, Hairspray has finally crossed the pond to hit the West End in a big way. And with it, a star is born, one Leanne Jones, in the role of Tracy Turnblad

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Puppetry, lighting and sound come together to make this National Theatre production of War Horse, a ravishing live stage event. For those who want more meat on their animal fables, let them revisit Animal Farm.

Hollywood may be full of mean people, but their bark is much worse than their bite, in Michael Lesslie's stage adaptation of the Kevin Spacey movie Swimming with Sharks. Christian Slater comes across as an amiable frat boy, not a Hollywood fear monger.

Michael Lesslie's Swimming with Sharks, is one of those cutthroat blood in the water tales of Hollywood that lacks the proper bite.

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This revival of William Wycherley's The Country Wife, offers a masterly performance by David Haig, as the doltish Pinchwife. Otherwise, Jonathan Kent's production could have been better.