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.
Shakespeare's history plays are given superb productions by the RSC. Four are on view right now (Richard II, Henry IV, Part One and Two, and Henry V) The other four await in the wings.
And you thought General Sherman's scorched-earth tactics left disaster in its wake. The musical version of Gone With the Wind is in that category.
Warren Mitchell gives a master class in acting in Jeff Baron's Visiting Mr. Green. The actor's own frailities are perfectly matched, with those of his character.
There's a severe disconnect between the music and the book of The Black and White Ball. Too bad, when the music just happens to be that of Cole Porter.
This production of Noel Coward's Brief Encounter, under Emma Rice's direction is nothing short of a knockout. It bypasses the head and goes straight for the heart.
Maria Friedman's back in Maria Friedman Re-arranged and though her vocal power is somewhat diminished, she is a performer whose enthusiasm and powers of connection are undimmed.
Howard Brenton's Never So Good offers a surprisingly lively account of one-time Conservative party leader, Harold Macmillan, ably played by Jeremy Irons.
At first glance, Days of Significance could be seen as an inverted Much Ado About Nothing, but the Roy Williams drama, is well-grounded in its own time and place.