Review

The production is absorbing. But is it quite as clever as it seems? and, where does French playwright Florian Zeller go from here?

Despite all the artistic licence in the world and interesting source material this Netflix series is over-long, draining and empty to watch

What is the best way to portray the Holocaust to children? The film struggles to find an answer to this but it's a reminder that Anne Frank's diaries have

The production is an example of a writer who is overcome by the sheer enormity of trying to put Emily Bronte on stage, says TIM WALKER

This play's stars do their best with a chatty, speculative and somewhat credulous script, says TIM WALKER

TIM WALKER is impressed by Lia Williams' taut and efficient production

How the story of a plane full of doppelgängers became a literary sensation in France. By CHARLIE CONNELLY

The Downton Abbey actress shows Gardner, rather than keeps telling us about her, writes TIM WALKER

Alistair McDowall's production is just incomprehensible, writes TIM WALKER

A stage adaptation of Pierre La Mure's novel lacks wit and intelligence, writes TIM WALKER.

Advice for authors is rarely as honest and valuable as in a posthumous book by a great Polish poet. By CHARLIE CONNELLY

At 75 minutes, this is a relatively short play. Nonetheless, you still find yourself asking “Is there much more of this?” writes TIM WALKER.

This play based on a 2014 film feels like unnecessary and somewhat frivolous theatre, says TIM WALKER

They shared a famous TV Brexit moment. When Mark Francois wrote a book, there was only one person who could review it...

A Netflix film poses a pivotal question – are any two people meant to be together, or is it just a matter of timing?

Some inventions sounded, and even looked, brilliant, only to fall flat. But that isn’t always the end of the story for great ideas.

This online panto embraces the new format while keeping all the old traditions alive and well, says TIM WALKER

Netflix's A Classic Horror Story deserves a wider audience, says MEGAN NOLAN

James Graham’s plays feel as if they’re about little more than actors regurgitating vast quantities of Wikipedia, says TIM WALKER

The play is as chaotic as the times we are living in, and offers some much needed laughter.

The new festive release from Netflix is unwatchable. Perhaps all involved in the production had some serious tax bills to pay, wonders MEGAN NOLAN.

Focusing on 20 outstanding leaders, Andrew Adonis writes with passion and excitement, says ex-Speaker of the House JOHN BERCOW.

Powerful and poignant, the production is the National Theatre at its best.

Producer Bill Kenwright understands that the theatre is a place to laugh, and no more so than after this last year.

An exhibition of photos by Sefton Samuels evokes memories of football, long before the monied Premier League took over.

Bolstered by Tory scandals and a new shadow cabinet, Keir Starmer should heed a newly published account of one of his party’s darkest hours, which turns the Red Wall narrative on its head.

This mesmerising and captivating production is as breathtaking as the film.

The highly accomplished actor drones on and provides a bore of a performance.

Paolo Sorrentino’s latest movie is an ode to his home city and to the football genius who once graced it.

Aspects of the show depicting the Bill Clinton and Monica Lewinsky affair seem so odd, different and plainly wrong that it feels like science fiction.

The Charles Dickens classic has been staged for the fifth time, and still speaks to modern audiences.

One day, great plays will be written about far-right groups, climate change and racism, but Manor is not one of them.