Theatre

This production challenges politics, our values and the dystopia we are beginning to call normal with style and intelligence

It's a show filled with obvious and patronising themes. In trying to take on too much, it feels almost punitively long

This production misses the opportunity for laughs and instead its themes verge on patronising

This well-intentioned production, sadly, lacks any real drama

In normal circumstances this musical is the sort of thing that would have found a stage quickly enough and held on to it for months. These are not, however, normal circumstances

The Take That star is engaging, but a two hour 20 minute talk through his life story is quite the ask

The best children’s shows manage to entertain both the children and their parents, but this production tries too obviously to get both on side and satisfies neither

The National needs to be braver in its productions, but until then this is an amusing enough divertissement

Almost all big productions at the National seem to sell out sight unseen these days, but how long will this continue if they keep turning out big, unfunny flops like this?

The Mail has reviewed Bloody Difficult Women, but another newspaper continues to refuse

In a difficult year for Edinburgh, Sir Ian provides an exhilarating spectacle - but there are joys to be found elsewhere in the city

Kate Fleetwood plays a delectably wicked Cruella de Vil for all she’s worth, but this is otherwise a dog's dinner

The story is improbable but star Scott Karim can make just about any character seem convincing

Up in Scotland, my play about Gina Miller's court case against Theresa May's government over parliamentary sovereignty is causing quite the stir

Anything Goes was a lot of fun last summer but it now feels dutiful and robotic

This pared-down production is very much a star vehicle for the Game of Thrones actor Emilia Clarke

In Hamlet, Ophelia holds the promise that love doesn't recoil in the face of reality. It is time we opened our arms to the idea

Patrick Ryecart's new play Carrie on Boris is near-the-knuckle stuff

As the show's writer and sole performer, Nikhil Parmar deserves the highest praise for creating a show that's sad, funny and honest in equal measure

There’s a good play to be written about what happens to us in advanced old age. Sadly, this production is not it

Set in 2019, Roy Williams’ state-of-the-nation play tells the story of a country that’s gotten itself into a bit of a state

This tale of anti-democracy activists is too clever for its own good

There is more anger, passion and insight to be had in just a few minutes of this show than any number of hours sitting through a James Graham political play

None of the characters really break through sufficiently to hold August Wilson's production together and give it any real focus

This sequel to a Henrik Ibsen classic can get overcome with its sense of how clever and novel it is

This new take on a Greek tragedy is slow, pretentious and mind-numbingly boring

Hollywood star Amy Adams is the draw in this revival and she's content just to get on with some proper acting for a change

The big numbers in this adaptation are all too familiar but they are listlessly performed and all the emphasis is on Peter Andre’s cameo turn

Bartlett Sher’s production is totally unnecessary and maybe a form of sacrilege

His review of Legally Blonde made it clear he wasn’t pleased about the casting of “fuller-bodied, nonbinary actors”

Jeton Neziraj’s new play explores the lesser-known side of Nobel Prize-winning author Peter Handke

The cast is cut down, but it's no mean feat to even attempt to put this particular whodunnit on Chichester’s main stage