Theatre

If part two of David Eldridge's trilogy of plays about relationships is a state-of-the-nation play, then all it has to say is that the nation is in a bit of a state, which will hardly come as a surprise to anyone

This utterly misguided take on an ancient musical will antagonise the only people it’s likely to attract

Newcomer Michael Workeye dominates this superbly written, but often intensely painful piece

The problem with Emlyn Williams’ story – the talented, impoverished young lad in a mining town being recognised by a plucky teacher – is that it’s been done before and better

The Killing Eve star's stage debut is an important play, brilliantly acted, written and directed and with something worthwhile to say for itself

Ivo van Hove, the Bowie collaborator with a taste for the spectacular, returns with a timely, bloody war epic at the Barbican

A play about Florence Nightingale and Mary Seacole is hectoring and polemical rather than a serious examination of a character and her motivations

Bertie Carvel triumphs as Trump very much in spite of Mike Bartlett’s script, rather than because of it

Great set design created high expectations for this drama and it failed to live up to them

This production has promise but becomes a little too surreal when actors clown around to reveal a fearful reality

The French/English stand-up comedian’s comedic cannon rests on poking fun at English and French stereotypes. After living in both countries for years she has no shortage of material

Bloody Difficult Women takes as its inspiration Gina Miller’s court case against Theresa May. We had a right to have our say

This version adapted for younger audiences portrays the Shakespeare classic without patronising viewers while keeping adults entertained at the same time

Ruth Wilson is a serious actor, but this is a singularly boring piece of theatre

Reasonably daring when first performed in 2009, Mike Bartlett's Cock now feels all mouth and no trousers

Tim Walker wanted to win over the political professionals with his debut play, and now he has

The National's staging of Small Island shows a theatre that has now totally lost its way

Max Webster's production revels in warfare when his audiences are sick to death of it

Nicholas Kenton's appointment as the Daily Telegraph's opera critic surprised MANDRAKE. Mostly as Kenton used to serve on the board of the English National Opera

Gina Miller’s QC anticipated that fans of her and her court cases against the government would approve of the production of Bloody Difficult Women, and that those who didn't, would not

A turbulent time in British political history is delivered with composure, wit and a splash of humility

Back in their homeland, state opposition meant they had to perform in secret. Now in exile, they are bringing their new play to London

One heckled at a performance of Bloody Difficult Women during some less-than-flattering comments about the former prime minister. Such is an occupational hazard of putting on political theatre

Andrew Keates' Steve isn't quite funny or sad or clever enough to command an audience's attention

Nadim Naaman's adaptation of Khalil Gibran's novel Broken Wings is worth a lot more than the sum of its parts

Writing a play about two female rivals led to a depressing realisation about who really wields power in Britain

This stage adaptation of John Travolta's famous 70s film is magnificent, joyous, life-enhancing theatre

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

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

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