The children’s author’s deep-seated loathing of Jews is slowly and shockingly revealed in this West End transfer of Mark Rosenblatt’s award-winning play
By John Nathan
Actor Emma Kingston on why she is relishing playing Elphaba in West End smash Wicked
By Nicole Lampert
A formerly frum writer on how he hopes his ex-community will watch his new work
Set around a poker table, this play anchors on a painful father-son relationship and shows that the stake are always higher than the amount of cash on the table
The action is updated to 21st century Britain
New works from the Royal Ballet and English National Ballet
By Joy Sable
Why turn John Schlesinger’s famous 1968 film starring Dustin Hoffman and Jon Voight into a musical? Does the story really need more music?
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The message of this 1959 absurdist play survives. But instead of looking back at the horrors of conformism in 20th-century Europe, it now warns of the stampede ahead
John Donnelly’s hybrid play combines the occult with urban social realism
A chance to get a bit of American pizzazz
How good to able to sit in a theatre and with some justification, rather than deluded hope, feel the unashamed urge to cry ‘Come on England’
This athletic Dracula send-up certainly puts the vamp into vampire
The star is ceaselessly flamboyant in Thomas Ostermeier’s staging of the Chekhov comedy
There is much to enjoy in the London premiere of this darkly comic play set in Nazi-occupied Paris, but its premise means it is ultimately unconvincing
By Imogen Garfinkel
The Royal Ballet shines in a classic production
This is a wonderful resurrection of gilded comedians Tommy Copper, Eric Morecambe and Bob Monkhouse
Having explored a gay couple being attracted to a straight relationship in the play Cock, Mike Bartlett now turns to a heterosexual relationship where a spouse wants a same-sex affair
The granddaughter of the great classical violinist on her first stage play, an adaptation of the 1938 German novel The Passenger
The American President, not known for his appreciation of Shakespeare, won’t watch this, but he should
Jeffrey Sweet delivers a dark play about a previously blacklisted Jewish comic who refuses to let go of the past, even if it’ll destroy him
Is this a must-see production of the classical work? As Elektra puts it (throughout): no
The message that it is possible to replace trauma with inner peace is reassuring, but it is prioritised over the drama of Holocaust survivor Miriam Freedman’s story
Palestinian activists in New York are calling for a boycott of this film, but any movie houses that cave it will be doing viewers a disservice