Stage
No Show, Yard Theatre, stage review: ‘Slices of satire and silliness’
Christopher Green’s meta play ‘successfully explores the agony of the artist who must bare themselves to a room full of strangers’
Read MoreTime and Tide, Park Theatre, stage review: ‘A touching if predictable look at small-town life’
James McDermott’s new play is a ‘mixed bag’, but ultimately a ‘sweet and uplifting’ tale of a community in flux
Read MorePina Bausch’s Bluebeard, Sadler’s Wells, dance review: ‘Clever, funny and harrowing’
German company Tanztheater bring the late Bausch’s show to the UK for the first time – and do justice to her legacy
Read MoreAlbion, Almeida Theatre, stage review: ‘A beautiful parable for modern times’
Rupert Goold’s reprisal of Mike Bartlett’s family drama ‘does not have a single chink in its armour’
Read MoreGut, Barbican, stage review: ‘Thrilling, inquisitive and well-acted’
Frances Poet’s ‘razor-sharp’ family drama, performed by Guildhall graduates, avoids ‘black and white simplicity’
Read MoreGalactik Ensemble, Sadler’s Wells: ‘If all mime is this energetic, sign me up’
The French company’s show for London’s International Mime Festival mixes ‘incredible acrobatics with wry humour’
Read MoreFalling In Love Again, King’s Head Theatre, stage review: ‘Thank goodness it is short’
Ron Elisha’s new play imagining the night before Edward VIII’s abdication is not a patch on the royal family’s real-life drama
Read MoreJack Left Town, Rosemary Branch, stage review: ‘Deft, jaw-achingly funny improv’
Four comedians channel Spinal Tap in an unscripted show that is ‘well worth a visit’
Read MoreThe Red Shoes, Sadler’s Wells, ballet review: ‘Lavish, beautiful and devilishly funny’
Matthew Bourne’s retelling of the classic film is full of ‘satirical and playful magic’
Read MoreMarvin Khoo & Temple of Fine Arts, Sadler’s Wells: ‘Exceptional dance company conjures up myth and magic’
The Bharatanatyam ensemble dazzled audiences last month as part of Darbar Festival 2019
Read MoreHackney playwright’s first film to feature in prestigious festival this weekend
Tamara von Werthern’s short film, directed by another local, Marcus Liversedge, shows at Genesis Cinema on Sunday as part of London Lift-Off
Read MoreThe Duchess of Malfi, Almeida Theatre: ‘High-octane take on a surprisingly modern play’
John Webster’s early 17th century classic is an ‘object lesson in the iniquity of restrictions on a woman’s sexual conduct’
Read MoreAcosta Danza: Evolution, Sadler’s Wells: ‘Cuban dance troupe at its eclectic best’
After returning from a critically acclaimed world tour, Carlos Acosta and his cast light up the stage with new and existing work
Read MoreThe Taming of the Shrew, Barbican Theatre, stage review: ‘Gender reversal offers an ingenious twist’
Justin Audibert’s ‘inside-out version’ of Shakespeare’s classic is ‘highly enjoyable’
Read MoreEmanuel Gat: Works, Sadler’s Wells, stage review: ‘Experimental dance without the pretension’
Choreographer Emanuel Gat creates ‘beauty in chaos’ in this collection of pieces
Read MoreAs You Like It, Barbican Theatre, stage review: ‘Brave but messy reinvention’
Kimberley Sykes’ take on the Shakespearean comedy feels ‘novel for the sake of it’
Read MoreThe Lovely Bones, Hackney Empire, stage review: ‘Slick look at life in all its shades’
Bryony Lavery’s adaptation of the bestselling novel shows ‘once again that theatre has a magic like nothing else’
Read MoreVassa, Almeida Theatre, stage review: ‘Classic family drama given a good shake’
Maxim Gorky’s dark comedy about power and greed, adapted with aplomb by Mike Bartlett, ‘rings as true today as it did in 1910’
Read MoreIvanov, Barbican Theatre, stage review: ‘A shining cast dimmed by technical flaws’
Theatre of Nations brought Anton Chekhov’s first full-length play to London in its original language – but subtitling issues resulted in confusion
Read MoreHolocaust Brunch, Artsdepot, stage review: ‘Humour and food open up traumatic history for a modern audience’
Tamara Micner’s one-woman play uses everyday devices to ‘make us think anew about a topic no-one can afford to forget’
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