Laurence Green finds Pablo Fendrick’s modern Western to be a beautifully shot but ultimately cliched movie.
Laurence Green reviews Steve Waters’s new play Temple at the Donmar, a fictional account of the events during Occupy London movement in 2011.
Laurence Green predicts Cole Porter’s classic feel-good musical High Society will be among the summer’s biggest theatrical hits.
Laurence Green reviews, The Father, a fascinating and totally unsentimental drama exploring the effects of dementia, featuring an outstanding performance by Kenneth Cranham.
Peter Morgan’s hit play The Audience returns to the West End with Dame Kristin Scott Thomas as Queen Elizabeth II.
Take a Jacobean satire update it to seedy 1950s Soho and the result is Sean Foley’s RSC production of Thomas Middleton’s 1605 comedy A Mad World My Masters at the Barbican Theatre and then on tour.
A knockout performance from Imelda Staunton lights up Jonathan Kent’s revival of the classic musical Gypsy at The Savoy Theatre says Laurence Green.
If you ever wondered what happens when a footballer, a prince and a Prime Minister were in a hotel room together, then William Gaminara’s timely comedy The Three Lions (St. James’s Theatre) provides the answer.
Sacha Wares directs a queasily funny, invasive and unnerving tale in which the audience join the players as complicit voyeurs.
Laurence Green reviews the revival production of Patrick Marber’s comedy about love and lust at the Donmar Warehouse.
Laurence Green reviews the latest play from Tom Stoppard, The Hard Problem, after a nine year absence.
Laurence Green savours an amusing and eccentric insight, laced with Gallic individuality, into the daily workings of the broadcaster Radio France
Laurence Green reviews Josie Rourke’s revival of City of Angels at The Donmar Warehouse.
Laurence Green picks his top 10 theatre productions over the past 12 months.
An uplifting new musical comedy about friendship, love and the importance of fighting for what is right is how you could describe Rupert Goold’s new stage production Made in Dagenham (Adelphi Theatre), inspired by a true story and based on the hit movie.
Not a definitive performance … but an entertaining and though provoking evening at the theatre says Laurence Green.
Laurence Green says Little Revolution fails to deliver enough sense of tension or menace in its portrayal of the London riots of 2011.
Laurence Green sees a dystopian vision of the future in Jennifer Haley’s dark new play The Nether at the Royal Court Theatre
Laurence Green watches Gerard Alessandrini’s merciless satire on musicals but finds it comes up short on wit and imagination.
Laurence Green finds the new production of The Pajama Game to be a buoyantly blissful blend of romance and comedy.
Trevor Nunn’s stylish revival of Noel Coward’s comedy Relative Values comes to the Harold Pinter Theatre.
The current trend in the commercial theatre to turn hit films into plays continues apace with Trevor Nunn’s slick, shallow production of Fatal Attraction (Theatre Royal, Haymarket).
Laurence Green enjoys a night of The Full Monty at London’s Noel Coward Theatre.
Laurence Green reviews Andrew Lloyd Webber’s new musical Stephen Ward (Aldwych Theatre), directed by Richard Eyre.
John Ajvide Lindqvist’s chilling vampire drama Let the Right One In is brought to the Royal Court stage in a thought-provoking adaptation by Jack Thorne.
Laurence Green sees a masterly production of Henrik Ibsen’s tale of moral cowardice, patriarchy, class and hypocrisy.
Laurence Green enjoys a delectable treat for young and old alike at Theatre Royal, Drury Lane.
Laurence Green finds excessively arty and uninvolving drama at The Duke of York’s Theatre