Laurence Green reviews a contemporary re-telling of Edgar Allan Poe’s gothic chiller starring Tamara Lawrance and Imogen Doel at Dorfman Theatre.
A twisting, chilling tale filled with razor-sharp dialogue as Phyllis Logan plays the esteemed crime novelist Patricia Highsmith in Joanna Murray-Smith’s Switzerland at the Ambassadors Theatre. Laurence Green reviews.
Andrew Jackson’s RSC production of Don Quixote is overlong but achieves genuine poignancy while the clanky-armoured, straggly-haired David Threlfall looks born to play the role of the eccentric knight.
The brutality of truth-telling is explored by Ibsen in his 1884 classic The Wild Duck, which returns to the London stage in a stripped-down, ponderous production, directed by Robert Icke, at the Almeida Theatre. Laurence Green reviews.
A production of the acclaimed The Inheritance (directed by Stephen Daldry) turns out to be a major disappointment despite the best efforts of its ensemble cast, writes Laurence Green.
Laurence Green picks out his top choices ahead of the BFI London Film Festival 2018 including Jon Baird’s Stan & Ollie.
A flawed drama about slavery that lacks the necessary engagement and emotional depth to convince, writes Laurence Green.
Spike Lee does more than control his anger, he refines it with riotous wit, without losing the power to shock or surprise us in his new film BlacKkKlansman writes Laurence Green.
Packing an enormous emotional punch, A Monster Calls is a tale that confronts the worst of griefs,but leaves its audience with an uplifting and positive message about loss, writes Laurence Green.
The King and I, the 60-year-old Rogers and Hammerstein classic redressed with gorgeous sets and needle sharp choreography, is a sensory treat writes Laurence Green.
Brian Friel’s Translations is a cracking production of a great play which couldn’t be better timed, writes Laurence Green.
Laurence Green finds real pleasure watching Oscar Wilde’s Rolls-Royce of English comedies, An Ideal Husband at the Vaudeville Theatre.
A musical spectacle but one which is dramatically malnourished, Laurence Green reviews Laurence Conner’s production of the 80s musical, Chess.
If you are looking for one of the sexiest, sassiest and sophisticated Broadway musicals in history, look no further than Chicago, writes Laurence Green.
Based on the notorious ‘Who Wants to be a Millionaire’ cheat case, Quiz is a sharp funny and stimulating evening in the theatre, that highlights the dangerous blending of entertainment, politics and justice today. Laurence Green reviews.
A supercalifragilistic musical about prolific Disney Studios songwriters the Sherman brothers sets off on a national tour with a real bounce in its step. Chris Grimes reviews.
Laurence Green reviews Simon Evans’ revival of Gore Vidal’s 1960 political satire; The Best Man.
Richard Linklater’s Last Flag Flag is a finely scripted, excellently acted road movie with a difference, writes Laurence Green.
Laurence Green reviews Tom Morris’s production of the macabre new musical, The Grinning Man.
A blistering performance by Frances McDormand, Laurence Green reviews Martin McDonagh’s excellent new film, Three Billboards Outside Ebbing Missouri.
Laurence Green finds Lin-Manuel Miranda’s Hamilton profoundly effective and a truly ingenious landmark musical that is not to be missed.
Rhys Ifans’s excellent performance as Scrooge really makes this production of A Christmas Carol zing.
Albion is a flawed but finely nuanced comedy of middle class manners writes Laurence Green.
Laurence Green selects his top picks from the 61st BFI London Film Festival which saw a first look at a sinewy new screen version of RC Sherriff’s acclaimed First World War drama Journey’s End.
Laurence Green reviews Rory Mullarkey’s re-imagining of the medieval myth, Saint George and the Dragon.
Laurence Green reviews Dominic Cooke’s new rich and rewarding production, Follies.
Laurence Green reviews Helen Edmundson play, Queen Anne which reflects upon the themes of both power and betrayal.
Laurence Green reviews Vivienne Franzmann’s compartmentalization and thought-provoking new play, Bodies.
A play that highlights the impact of depression on a whole family, Laurence Green reviews Alice Birch’s disturbing new drama, Anatomy of a Suicide.
Laurence Green reviews John Boyega’s triumphant transition from screen to stage in Joe Murphy’s production, Woyzek.
Laurence Green reviews Jez Butterworth’s five-star heartfelt and passionate production, The Ferryman.
Laurence Green reviews Thom Southerland’s absorbing and moving new musical, The Braille Legacy.
Confused hormonal teenagers are played by a cast of over 50s actors in Seventeen, but the result is a great disappointment writes Laurence Green.
The Kid Stays in the Picture is a story of one man’s remarkable life against the backdrop of a changing America – Laurence Green reviews Simon McBurney’s new production.