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 a handsomely mounted but slow-moving new production of Terence Rattigan’s Love in Idleness.
Laurence Green reviews Suzan-Lori Parks’s three-hour American civil war opus When Father Comes Home from the Wars
The stage version of Disney’s Aladdin is a glittering musical extravaganza that provides great entertainment for the whole family. By Laurence Green.
Laurence Green is disappointed by a modern retelling of Shakepseare’s classic comedy A Midsummer Night’s Dream.
Showboat is brought vividly to life in this excellent new production. Do not miss it, writes Laurence Green.
Laurence Green finds an energetic, relentlessly feel good musical in Charles Rudolph-Wright’s Motown the Musical.
A complex web of dysfunctional relationships is at the heart of this flawed modern adaptation of Uncle Vanya, writes Laurence Green.
Four lost souls’ lives intertwine in Matthew Perry’s The End of Longing but despite promise Laurence Green is left feeling disappointed.
Hershey Felder’s moving theatrical drama of a child’s experience in London after escaping Nazi oppression. Reviewed by Laurence Green
Laurence Green brings down the curtain on a stellar year for UK theatre shows.
Ibsen’s 1894 drama Little Eyolf still has the ability to shock in its study of a couple with a guilty secret, writes Laurance Green.
Laurence Green finds Mr Foote’s Other Leg starring Simon Russell Beale “an utterly irresistible paean to the love, eccentricity and evanescence of the theatre itself “
An imaginative revoking of a Charlotte BrontÃ« classic is provided by Sally Cookson in her absorbing and powerful productions of Jane Eyre at National Theatre’s Lyttelton auditorium.
The way in which we come to terms with grief is explored by Simon Stephens in his now one man play Song From Far Away (Young Vic), directed by Ivo van Hove.
A shortened version of Ivan Turgenev’s classic comedy of manners brings beautifully judged performances and wry wit to the Lyttleton Auditorium, National Theatre.
This homage to the music of the great Burt Bacharach is big on impact and timeless classics says Laurence Green at Menier Chocolate Factory.
Stage version of Gurinder Chadha’s 2002 hit film Bend It Like Beckham kicks off at the Phoenix Theatre.
Laurence Green predicts Cole Porter’s classic feel-good musical High Society will be among the summer’s biggest theatrical hits.
Chiwetel Ejiofor delivers a commanding performance as the hedonistic Everyman in the Carol Ann Duffy’s updated adaptation of the 15th-century morality play.
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.
Laurence Green reviews the stage production of Roald Dahl’s The Twits at The Royal Court Theatre.
Laurence Green had an enjoyable evening with Simon Godwin’s revival of George Bernard Shaw’s classic Man and Superman at the National Theatre.
Penelope Wilton gives a stand out performance in Taken at Midnight and engrossing reminder of the terrible price paid by those who dared to stand up to Hitler.
Theatre company 1927’s latest production Golem blending original animation, entrancing music and live performance in a superb satire on our obsession with technology.
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.
Laurence Green enjoys the stage production of Sophocles’s tragedy, Electra, at the Old Vic Theatre.
Laurence Green reviews Kevin Elyot’s ground breaking 1994 play: My night with Reg
Laurence Green finds Maureen Lipman and Harry Shearer “a joy to watch” in Oliver Cotton’s ultimately uneven new play, Daytona.
Laurence’s Connor’s stunning revival of Miss Saigon has cinematic fluency and is proving to be one to the most popular shows in town.
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.