Belatedly, here is a link to Where Do We Go from Here?, the text of director Mike Bradwell’s speech to the Society for Theatre Research, on 19 October at the Swedenborg Hall.

The death of David Bowie provokes the Critic to take a trip down the motorways and side alleys of memory

Keira Knightley starts off lightweight in this star-studded modern Moliere adaptation but grows into the role

Text of the day: “If it wasn’t for people like us, this place would still be a shithole.”

Great work from Ken Stott and Reece Shearsmith saves a nostalgic drama from wallowing in its own Britishness

Text of the day: “The poor people are doing fine.”

More overviews of British new writing from the In-Yer-Face Theatre archive.

In the Brexit era, this site-specific revival of Agatha Christie’s 1953 courtroom drama works like a treat

Travel back to the 1970s for a political docu-drama that’s high on circumstantial detail, but low on drama

New show about English nationalism is timely, but completely undermined by its musical form

The Critic releases a howl of anguish as he goes against the will of the people

New play about a deranged Ulster loyalist begins in hilarity and ends with some horrific violence

New York’s TEAM stage an all-American musical epic that sadly drifts into the Nevada sands

West End star vehicle gets a new lease of life from Kristin Scott Thomas, but her cool performance cannot mask the piece’s flaws

New sci-fi story about suburban perfection and robotics lacks the necessary human touch

Text of the day: “I also Snapchat a few people what looks like an ass crack but is just my elbows held together.”

The fraught relationship between Thatcher and the Queen creates hilarious theatrical sparks

New epic from Jerusalem playwright Jez Butterworth is a breathtaking, if heartless experience

Quote of the day: “Although I have avoided any artificially heightened language and kept within the range of cockney idiom, the language in this play is clearly invented.”

All-star cast — including a gently charismatic Christian Slater — in American classic that celebrates the ideal of the deal

New play about an old Berliner and her family is consistently interesting and moving

New comedy by a debut writer about a West Indian wake is lively, full of spirits, but a bit undercooked

Six Philip Ridley monologues about extreme emotions offer trips to apocalyptic futures, outer space and erotics

This time, I have time travelled with my companion Lia Ghilardi, crossing four hundred years of British theatre history.

Stylish revival of Harley Granville Barker’s political classic can’t disguise the play’s glaring defects

Text of the day: “Lonely people are twice as likely to go to A&E as non-lonely people.”

Quote of the day: “We were a bit scared about Sweet Bird of Youth because it pulls no punches.”

Text of the day: “So I made a decision.”

New drama about the downfall of Margaret Thatcher is theatrically exciting and immensely enjoyable

Quote of the day: “My heritage is Britain’s story too.”

I’ve always loved the idea of chaos: it’s a word that seems to perfectly sum up the thrill and the uncertainty of the whole theatrical enterprise.

Welcome return of Oladipo Agboluaje’s vigorous and highly entertaining satire on Nigerian revolutionary politics

Quote of the day: “The housing crisis in the UK is not going to disappear.”

Pix of the week: sneak preview of The Time Traveler’s Guide to British Theatre.

Explore the work of a handful of British theatre’s brightest and most exciting writing talents

Martin Crimp’s latest experiment is a fabulously enjoyable anti-Christmas entertainment

David Eldridge’s new one about the Essex working classes buzzes with ideas and with sympathy

Censorship appears to be simple, but is actually quite complicated.

Philip Ridley’s new play about homelessness and the housing crisis is brilliantly staged and ethically pertinent

Favourite stage direction: “Music: Dire Straits ‘Romeo and Juliet’ plays.”

The longest-running play in world history is in good shape, despite the lackluster and mechanical cast

Laura Wade’s return to the stage is a bright satire about marriage and nostalgic fantasy