Text of the day: “That place needs Nigerians from the diaspora with skills to help rebuild the country.”

Nina Raine’s follow-up to her very big hit Consent is emotionally intelligent and often funny but rarely deep

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

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

How do you take a story told from the point of view of a horse, turn it into a successful stage play, and then see the result messed up by Steven Spielberg?

Cold War surveillance drama is interesting enough, but its old-fashioned qualities are not an unmixed blessing

Text of the day: “England!”

Peter Gill’s new play about the end of the First World War is a very long, hard slog

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

Text of the day: “The theft of an article of clothing is excusable.”

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

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

Unsuccessful West End outing for Dawn King’s intriguing and evocative 2011 dystopian chiller

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

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

Text of the day: “Everything here is beautiful.”

New play about the troubled masculinity of fathers and sons is very hard to stomach, but impossible to forget

The poet laureate’s verbatim play about Brexit sinks into journalistic and untheatrical banality

Joan Littlewood and Theatre Workshop’s anti-war classic is revived with more reverence than imagination

New verbatim play about the terror state is worthy, but completely unenlightening and sadly undramatic

Roy Williams’s powerful account of boxing in black culture packs a real punch in a thrilling production

Quote of the day: “I don’t want to hear somebody’s arguments about politics, thank you.”

Is there such a thing as sheer theatrical joy? Yes there is, and it comes from an unexpected source

New play about the Northern Irish prison is lite on politics, but strong on Motown music

Collection of four monologues is free-thinkingly transgressive, politically incorrect and thoroughly delightful

Ken Urban’s intense and revelatory two-hander is powerfully performed by Clifford Samuel and Douglas Booth

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

Text of the day: “My mum wasn’t always a twat.”

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

American political thriller about the Rwandan genocide of 1994 is morally complex and theatrically exciting

Very very very feeble: Martin McDonagh’s latest is poorly written, self-plagiarizing and lacks imagination

New play from Nick Payne is a brilliantly written study of love and loss, with some cosmology also thrown in

Arinzé Kene’s one-man show sparkles with critical know-how, but can’t quite disguise its postmodern thinness

Kenneth Branagh’s final show in his West End season is a revival that is slick, but a bit passionless

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

Mike Bartlett explores Englishness with enormous metaphoric zeal — and only a touch of preposterousness

David Hare’s latest is set in an alternative reality that is more 2008 than 2018

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

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

Play by Indian playwright about the bitter conflict in Kashmir is difficult, heavy, but ultimately rewarding as well

Howard Brenton’s First World War play is interesting, but not always completely compelling or convincing

Inua Ellams’s new play about fatherhood and masculinity has a vigorously enjoyable global reach