Take an imaginative ride through 400 years of British theatre with our fictional guides

Another over-hyped new play: this time about porn addiction, but superficially imagined and lacking in drama

Can theatre habituate us to extreme violence? Blasted is both a denunciation of the horrors of war and maybe a domestication of them

Lucy Prebble’s latest tells the story of the murder of Alexander Litvinenko, but prefers buffoonery over analysis

Brilliant new writing: new play about a paedophile ring foregrounds the voices of British Pakistani women

Populist show is now on its sixth cast, but despite some noisy shocks it fails to chill the blood

The Royal Court’s international season continues with savage Ukrainian play about women and war

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

New Anthony Neilson two-hander about sex is playful, wise and funny, but fails to achieve a climax

Starry revival of this brilliant classic is marred by some unconvincing acting and unnecessary music

New play about the plight of children in a Palestinian town has good moments, but lacks a really compelling story

Fabulously queer extravaganza: London transfer for the Royal Shakespeare Company’s riotous comedy Western

Star cast give energy to a superb, if old fashioned, play about the anti-Semitism of Roald Dahl

Tidings of discomfort and noise: this venue’s annual festive classic is joyous, but its writing is frankly patronizing

A few days ago, I watched the National Theatre At Home streamed recording of Michaela Coel’s award-winning Chewing Gum Dreams.

The Angry Young Men of the 1950s were more of media phenomenon than a coherent movement

West End transfer of National Theatre hit stars Stephen Fry and Olly Alexander — yes, it’s a dazzling and delightful queer fest

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

Revival of Sean O’Casey’s modern classic shows its continued relevance, but is a bit meticulously sombre

Peter Morgan’s award-winning story of Putin’s triumph is vivid, but lacks real complexity

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

Julia Pascal’s new play is an epic story of Jewish identity from Dublin to Jerusalem in the 1930s and 1940s

Can the stranglehold of naturalism and social realism in British theatre ever be broken?

The love affair between playwright and actor lasted far beyond their early divorce

Maxine Peake struggles to make the voice of reason heard in a rather reactionary feminist history play

Philip Ridley continues to surprise and delight with this brilliant new monologue — in the teeth of the coronavirus pandemic lockdown

Meditations on mortality and music: the final episode of David Eldridge’s emotionally strong trilogy is profoundly moving

Joseph Fiennes is mesmerizing as Gareth Southgate in James Graham’s sport-of-the-nation docu-drama

The Dickens classic, as adapted by this venue’s artistic director, is an example of deluxe seasonal storytelling

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

Jack Holden’s stage version of Alan Hollinghurst’s modern classic 1980s story is both subtle and appealing

Nick Stafford’s sturdy beast rides again — and retains its colt-like freshness and wild beauty

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

As a new production of Samuel Beckett’s Waiting for Godot is about to open in London’s West End, I was lucky enough to get the chance to watch The Impossible Itself (2010), Jake Ad…

Quote of the day: “Being a practised liar doesn’t mean you have a powerful imagination.”

Text of the day: “They were extremely, and I really do mean extremely, convivial.”

New play about the civilized face of fascism is fascinating, but also a bit flawed

Seasonal Eng Lit mash-up returns with its festive message of forgiveness, but it seems a bit spiritless

Al Smith’s new play was jinxed before it started — and, bogged down in cartoonish detail, it never really recovers

Playwright or director? Who is ultimately responsible for a piece of theatre? Our Critic attempts to find out

One of the most important characteristics of contemporary British new plays is that they aim to provide a forum for the discussion of ideas.

Favourite stage direction: “The funeral procession of Queen Elizabeth II goes past.”

Yesterday, I took a break from my sunny local park and turned a room in my house into the Finborough fringe theatre.

Joe DiPietro’s cult hit is enjoyable enough, but rather predictable in both form and content

Bad stuff and change in a time of pandemic: a derivative lockdown poem

Text of the day: “There are good days and bad days.”

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

Let us remember the radical acts of 50 years ago.

Superbly plotted family drama beautifully explores the relationships between the personal and political

Here is a sample from the introduction to my latest book about postwar British theatre — an alternative history

Nick Payne’s latest stars Nicola Walker and Paul Higgins, and is about a cruel loss. I’m a believer? No, not at all.

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

Martin Crimp’s Not One of These People has been staged using help from AI — but what does AI think of the show?

Text of the day: “Em.”

Artificial Intelligence is much hyped — but can it review a theatre show?