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

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

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

Old-fashioned family reunion play features two real-life parent-and-offspring couples, but is mired in too much complication

Anne-Marie Duff and Kenneth Cranham try their best in unconvincing rom-com, which is predictable and portentous

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

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

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

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: “Note: this is not a play about inverted comma mental health inverted comma nor is it an Angry Black Women issue play.”

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

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

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

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

Text of the day: “Healthcare is part of the entertainment industry.”

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

It’s not often that I get to say a heartfelt thank you to any newspaper, but I really must acknowledge the good work of the Guardian, and especially its arts website.

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

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

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

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

Fear eats the mind: poignant Gaza play about living under terror is both surreally humorous and finally devastating

Return of the emotionally intense exploration of Palestinian identity — both personal and political

Robert Icke’s latest ancient Greek adaptation: lots of stunning acting compensates for some cumbersome writing

Thrillingly epic account of a defining American institution delights in three superb performances

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

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?

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

Text of the day: “Oh yes, we turn on the radio or a TV maybe, or we go to the pictures — if them’s love stories or gangsters — but isn’t that the easiest way out?”

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

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

Text of the day: “We shall never have all we need.”

New West End drama about spicing up marriage is oddly lacking in passion — a wordy and emotionless account of desire

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

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

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…

Marius von Mayenburg’s latest is a satire on art and anti-Semitism — both absurdist and unsettling

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

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

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

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

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

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

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