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

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

Life of a national hero: a surreal and fun account of Aneurin Bevan and the founding of the NHS

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…

Solo version of Sarah Kane’s last play stars Romanian actor Anamaria Marinca; and she really rocks

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

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

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

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

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

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

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

Exuberant comedy with a dark edge: Beth Steel’s new play about three sisters is full of energy, but also a bit too populist for me

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

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

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

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

Nobel Prize winner Annie Ernaux’s bestselling book gets an enjoyable if problematic West-End staging

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

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

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

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.

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

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

Repeat, reboot, repeat: Sarah Kane’s exceptionally groundbreaking play gets a problematically nostalgic anniversary reboot

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

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

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

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

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

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

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

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

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

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

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

Over the past three weeks, several journalists and commentators have tried really hard to make a fuss about London Road, the National Theatre’s verbatim theatre musical by Alecky B…

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

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

Disappointing version of cult-writer Sarah Kane’s now-legendary study of psychological breakdown

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

One from the archives: film-maker and playwright Mike Leigh uses improvisation extensively in the creation of his work.

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

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

Yes, the sun is out and it’s time for a bit of honest enthusiasm.

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

Sarah Kane’s last play is completely revitalized in this revival by Deafinitely Theatre

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

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

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

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

The Raoul Moat case revisited (again) in Robert Icke’s terrifyingly powerful account of toxic masculinity

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