It is a pleasure to see such an elegantly pared down production that allows this playwright’s blistering poetry to shine, writes Honour Bayes.

You can’t say that Reasons To Be Cheerful lacks energy, even if perhaps it lacks balls, writes Honour Bayes.

It’s 2015 and British politics is a hot steaming mess. Honour Bayes reviews Gabriel Bisset-Smith’s The Charming Man.

Less is more in comedy and Christopher Luscombe directs this 1930’s play with clarity, precision, and above all speed, writes JBR.

Expecting an explosive dance show, Martin Schurman is unimpressed with a damp squib.

Has time surpassed the traditional whodunit? Benjamin Potter reviews Deathtrap and finds out whether it pushes the boundaries in today’s theatre.

Menier magic works its spell again with a chamber treatment of Aspects of Love, writes Josh Logan.

Matthew Bannerman heads down to Trafalgar Studios 2 for Wolfboy, the psycho-sexual musical thriller.

Benjamin Potter reviews A Stage Kindly’s latest production, Ballets Russes, and discovers a creative piece of work with some delightful performances.

The National Theatre have jumped the gun on the 2011 Terrence Rattigan Centenary with After The Dance the “lost” Rattigan and it’s not hard to fathom why it’s remained practically un-found since the premiere in 1939.