Olivia Rook

“Noël Coward’s regularly revived Hay Fever returns to the West End — and it is just as frothy and fun as ever.”

“There’s no better after party in the West End right now than Marianne Elliott’s production of Edward Albee’s American classic Who’s Afraid of Virginia Woolf?”

“It is an understated performance that requires patience from its audience — much of the time Oldman is chuckling or grunting at something his former self has said; in other moments, he sits in silence.”

“Dyer has created something fresh and provoking.”

“Inter Alia shows every mother’s worst nightmare — and proves that even when you do everything ‘right’, your child is still capable of committing terrible wrongs.”

“Conceptually it’s an inventive way of communicating this Victorian story, yet the screens also seem to inhibit any real sense of terror.”

“Adapted for the stage by Rachel Joyce from her 2012 novel, with a brilliant score by Passenger, this new musical is a profoundly moving celebration of hope.”

“This revival of Woman in Mind is gripping and deeply resonant.”

“With a world-class cast led by Bryan Cranston and directed by the formidable Ivo van Hove, this is a must-see performance of the season.”

“The funny and unsettling new production, Porn Play, makes its world premiere at the Theatre, starring Ambika Mod (This is Going to Hurt, One Day).”

“Casey Nicholaw's production packs in big tunes, gorgeous costumes, and plenty of groan-worthy laughs.”

“Posner directs Rattigan’s play with sensitive precision, from the striking first image of Hester lying prone in front of the gas fire, a shaft of light under the front door illuminating the gloomy room, to the loaded silences, which reveal as much as the characters’ tense exchanges.”

“Icke’s Royal Court debut is certainly thought-provoking.”

“This is an adaptation that will delight fans and makes for a fun and pacy two hours of theatre.”

“Eline Arbo’s adaptation of Annie Ernaux’s rich and layered memoir The Years is a triumph.”

“Her voice is deliberately flat, which often jars, particularly when she is reunited with her brother and her reaction is borderline emotionless.”

“There is nothing subtle about this jukebox musical, and that’s what makes it so glorious.”

“There’s little substance in this production, but plenty of style.”

“The Palladium panto should be a genre in its own right.”

“When the musical embraces camp, it does it well.”

“Collins’s honest performance is both believable and relatable in this moment.”

“Where Harris succeeds is in foregrounding the play’s sexual politics and drawing parallels with the present, from questions of ownership and coercion to pleasure and power.”

“Icke’s reworked tragedy, framed here as a tense political thriller, reveals the crushing weight of truth and knowledge.”

“Kitt and Yorkey’s musical soars in the hands of such an accomplished and connected cast.”

“West’s nuanced performance takes Eddie on a journey from a breadwinner and much-loved father figure to an unreasonable, raving tyrant, making his downfall all the more tragic.”

“This may not be a wholly accurate image of what it means to suffer on the receiving end of an unforgiving government, but it remains very compelling.”

“Seeing Gough’s deliciously complex performance once again in the West End is a real treat.”

“Rosie Sheehy’s performance is an astonishing feat.”

“O’Neill’s play...in the hands of such a talented cast...it is powerful theatre.”

“Red Pitch is exciting work from a refreshing new voice in theatre — and it is just what the West End needs.”

“...gut punch of a show remains a beautiful piece of theatre for all audiences...”

“Butterworth has done it again with his new play The Hills of California.”