John Lithgow portrays American journalist Joseph Alsop, who grapples with his political influence slipping away.

The ways the characters are portrayed in this revival of Tennessee Williams' classic add levels of nuance and suggestiveness to the story.

This dusted-off 60s farce feels painfully old-hat and predictable.

Ghost is nearly see-through as a musical, but the special effect shine bright.

This ebullient musical somehow manages to be one part Dickens, one part Disney and one part democratic exemplum.

Lacking in imagination, this production feels like it was assembled from a kit.

If the plot is disregarded, Irving Berlin's old songs get the staging they deserve.

While the 44-year narrative leaves the audience with unanswered questions, the cast in Love, Love, Love steps up to its challenges.

While the stage choreography is impressive, some classic films don't need to be recreated.

David Hare's South Downs earns its place alongside The Browning Version in this double bill about painful adolescent school days.

The Comedy of Errors, Twelfth Night and The Tempest get grouped together as part of the World Shakespeare Festival.

Roxana Silbert delivers an efficient, fast-moving production, with Jonjo O’Neill leading the cast.

The treachery in John Webster’s grisly revenge tragedy has a sinister and sexual allure.

Michael Ball rewrites his personal acting history with his transformative performance of Sweeney in this top-notch production.