Powerful, angry performances hold together Yaël Farber’s sprawling, bleak vision of a king and his country in terminal decline in King Lear at Almeida Theatre, London.

At London’s Donmar Warehouse, Lucy Kirkwood’s The Human Body depicts the establishing of the National Health Service through the eyes of a Shropshire doctor.

Bristol Old Vic theatre was caught in the middle of a real-life drama when the star of its latest production was injured at the start of a sell-out run of Bangers at the Weston Studio.

It feels appropriate, somehow, that Tom Ripley, the ever-chameleonic con man created by author Patricia Highsmith, has proven a bit of a...

Patriots circles around a group of high-profile dissidents, some now dead. Chief among them here is Boris Berezovsky, a talented mathematician turned businessman, and friend turned foe to Vladimir Putin.

“The Pillowman”, Martin McDonagh’s 2003 play about child mutilation, state tyranny and freedom of expression, at the Duke of York’s theatre, London, until 2 September, is a very different kind of gothic horror.

Indiana Jones is back. The good news is that it isn't a disaster. It's a respectable, competent addition to the series and Indiana goes out on a high.

"Oppenheimer” is director/writer Christopher Nolan’s best and most revealing work. It’s a profoundly unnerving story told with a traditionalist’s eye towards craftsmanship and muscular, cinematic imagination

Bristol Live and the Bristol Post ran my review of Bristol Old Vic's festive children's musical play, "Four Seasons".

What’s in the ether with sputtering, on-off romances at the moment? We’ve just had the Netflix adaptation of One Day.

Oppenheimer is now unquestionably this year’s frontrunner, with 13 nominations, mushrooming on the horizon and seemingly set to incinerate everything in its path. We will know tonight as it's Oscar night!!

As proof that super shows can come in small packages, it’s a pleasure to welcome Operation Mincemeat to a West End too often characterised by musical bloating

Astonishingly, Guys and Dolls is the Bridge Theatre’s first ever musical, but on the strength of such a vivid, vibrant triumph of a revival, I should hope not its last.

Have the Oscars started taking Carey Mulligan for granted? It’s a measure of how highly the British actor is regarded that her latest nomination – her third – has been met with so little fuss. No one expected her to win for her performance as Felicia, Leonard Bernstein’s glamorous, long-suffering South American wife, in Maestro.