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A London production adapted from Eliza Clark’s debut novel refuses to justify its unreliable narrator’s violence, but lacks narrative depth and complexity.
In London, transforming Chekhov’s “Uncle Vanya” into a one-man show is an impressive feat, but it costs the play its pathos.
In a revival of Lucy Prebble’s play at the National Theater, in London, Paapa Essiedu and Taylor Russell are terrific as a couple who meet during a pharmaceutical trial.
This year, the stronger productions in the open-to-all event were on a par with many in the more prestigious, curated Edinburgh International Festival.
In plays from Scotland, Korea and Switzerland, theater companies explored questions of belonging, with varying degrees of success.
At the Edinburgh Festival, Geoff Sobelle presents a dinner party as a theatrical spectacle, in which silliness is the end in itself.
A revival reimagines the polarizing musical for the 21st century while a new show offers a bawdy riposte.
A new James Graham play about the soccer coach Gareth Southgate is a lively romp, but its core message about embracing male vulnerability feels soppy.
A London revival of Andrew Lloyd Webber’s partner-swapping musical is a camp amoral romp. But is this obsession really the same as romance?
The Royal Shakespeare Company adaptation of Maggie O’Farrell’s hit 2020 novel is elegant and tasteful — but also formulaic and sentimental.
The show, in London, skewers its protagonist through maximalist kitsch, but it comes with a tone of finger-wagging moralism that’s no fun.
The British experimental theater company Complicité turns the Nobel laureate Olga Tokarczuk’s novel “Drive Your Plow Over the Bones of the Dead” into a thought-provoking, entertaining…
On London’s West End, Aidan Turner and Jenna Coleman star in a lightly dystopian comedy that succeeds as a portrait of a troubled couple, but falls short as political satire.