‘Rules for Living’, National Theatre, London

A playful, painful and sometimes deliriously funny comedy

Jasper Britton as Barabas and Catrin Stewart as Abigail in 'The Jew of Malta'. Photo: Ellie Kurtz/RSC
©Ellie Kurtz/RSC

The Jew of Malta, Swan Theatre, Stratford-upon-Avon — review

The RSC production hits the right note of ‘tragic farce’

Shobana Jeyasingh, Linbury Studio Theatre, London — review

Orientalist fantasies persist in a new 19th-century-inspired work

Daniel Beaty in “The Tallest Tree in the Forest” at the Center Theatre Group/Mark Taper Forum. Written and performed by Beaty and directed by Moisés Kaufman, “The Tallest Tree in the Forest opens April 19 and continues performances through May 25. For tickets and information, please visit CenterTheatreGroup.org or call (213) 628-2772. Contact: CTGMedia@CenterTheatreGroup.org / (213) 972-7376 Photo by Craig Schwartz

The Tallest Tree in the Forest, Brooklyn Academy of Music, New York — review

Paul Robeson is portrayed as a flawed but magnificent figure

The Park Avenue Armory presents FLEXN WORLD PREMIERE A Collaboration of Reggie (Regg Roc ) Gray, Peter Sellars , and Members of the Flex Community in the Drill Hall, Park Avenue Armory on March 24, 2015. Light Sculpture & Lighting Design: BEN ZAMORA Sound Design: GARTH MACALEAVEY MUSIC: EPIC B THE COMPANY: ACE: Franklin Dawes Android : Martina Lauture Banks : James Davis Brixx : Sean Douglas Cal: Calvin Hunt Deidra : Deirdra Braz Dre Don: Andre Redman Droid: Rafael Burgos Droopz: Jerrod Ulysse Karnage: Quamaine Daniels Klassic: Joseph Carella Nicc Fatal: Nicholas Barbot Nyte: Ayinde Hart Pumpkin: Sabrina Rivera Regg Roc: Reggie Gray Sam I Am: Sam Estavien Scorp: Dwight Waugh Shellz: Shelby Felton Slicc: Derick Murreld Tyme: Glendon Charles Vypa: Khio Duncan YG: Richared Hudson Commissioned and produced by Park Avenue Armory Credit: Stephanie Berger
©Stephanie Berger

Flexn, The Armory, New York — review

A disappointing attempt to give the flex style theatrical form

The Great gatsby, NORTHERN BALLET:Jay Gatsby; TOBIAS BATLEY,Daisy Buchanan; MARTHA LEEBOLT, Myrtle Wilson; VICTORIA SIBSON, Tom Buchanan; KENNETH TINDALL,Nick Carraway; GIULIANO CONTADINI, Jodan Baker; HANNAH BATEMAN, George Wilson; BENJAMIN MITCHELL, Young Daisy; MICHELA PAOLACCI, Young Gatsby; JEREMY CURNIER,
©Bill Cooper

The Great Gatsby, Sadler’s Wells, London — review

A stylish adaptation of F Scott Fitzgerald’s novel lacks the complexity of his characters and story

Samara Downs in 'Carmina Burana'
©Bill Cooper

Serenade/Carmina Burana, Birmingham Royal Ballet, London Coliseum — review

Strong dancing was let down by crude imagery and poor costumes

Jeremy Secomb and Siobhán McCarthy in ‘Sweeney Todd’
©Alastair Muir

Sweeney Todd, Harrington’s Pie and Mash Shop, London — review

Sondheim’s gory musical is served up in a pie and mash shop

Michael Urie in 'Buyer and Cellar'
©Joan Marcus

Buyer and Cellar, Menier Chocolate Factory, London — review

This tribute to Barbra Streisand is irresistibly entertaining

Sarah MacRae in 'The Broken Heart'

The Broken Heart, Sam Wanamaker Playhouse, London

Caroline Steinbeis’s witty staging unearths a rich vein of comedy

The Harvest, Ustinov Studio, Bath, UK — review

The lightly comic Belarusian play provides more puzzlement than insight but sparkles pleasingly

Mermaid, Nottingham Playhouse, Nottingham, UK — review

A touching tale about growing up tries to cover too many issues

Placebo, Playwrights Horizons, New York — review

A comedy about arousal-drug research runs out of momentum

Swan Lake, Paris Opera Ballet, Opéra Bastille, Paris — review

Emerging talent brought style and promise to Nureyev’s production

Swan Lake, Royal Opera House, London — review

Yevgenia Obraztsova gave a quietly brilliant performance

Stevie, Hampstead Theatre, London — review

The poet’s suburban life is interwoven with her mordant verse

Paul Taylor premieres, Lincoln Center, New York — review

Two new works featured choreography that was vague or vicious

On the Twentieth Century, American Airlines Theatre, New York — review

The musical comedy’s revival fell short of earlier versions

The Cutting of the Cloth, Southwark Playhouse, London — review

The conflicts raised in a 1950s workplace still resonate today

Singin’ in the Rain, Théâtre du Châtelet, Paris — review

The musical numbers work their magic in this nostalgic production

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