Nothing sells tickets like a star. Emma Stone takes over Cabaret, and Sting makes an appearance in The Last Ship.

This classic musical has come a long way since its genesis, and has only grown richer through its evolution.

Despite an excellent performance by Bradley Cooper, the pace drags and the transitions are bumpy.

This larger-than-life magic show may drag at times, but it is full of fascinating feats and jaw-dropping moments.

With new dialogue and songs added, the emotionally intense pop opera about conjoined twins returns to Broadway.

Joshua Harmon’s new play is one of the best to cross the pond in several years.

Only by seeing both parts do you experience the full weight of Shakespearean upheaval. 

New York no longer has a monopoly on expert choreography.

A new play by Tina Stivicic covers 70 years of a Croatian household, set against the backdrop of political changes.

Clive Rowe leads a successfully absurd pantomime, with song and dance and pop culture flying around the stage splendidly.

The characters of Katherine Boo's bestselling book are drawn with just as much detail and personality on stage.

As long as you don't expect anything original or inventive, Irving Berlin’s 1954 musical is built to please.

Katie Mitchell and Simon Stephens team up to present Chekhov in such an uncompromising form that you will feel the winter's cold.

This beautifully acted production gets back to the roots of the play, with an ordinary man and an ordinary woman in a room together.

Light and dark play against each other brilliantly in Michael Longhurst's erotic production.

Christopher Luscombe directs a double-bill of word-drunk comedies straddling the Great War.

Phyllida Lloyd presents this swift, compressed dose of Shakespeare as an all-female prison drama.