Terence Rattigan's The Deep Blue Sea is an old-fashioned well-made play , given a fine production under the direction of Edward Hall. It still has the power to engage our emotions.

A change of venue( to the Duke of York's from the Royal Court Upstairs) has somewhat diminished the striking debut of Polly Stenham's That Face..

Director Dominic Dromgoole's production of King Lear is credibly engaging and avoids the overly respectful constipation that infects other lesser Lears.

Under director Hannah Eidinow, Ibsen's The Lady From the Sea is given a compelling production.

Harper Regan is a devastating play about the unknowability of humankind and the trust and faith that's required by the human heart.

Martin Crimp is back with his latest play, The City, in a bewitching production from Katie Mitchell that overrides much of what is irksome about the text.

This much can be said about Fram: It dares to reach out in many directions. Unfortunately, it strikes out in most of them.

Shakespeare's history plays are given superb productions by the RSC. Four are on view right now (Richard II, Henry IV, Part One and Two, and Henry V) The other four await in the wings.

And you thought General Sherman's scorched-earth tactics left disaster in its wake. The musical version of Gone With the Wind is in that category.

Warren Mitchell gives a master class in acting in Jeff Baron's Visiting Mr. Green. The actor's own frailities are perfectly matched, with those of his character.