Driven by character development and dramatic momentum that builds at just the right pace, you leave the theatre in no doubt that you’ve had full value for your money.
There probably is a good show to be created out of burlesque, but surely you have to do more than revive the old base acts.
Although the doors have been open to the public since last November, the new theatre swung into full operation mode with the first previews of last season’s revivals of King Lear and Romeo and Juliet.
All this current production can do is remind us of other, better takes on this classic comedy.
Richard Bean’s climate-change rom-com succeeds in making political dialectic heartwarming, human and hugely entertaining
Sharp this play may be, with its whiplash dialogue and cutting witticisms, yet in the end a lack of substance also means a lack of edge.
Unless there is a way to add something original or present it in a fresh light, a work of perfection should not be moved from the screen to the stage.
In the play's two acts, which are separated by 50 years, blacks and whites experience a bit of a role reversal.
Although not without its flaws, Danny Boyle's production makes brilliant use of the lavish resources at the Olivier's disposal.
Odd casting choices deflate one's expectations as Sir Peter Hall's production moves along.