London stages sparkle with fascinating fare in two portraits of ruthless men.
The characters in this revival manage to surprise, even after all these years.
With each member of the family suffering from his or her own affliction and inability to communicate with anyone else, the audience is the only player taking everyone in loud and clear.
An underappreciated piece by Ena Lamont Stewart crams a large family into a small space and sets the wheels in motion.
Sarah Kane's writing doesn't hesitate to stare straight into the eyes of real-life horrow, and when the material is handled right, the result is remarkable.
Michael Colgan and Michael Gambon take us to the edge with a brooding, hypnotizing look into a man's solipsism.
Judi Dench's book (as told to John Miller) is officially not a biography and meant instead to clear some things up; yet she manages only in telling us what we already know.
Kim Cattrall takes a surprisingly impressive turn as Cleopatra in this Liverpool production.
Rory Kinnear's Hamlet battles his father's ghosts in this modernised version of Shakespeare's classic.
Arthur Miller, late in life, tapped the pain in his Jewish roots and splashes it across a broad canvass.