There's a severe disconnect between the music and the book of The Black and White Ball. Too bad, when the music just happens to be that of Cole Porter.
This production of Noel Coward's Brief Encounter, under Emma Rice's direction is nothing short of a knockout. It bypasses the head and goes straight for the heart.
Maria Friedman's back in Maria Friedman Re-arranged and though her vocal power is somewhat diminished, she is a performer whose enthusiasm and powers of connection are undimmed.
Howard Brenton's Never So Good offers a surprisingly lively account of one-time Conservative party leader, Harold Macmillan, ably played by Jeremy Irons.
At first glance, Days of Significance could be seen as an inverted Much Ado About Nothing, but the Roy Williams drama, is well-grounded in its own time and place.
True, London audiences watching Jersey Boys may not get all the references American audiences do, but the songs are bound to start the juices flowing and the feet a tappin'
Early works of accomplished playwrights are always interesting to see. And Arthur Miller's The Man Who Had all the Luck is a notable marker of the fierce talent he was to show in later years.
The London rehabilitation of George Bernard Shaw continues with this thrilling revival of Major Barbara. Simon Russell Beale shines in the role of Undershaft.
The re-casting of The Sound of Music has caused a once commendably eccentric, even moving production to morph into a conventional and routine one.
Legal Fictions, two one-act plays by John Mortimer, are slender divertissements, not up to his usual high standards. Where's Rumpole when we need him?