Stephen Mear and Richard Thomas have created a sunny revue-cum-musical about our obsession with shoes that’s a hair’s breadth from Sex And The City
Whoopi Goldberg is to return to the West End for a final run of performances in Sister Act to compensate for cutting short her star turn
Matthew Warchus’s enjoyable revival of Ira Levin’s 1978 play Deathtrap suggests that the genre still has legs
With his adaptation of House of Games and a play about Irish-Americans and the IRA about to open, writer Richard Bean talks to Veronica Lee about his fascination with inconvenient truths
A quintet of one-act plays at Th Tricycle shows Tony Kushner at his most fanciful and eclectic
Bruce Norris’s Clybourne Park is an achingly intelligent study of middle-class hypocrisy
Drom such seemingly unpromising source material Alex Loveless has crafted a sophisticated piece of musical theatre for The Remains of the Day
How to be an Other Woman minors in actual dialogue but majors in a sensuous, lugubrious atmosphere
After a mystery illness and his dramatic withdrawal from Alan Bennett’s The Habit of Art last year, Michael Gambon returns to the stage in Krapp’s Last Tape
Developed at the National Theatre Studio, Oikos is a study of rancid domesticity that’s also an apocalyptic vision of environmental meltdown
Jeremy Hunt and Ed Vaizey are keen to move the debate on from cutting, towards encouraging arts companies to think about ways they can obtain philanthropic support
No Child provides a little respite as Enda Walsh's Penelope and Simon Callow's Shakespeare: The Man from Stratford fall flat at the Fringe
Whoopi Goldberg has pulled out of her West End role in Sister Act after her elderly mother Emma suffered a severe stroke
A Forties reimagining of Ovid's Metamorphoses and an engaging solo show; Fiona Mountford finds two theatrical gems at the Fringe
Adam Spreadbury-Maher's under-energised Hotel Sorrento at The Cock Tavern suffers from some turgid acting which drains the drama of momentum
Darling of the Day has been resuscitated in the Ondaatje wing of the National Portrait Gallery as part of the excellent Lost Musicals project
The Merry Wives of Windsor makes a welcome return to The Globe before heading off to the US later in the year
Summit Conference tells the story of an imaginary meeting between the mistresses of Hitler and Mussolini
Roadkill shakes things up in a desolate 90 minute production. Meanwhile, tabloid favourite Abi Titmuss gives us a giggle in Up ‘n’ Under
Musically and texturally uneven, Into the Woods is a show that oscillates between excellence and mediocrity
Mackenzie Crook was seen by millions in The Office and Pirates of the Caribbean but will be performing in front of a much smaller audience in his next role
London’s most notorious lunatic asylum was a place of cruelty and injustice, full of stories that needed to be told, as Nell Leyshon discovered while researching her new play for the Globe
Tangram Theatre’s version of Fuente Ovejuna is billed as 'a pastoral tragicomedy with songs, romance and lynching’, which makes it sound like a mixture of Quentin Tarantino, As You Like It and Glee
Daniel Kitson’s It’s Always Right Now,
Until It’s Later is the only five-star show of this year’s Fringe, and one so magnificent it makes you wonder why most of the others even bother trying
This isn’t a ballet you associate with the summer - Cinderella huddled by an open fire reminds you of Christmas much more than August
For three weeks only, Whoopi Goldberg joins the cast of Sister Act. And she’s quite something
Two compelling performances keep the action focused in Malcolm Purkey's poised production - The Girl in the Yellow Dress
Each year, the race is on to find new and exciting venues in Edinburgh, En Route and Sub Rosa fit the bill
Biblical Tales is an intriguing proposition: an attempt to reframe the stories of Adam and Eve, David and Goliath, Samson and Delilah, and finally Moses and Pharaoh
My Romantic History a sharp and all-too-recognisable look at the perils of the contemporary dating game
Go! Go! Go! away and find some charm, Fiona Mountford wanted to holler at the Leicester Square Theatre