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Live By Night

A dangerous journey of vengeance, romance and passion. Laurence Green reviews Ben Affleck's new film, Live By Night

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Love Labour’s Lost and Much Ado About Nothing

Laurence Green reviews Christopher Luscombe's extraordinary RSC productions, Love Labour’s Lost and Much Ado About Nothing.

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Art

Laurence Green reviews Mathew Warchus' revival of Yasmina Reza's clever and thoughtful French comedy, Art.

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Mary Stuart

Laurence Green finds Friedrich Schiller's 1800 verse Mary Stuart very much a play for today.

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This House

Laurence Green reviews James Graham's account of parliamentary democracy in the play, This House, directed by Jeremy Herrin.

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Shakespeare Trilogy

A modern day women's prison is the setting for Phyllida Lloyd's all-female production of a Shakespeare Trilogy, reviewed by Laurence Green.

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Half a Sixpence

Laurence Green reviews Rachel Kavanaugh's adaptation of H.G Wells semi-autobiographical novel, Half a Sixpence.

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Cymbeline

Laurence Green reviews Melly Still's adaptation of Shakespeare’s coming-of-age romance, Cymbeline.

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The Red Barn

Laurence Green reviews Robert Icke's bold and dramatic cinematic production, The Red Barn.

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The Dresser

Laurence Green reviews Sean Foley's new production of the 1980 tragicomedy, The Dresser.

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London Film Festival – the highlights!

Picked for over 240 films from countries all over the world, Laurence Green selects his highlights from the 2016 London Film Festival.

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No’s Knife

Laurence Green reviews the enigmatic and demanding play, No's Knife, adapted from Samuel Beckett's Texts for Nothing.

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No Man’s Land

Laurence Green reviews Sean Mathias revived version of Harold Pinter's 1975 tragicomedy, No Man's Land.

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Dr Faustus

Laurence Green reviews Maria Aberg’s updated version of Christopher Marlowe’s, Doctor Faustus.

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The Alchemist

Laurence Green reviews Polly Findlay's production, The Alchemist, which provides an illuminating lesson in how the 21st Century still fall foul to conmen and endless scams.

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The Trouble With This Country Is The Daily Mail

This Intelligence Squared debate questions whether the polarising Daily Mail is at the root of all the country's ills

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Our Ladies of Perpetual Succour

Laurence Green reviews Lee Hall's, Our Ladies of Perpetual Succour playing at the National's Dorfman auditorium

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Young Chekhov: Three Play Day

Laurence Green reviews the trio of works, Platonov, Ivanov and The Seagull, by Russia's greatest dramatist - Anton Chekhov

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Edinburgh Festival 2016

Laurence Green picks the best of the Edinburgh and Fringe Festival

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The Plough and the Stars

Laurence Green reviews Seán O’Casey’s handsome and heart-felt production, The Plough and the Stars showing at the National Theatre’s Lyttelton auditorium

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Harry Potter and the Cursed Child

Laurence Green reviews Jack Thorne's adaptation of the spellbinding theatrical story that is Harry Potter and the Cursed Child

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Chevalier

Laurence Green reviews Athina Rachel Tsangari's new Greek drama, Chevalier

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Unreachable

Laurence Green visits the Royal Court Theatre to see Anthony Neilson's quirky, Unreachable starring Matt Smith

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Richard III

Ralph Fiennes delivers a nightmarish performance in a first rate production of Richard III, writes Laurence Green.

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The Deep Blue Sea

The Deep Blue Sea is a perfectly judged, exquisitely sad production that marks the National Theatre at its very best, writes Laurence Green.

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Blue/Orange

One of the best plays of the past two decades, namely Joe Penhall's Olivier Award-winning 2000 work Blue/Orange is back in a first-rate revival, directed by Matthew Xia, at the Young Vic Theatre.

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Lawrence after Arabia

Howard Brenton's new drama about TE Lawrence fails to bring life to one of England's most enigmatic heroes in Lawrence After Arabia, write Laurence Green.

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Elegy

The choice between love and survival is the dilemma at the heart of Nick Payne's short play Elegy (Donmar Warehouse) directed by Josie Rourke.

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The Suicide

Nadia Fall's modern reworking of The Suicide lacks focus and is swamped by the relentlessly unsubtle humour, writes Laurence Green.

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The Caretaker

Timothy Spall makes a welcome stage return as a perennially ungrateful vagrant in Harold Pinter's The Caretaker.

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