Censorship appears to be simple, but is actually quite complicated.

Text of the day: “There are good days and bad days.”

Maxine Peake struggles to make the voice of reason heard in a rather reactionary feminist history play

Over the past three weeks, several journalists and commentators have tried really hard to make a fuss about London Road, the National Theatre’s verbatim theatre musical by Alecky B…

Brilliant new writing: new play about a paedophile ring foregrounds the voices of British Pakistani women

Let us remember the radical acts of 50 years ago.

As a new production of Samuel Beckett’s Waiting for Godot is about to open in London’s West End, I was lucky enough to get the chance to watch The Impossible Itself (2010), Jake Ad…

Star cast give energy to a superb, if old fashioned, play about the anti-Semitism of Roald Dahl

The Angry Young Men of the 1950s were more of media phenomenon than a coherent movement

Martin Crimp’s Not One of These People has been staged using help from AI — but what does AI think of the show?

Bad stuff and change in a time of pandemic: a derivative lockdown poem

Yesterday, I took a break from my sunny local park and turned a room in my house into the Finborough fringe theatre.

Superbly plotted family drama beautifully explores the relationships between the personal and political

Return of the emotionally intense exploration of Palestinian identity — both personal and political

Joseph Fiennes is mesmerizing as Gareth Southgate in James Graham’s sport-of-the-nation docu-drama

Peter Morgan’s award-winning story of Putin’s triumph is vivid, but lacks real complexity

Quote of the day: “Being a practised liar doesn’t mean you have a powerful imagination.”

Favourite stage direction: “The funeral procession of Queen Elizabeth II goes past.”

Explore the work of a handful of British theatre’s brightest and most exciting writing talents

Take an imaginative ride through 400 years of British theatre with our fictional guides

The longest-running play in world history is in good shape, despite the lackluster and mechanical cast

Here is a sample from the introduction to my latest book about postwar British theatre — an alternative history

The Royal Court’s international season continues with savage Ukrainian play about women and war

Can theatre habituate us to extreme violence? Blasted is both a denunciation of the horrors of war and maybe a domestication of them

Marius von Mayenburg’s latest is a satire on art and anti-Semitism — both absurdist and unsettling

The love affair between playwright and actor lasted far beyond their early divorce

Joe DiPietro’s cult hit is enjoyable enough, but rather predictable in both form and content

Text of the day: “They were extremely, and I really do mean extremely, convivial.”

Fabulously queer extravaganza: London transfer for the Royal Shakespeare Company’s riotous comedy Western

The death of David Bowie provokes the Critic to take a trip down the motorways and side alleys of memory

Philip Ridley continues to surprise and delight with this brilliant new monologue — in the teeth of the coronavirus pandemic lockdown

Playwright or director? Who is ultimately responsible for a piece of theatre? Our Critic attempts to find out

Nick Stafford’s sturdy beast rides again — and retains its colt-like freshness and wild beauty

New Anthony Neilson two-hander about sex is playful, wise and funny, but fails to achieve a climax

Fear eats the mind: poignant Gaza play about living under terror is both surreally humorous and finally devastating

Revival of Sean O’Casey’s modern classic shows its continued relevance, but is a bit meticulously sombre

Julia Pascal’s new play is an epic story of Jewish identity from Dublin to Jerusalem in the 1930s and 1940s

It’s not often that I get to say a heartfelt thank you to any newspaper, but I really must acknowledge the good work of the Guardian, and especially its arts website.

The poet laureate’s verbatim play about Brexit sinks into journalistic and untheatrical banality

More overviews of British new writing from the In-Yer-Face Theatre archive.

In the Brexit era, this site-specific revival of Agatha Christie’s 1953 courtroom drama works like a treat

Al Smith’s new play was jinxed before it started — and, bogged down in cartoonish detail, it never really recovers

Artificial Intelligence is much hyped — but can it review a theatre show?

Can the stranglehold of naturalism and social realism in British theatre ever be broken?

New play about the plight of children in a Palestinian town has good moments, but lacks a really compelling story

One of the most important characteristics of contemporary British new plays is that they aim to provide a forum for the discussion of ideas.

Populist show is now on its sixth cast, but despite some noisy shocks it fails to chill the blood