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

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

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

David Hare’s latest is set in an alternative reality that is more 2008 than 2018

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

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

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

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

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

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

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

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

New coproduction between Graeae and Tamasha is not perfect, but it offers a moving insight into ritual and belief

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

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

Robert Icke’s latest ancient Greek adaptation: lots of stunning acting compensates for some cumbersome writing

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

Adaptation of Paul Auster’s masterpiece, New York Trilogy, is visually amazing and intellectually satisfying

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

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

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

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

Comedy about Labour Party history is starry, but politically reactionary and tediously overblown

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.

Text of the day: “We shall never have all we need.”

Maggie Smith is absolutely triumphant in this memoir of a Berlin secretary in the Nazi era

History play gives an imaginatively queer reading of the Cleveland Street Scandal of 1889 — with mixed results

New debut play is a heartfelt account of the black lesbian experience — party on!

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

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…

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

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

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

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

Text of the day: “I don’t personally know any Jew who doesn’t want a peaceful solution to the Israeli-Palestinian problem.”

Thrillingly epic account of a defining American institution delights in three superb performances

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

Debut play about sex, race and queerness is a disappointing mishmash — it’s ambitious, but messy

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

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

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

Hilary Mantel and Ben Miles perform a labour of love that has many virtues, even if it is less than the sum of its parts

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

Text of the day: “Healthcare is part of the entertainment industry.”

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

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

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