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Paul Taylor

Medea, National Theatre, review: Unforgettable and horribly gripping

This is, incredibly, the first ever staging of Medea in the National Theatre's 50 year history. 

Amadeus, Chichester Festival Theatre - review

Rupert Everett as Salieri in Amadeus? It’s a characteristically canny piece of programming by artistic director Jonathan Church and an eminently fitting conjunction of talents with which to reopen the main house at Chichester after its handsome £22m re

The Importance of Being Earnest, Harold Pinter Theatre, review

We've had a Romeo and Juliet set in a care home with the focus on a pair of star-crossed senior citizens.  We've had a Midsummer Night's Dream in which Judi Dench's ageing Elizabeth I got to moonlight, on a royal whim, as the passionate Queen of the Fair

Invincible, St James Theatre, review: A fresh and punchy production

Torben Betts's latest work begins as robust social comedy and then shades into something darker and more disturbing.

Richard III, Trafalgar Studios, review: Martin Freeman gives highly intelligent performance

Director Jamie Lloyd is playing a smart and enlightened game with his Trafalgar Transformed seasons.

Daytona, Theatre Royal Haymarket, review: Fails to ring true

There's an Arthur Miller-like feel to the set-up in Oliver Cotton's play: two estranged brothers; the moral and emotional fall-out of the Holocaust; the corrosive consequences of denying one's Jewishness.

The Art of Dying, Royal Court, review: Nick Payne delivers moving meditation on death

Nick Payne's 45-minute monologue, which he performs himself, builds into a moving meditation on how we could better help the dying to die.

Wonderland, Hampstead Theatre, review: 'Moving and timely'

This powerful play about the 1984-85 miners' strike and the profound cultural change that Thatcher's defeat of the NUM betokened comes with the endorsement of David Hare.

Great Britain, National Theatre, review: Billie Piper 'excellent' as tabloid editor

Clearly nobody from a rival outfit has been hacking the phones of dramatist Richard Bean and the National Theatre’s artistic director Nicholas Hytner or they wouldn’t have been able to spring this bracing surprise on us.

Who's Afraid of Virginia Woolf, Theatre Royal Bath, theatre review

Marriage is a booze-fuelled Strindbergian blood sport in Edward Albee's 1962 classic and Tim Piggott-Smith and Clare Higgins land viciously funny linguistic blows on each other with a shocking, deadly aplomb in Adrian Noble's fine revival of the play in B