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Paul Taylor

The Roof, Doon Street Car Park, London - theatre review

Twenty years ago, the great Japanese director Yukio Ninagawa used the idea of the video game as a metaphor for the questings of Ibsen's Peer Gynt, played by Michael Sheen.

Hotel, The Shed, National Theatre, review

Privileged dysfunctional families are to Polly Stenham what daffodils were to Wordsworth.

Clarence Darrow, Old Vic, theatre review: Kevin Spacey plays the perfect advocate

It's been three years since artistic director Kevin Spacey last performed at the Old Vic in Richard III.

In the Vale of Health, Hampstead Theatre, review: Mounted with extraordinary flair

We are used to cycles of ingeniously interlocking plays - such as Alan Ayckbourn's The Norman Conquests, a trilogy in which the events of a weekend are depicted from three distinct vantage points.

Antony and Cleopatra, Shakespeare's Globe, theatre review: 'Exquisitely understated'

In a departure from custom at Shakespeare's Globe, the company do not perform a rousing life-goes-on-style jig at the end of Jonathan Munby's revival of Antony and Cleopatra.

A Human Being Died That Night, Hampstead Theatre, review

Indicating his leg shackles, the caged cell, his garish uniform, and his female visitor, the mass murderer makes a semi-humorous allusion to The Silence of the Lambs.

Bakersfield Mist, Duchess Theatre, review

In Polly Teale's slick English premiere of this Stephen Sachs two-hander, Kathleen Turner returns to the London stage as a character based on the real-life Teri Horton, an uneducated former truck driver who bought a splatter painting as a joke-present for

Fings Ain't Wot They Used T'Be, Theatre Royal, Stratford East - theatre review

The Joan Littlewood centenary celebrations continue in style at her old stomping ground with Terry Johnson's witty and rollicking revival of Fings Ain't Wot They Used T'Be, the Theatre Workshop's 1959 success which transferred from Stratford East for a tw

A View from the Bridge, Young Vic, theatre review: 'Unforgettable'

The Belgian director Ivo van Hove has taken a drastically non-naturalistic approach to Arthur Miller's 1955 drama, set in Brooklyn's Italian-American neighbourhood, and the stripped-back intensity of focus is emotionally devastating.