Cindy Marcolina

If you're a Broadway aficionado, you will know [title of show] and all its lore. If you don't, this is your chance to be introduced to the quirkiness of musical theatre lovers and makers.

We all know that sport is easily the most straightforward gateway for male friendships.

Mark St Germain adapts Jaku’s life story into a 90-minute one-man show that overflows with empathy and hope. Directed by Ron Lagomarsino, the piece transcends the limits of theatre. From the get-go, the set-up of the stage isolates the audience completely. There’s nothing but this room right now, no doors in sight nor any escape from James Noone’s design. Two walls - lighting rigs backed by black fabric - close in on Southwark’s studio space, while wooden slats do the rest. Tigar comes in, unassuming and gentle, saying hello and thanking the crowd for attending; what ensues is a history lesson of harrowing poignancy.

Fresh from his West End transfer of Macbeth, director Max Webster lands another big hit with his garish, camp, super fun rendition of Oscar Wilde 's

At a time when productions are being cancelled because of their references to Palestine and trans rights, can theatre be entirely divorced from politics?

Two siblings are abandoned in the woods in the hope they'll miraculously have a better life.

Oswald Mosley's Blackshirts are getting a foothold in London's East End. Shylock, here a single parent, requests a pound of flesh from Antonio, part of Mosley's aficionados, in order to clear his debts.

The American production of George Bernard Shaw 's The Devil's Disciple was, famously, the first financial success for the Irish writer.

After a stellar run in Stratford-upon-Avon, Joe Murphy and Joe Robertson 's RSC-fuelled project takes hold of London.

Erik Kahn’s play tested very positively in the States early last year and has gained even more resonance since then. Reviewing it on the day of the United States Presidential Inauguration, where Elon Musk gave a hasty Roman salute to Trump’s rapt audience, hit differently. In front of us, Charlotte Cohn impeccably directs a fish tank of cruelty from the past. On our screens, another one plays out.