Writer/director Nick Myles explains how he discovered there's more to diversity casting than meets the eye.

Some sparkling performances from the cast, but they are ultimately let down by unimaginative staging that confuses what era the play is set in and compromises the atmosphere.

Newly-written dystopian tale has some nuggets but comes across as a first draft.

An opening night of cabaret with a few interesting acts, but overall disappointing.

Pros: Breathtaking stunts, energetic cast and a belting soundtrack. Cons: No story for you to sink your teeth into, and some uneven pacing. I’ll never forget the first time I walked down Old Compton Street. I’d been in London no more than 48 hours, fresh off the boat from South Africa, and had deliberately weaved my way around the streets to this place I’d heard of called Soho. I stood in the middle of it all, snow started to fall ...

Watermill Theatre Artistic Director Paul Hart on the benefits of the theatre's repertory system and why this theatrical tradition is worth keeping alive.

A slightly rocky but enjoyable ride through this mad, blood-splattered Webster classic.

A one-woman vanity project that suffers from its own identity crisis.

Moving in every sense of the word, No Place for a Woman captures two women's survival instincts in and around a concentration camp. Though parts of the plot feel patchy, it's an absorbing watch.   

Pros: Hilarious performances, beautiful singing and outstanding design. Cons: Without an orchestra some of Mozart’s magic is lost. Walking through a charming pub straight into a small pocket of the South American jungle isn’t how most would expect to start a night at the opera. Fortunately for us, Charles Court Opera’s production of The Magic Flute at the King’s Head Theatre refreshingly does away with rows of seats, facing a stage, overlooking an orchestra, and puts us firmly in the thick of it. Simon ...