
How can you tell if you're in love if you're drugged? This is the question at the heart of Lucy Prebble's meaty play The Effect.

I have rarely heard such a convincing fusion of great singing and total character portrayal as in this performance of Otello.

The Chimney Sweep is a lively romp, an amusing domestic farce with servants in disguise bamboozling their capricious and vain masters both for their own ends and to teach them a lesson in the process.

In Belvoir’s new production of Hedda Gabler, Adena Jacobs writes in her Director's Notes that she doesn't want to explain why she cast a male actor as Hedda and hopes the production will speak for itself, but I am still wondering.

Though dutifully and deftly delivered by a very capable cast, Mojo falls short of the explosive and effusive praise quoted in the program.

On face value, it is reasonably engaging and enjoyable, but the show is undeniably shallow. It lacks the most important qualities of a musical, and as such, falls short of audience expectation.

Eight Gigabytes of Hardcore Pornography is astonishingly good. This is some of the best theatre I’ve seen in 2014. It is excruciatingly accurate, brilliantly pointed in its portrayal of insecurity and addiction. I was utterly transfixed.