Romeo and Juliet have been let down
Sadie Sink and Noah Jupe deliver thrilling performances, but Robert Icke’s direction is an assault on the senses
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Johannes Radebe makes Kinky Boots dazzle
The larger-than-life Strictly Come Dancing star is captivating as he injects life into the new production of the show
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John Proctor is the Villain is a thrilling teenage-girl take on The Crucible
Kimberly Belflower’s play, at London’s Royal Court theatre, tears into misogyny and Arthur Miller
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Summerfolk review: Maxim Gorky’s tragedy is as relevant as ever
The language is modern but the Russian dacha aesthetic gives the performance its timeless quality
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Timothée Chalamet is right: ballet is ready to die
Timothée Chalamet might win Oscars, but ballet is noble in its irrelevance
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Broken Glass review: Jordan Fein’s slick directing saves Arthur Miller’s difficult play
A moving revival at the Young Vic emphasises the paralysing feeling of watching horror unfold abroad
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Cynthia Erivo’s one-man Dracula misses the point
Kip Williams’ new adaptation of the classic proves that tech can dull a performance
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I’m Sorry, Prime Minister is missing the drama
Stripped of the Westminster scaffolding, this Yes, Minister sequel unspools into endless trading of retorts and ripostes, going nowhere
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