‘The Haunting of Hill House’ review – It’s hard to care about this horror classic ...

Just short of a decade after its stage debut at London’s Almeida Theatre, political playwright James Graham’s Ink, the dramatisation of the 1960s relaunch of The Sun, is adapted for the screen with ...

The play based on the writings of the American activist killed by an Israeli soldier in 2003 is revived at London’s Greenwich Theatre.

Alex Gibney’s four-hour documentary on the tech billionaire has its UK premiere at the BFI London Film Festival.

Ever felt like you don’t know what game someone’s playing? You follow along with it for a little while in the hopes that you’ll understand the rules as you go, yet more than three hours later, the ...

The Greater London Authority (GLA), also known as City Hall, has been awarded the Sign Language Charter by the British Deaf Association (BDA) for progress made in “improving access and inclusion” for ...

A priest is given a warning in The Scaring, that evil spirits can make him see things which “don’t make sense”. Taking this paranormal principle and applying it to the art of comedy, the troupe known ...

I’m loath to complain about a musical containing too many songs, because that’s rather the point, but this Tony Award-nominated adaptation of Charlotte Brontë’s classic Jane Eyre has several ...

1536 playwright Ava Pickett ventures into the current trend of revamped Greek mythologies (see The Oresteia at the Bridge and Electra/Persona at the National) with the gripping and gritty Bloodsport, ...

Three phrases and a painting hang from the ceiling behind Lara Ricote during her new stand-up hour, Inkling, now at London’s Park Theatre after an acclaimed Edinburgh Festival Fringe run. The phrases ...

What use is conflict in a play if it cannot be seen or felt? In Rosalind Adler and Lea Sellers’ Holy Fool, about Russian composer Dmitri “Mitya” Shostakovich’s run-ins with Soviet leader Joseph Stalin ...

Fans of Simon Stone’s The Oresteia, now in its final weeks at the Bridge Theatre, will love the first part of Benedict Andrews’ Electra/Persona, at least, which serves as a continuation of the events ...