Olivier Assayas's film on the aftermath of May 1968 is infantile ultra-leftism
JOE GLENTON explains his need to respond to a world that is unsustainably divided
Forty years ago, racist police hounded a homeless Nigerian man to death. SUSAN DARLINGTON takes a closer look at his story, which has been adapted into a powerful new play.
ROBERT TANITCH hopes that Lee Hall's tale of people's art gets the audiences it deserves.
ALAN Bennett was the first to admit that Enjoy was not a good title. The critics gave its premiere in 1980 a rough time and audiences stayed away in droves. Now, they are filling the Gielgud Theatre to capacity.
FRANK Wedekind's Spring Awakening is one of the definitive statements on adolescence.
NINETEEN-YEAR-OLD Sloane (Mathew Horne) has barely walked on stage before his trousers have come off and he's having sex on the floor with his landlady (Imelda Staunton).
A BRAD Fraser play is a bit like great sex. It leaves you exhausted yet with a warm and satisfied glow.
JUDITH Thompson is not a name many will recognise this side of the Atlantic.
PAUL FOLEY enjoys a reinvention of the world's first musical performed with panache by two inventive theatre companies.
ARISTIDES de Sousa Mendes is a name that rarely trips off the tongues of many British people, as he is virtually unknown in this country.