MARY CONWAY is stirred by a play that explores masculinity every bit as much as it penetrates addiction
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Mary Conway
In this production of David Mamet’s play, MARY CONWAY misses the essence of cruelty that is at the heart of the American deal
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
MARY CONWAY applauds the revival of a tense, and extremely funny, study of men, money and playing cards
MARY CONWAY applauds the study of a dysfunctional family set in an Ireland that could be anywhere
MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
MARY CONWAY recommends a beautifully judged performance that shines a light on the experience of all female war babies and boomers
A nervous year, showing that the theatre, like the world, stands on a precipice and seems uncertain where to jump
MARY CONWAY applauds a worthy revival of the US 1939 classic drama that studies the dehumanising consequences of affluence
MARY CONWAY relishes the revival of two classics for the naked expression of truthful thoughts and class anger
MARY CONWAY evaluates a polemical play whose actors, rather than the writer, introduce the humanity and the light and shade
The relationship between an over-ambitious mother and her damaged daughters makes for a muddled evening of drama, finds MARY CONWAY
In communities where exploitative warehouses have replaced coal mines, Beth Steel has fashioned an uproarious state-of-the-nation comedy, says MARY CONWAY
MARY CONWAY is in awe of an immaculately orchestrated analysis of inequality, rendered with precise and simple clarity
A kaleidoscope of human emotions offered by Andrew Scott’s virtuoso performance as multiple characters gets the thumbs up from MARY CONWAY
MARY CONWAY points out that superb acting and production can't remedy a contrived idea
MARY CONWAY salutes an outstanding play with a firm moral compass that transforms the audience
MARY CONWAY feels that well-meaning audiences deserve more than exploitation
Mary Conway is put through the mill and ultimately enlightened by an unrelenting portrayal of a cruel all-male world
MARY CONWAY applauds a new play that explores the compromised relationship between Harry Pollitt and Stalin
MARY CONWAY wonders if a single absurd concept is enough to sustain a drama, however beautiful the actors
MARY CONWAY contemplates a landmark show that raises questions of identity, not class
MARY CONWAY is inspired by a community theatre project that explores the remarkable life of Ada Salter
‘Don’t expect a play, or even to know what it was you saw or why,’ is MARY CONWAY’S uncomfortable verdict
MARY CONWAY applauds the timely restaging of a play premiered to world-wide acclaim in 1981
This production’s bland ‘let’s not offend anybody’ approach could not be less appropriate in a work with such piercing and targeted acumen, writes MARY CONWAY
MARY CONWAY recommends a play that has autism, race and dysfunctional public agencies at its centre
MARY CONWAY recommends a compelling and complex story of one Iraqi family, held together by their Jewish heritage
MARY CONWAY recommends, with minor reservations, an innovative staging of the Chekhov classic
MARY CONWAY explains her disappointment with the ‘reconfigured’ classic
A stirring tale of two Caribbean sisters in a world where their origin is a daily call to arms
Great acting and arresting ideas are marred by an over-written effort that risks blinding us with facts, says MARY CONWAY
In true drama, writes MARY CONWAY, we must share in individual jeopardy not just glimpse it fleetingly and in general
MARY CONWAY tries her best to work out ‘what the hell is going on’ as style triumphs over substance
A big hit in the ’90s, this garrulous story of literary agent Margaret ‘Peggy’ Ramsay has lost none of it’s old charm, writes MARY CONWAY
A tick-box approach to real concerns and nodding to the crowd disappoint, writes MARY CONWAY
A promising debut that leaves glittering memories but has ducked the politics of the Croat-Bosniak conflict simmering at the time, writes MARY CONWAY
MARY CONWAY is disappointed to see a once award-winning comedy lose its spark entirely
David Mamet’s play on the power games between men and women as relevant today as when first performed 30 years ago
Complex streams of consciousness irk and illuminate
Well-staged prequel to The Pied Piper lacks emotional charge
Polly Lister a marvel in solo-show version of Hans Christian Andersen classic
Exuberant and innovative take on classic panto
Timely exposé of murderous violence among young people
Ayckbourn chiller makes for easy seasonal listening
MARY CONWAY recommends a touching short drama on people trying to connect during the pandemic