After ten years in the West End, rising production costs and the changing economics of theatre have finally caught up with Harry Potter and the Cursed Child. The original two-part production has been condensed into a single performance. Unfortunately, having seen what the original achieved, I can't help feeling that something rather special and magical has been lost in the process.

A remarkable theatrical experience, with an outstanding central performance and one of the most impressive sets I’ve encountered. I just wish the writing had been brave enough to look a little further beneath the surface.

It's an entertaining production with fabulously flamboyant over-the-top performances of a family whose chaotic company is considerably more enjoyable from the safety of my seat!

Every so often, you come across a production you know almost nothing about and leave wondering why more people aren't getting the opportunity to see it. I Hate King Lear was one of those.

Beneath all the fairy-tale shenanigans, beautiful music and occasionally questionable royal behaviour, there’s a genuinely thoughtful story about what it means to be human. It’s funny, clever, visually gorgeous and an absolute pleasure to watch.

Rent is my favourite musical that I’d never actually seen. I didn’t just want a good night at the theatre. I wanted to experience the musical I’ve adored for years in a way that made me fall in love with it all over again. Instead, I came away thinking it was good, occasionally brilliant, but nowhere near as emotionally affecting as I’d hoped.

It’s funny, touching and beautifully performed, with Kristin Scott Thomas and Stephen Mangan leading an ensemble that genuinely feels like a family.

This production is funny. The comic timing is excellent, and its warmth and silliness make the whole thing remarkably accessible. Groff and indeed the whole cast appear to be having a genuinely wonderful time and that sense of enjoyment is infectious.

Wicked is unquestionably a London theatre classic, twenty years in one theatre is an extraordinary achievement, but the question for me isn’t whether Wicked has stood the test of time. It absolutely has. The question is whether this exact production can stand another 20 years without evolving.

Underneath the road trip, country music and humour, Thelma & Louise remains a surprisingly complex story. At its heart, it’s about two people who have spent years being controlled, diminished and hurt, and what happens when they finally decide that enough is enough. I walked in asking whether we really needed another 1990s film turned into a musical. By the time the lights came up, I had my answer: perhaps we don’t need another one — but I sure enjoyed this journey.

There is a beautiful story here about community, identity and what happens when the industry around which generations have built their lives disappears. I just don’t think the book and score always allow that story to land as powerfully as they could.

Despite an extraordinary fearless and completely committed performance by Tilda Swinton, Man to Man left me in the unusual position of admiring a production considerably more than I actually enjoyed it. I also found it fragmented, occasionally baffling and, despite the fascinating life at its centre, not consistently engaging.

I left the Almeida thinking that perhaps exceptional theatre doesn’t need to be complicated. Give me a beautifully constructed set, intelligent direction, a great script , a phenomenal cast and sometimes that’s all you need. Golden Boy has all four.

Race, truth, prejudice, representation, journalistic responsibility and the power of the media to influence how we see one another are enormous subjects. A play tackling them should leave me challenged, uncomfortable, angry, inspired. Instead, I left feeling strangely indifferent.

I went into the Barbican knowing virtually nothing about Death Note and came out absolutely blown away. The acting, vocals, choreography, lighting, video, sound, illusions and design combine into an incredibly cohesive piece of theatre. There have been several major Japanese productions arriving in London in recent years, and if Death Note is anything to go by, I’m very happy for that trend to continue.

Electra / Persona isn't a bad production. Far from it. The acting is exceptional. Cate Blanchett and Nina Hoss are extraordinary. The staging is ambitious. The camera work is clever. But did I enjoy it? Not particularly. I spent so much time trying to understand what everything meant that I stopped caring about what was actually happening. Maybe you'll see it and think it's a masterpiece But for me? There was an enormous amount to admire. There just wasn't enough for me to l

for me, a five-star show has to do something extraordinary, It has to make me feel something. Pride did that in abundance. Wonderful performances. Beautiful writing. Exceptional singing. A fabulous score. Brilliant direction. And at its heart, an extraordinary true story about what can happen when people who appear to have nothing in common decide to stand together. Funny. Devastating. Hopeful. Joyful. Human. This isn't simply a great new British musical. It's a piece of t