Articles By Anne McElvoy
 
October 2014
An ambitious stage version of Pat Barker’s Regeneration helps us reflect on the Great War without hectoring
 
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September 2014
Tennessee Williams's A Streetcar Named Desire is the perfect vehicle for Gillian Anderson's talents
 
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July/August 2014
A highly-rated Broadway hit imagining Armageddon in America makes an uneasy transfer to London
 
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June 2014
Like other stage depictions of the NHS, This May Hurt a Bit worships a system in desperate need of reform
 
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May 2014
King Charles III is a "what if" play. Mike Bartlett's counterfactuals may be improbable but they do entertain
 
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April 2014
Versailles trots out Keynes’s tired arguments while 1984 mistakes Winston Smith for Edward Snowden
 
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March 2014
Tom Hiddleston was the latest big-screen heart-throb to bring Shakespeare to his adoring fans
 
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January/February 2014
It was a fine year for the Bard, with David Tennant, Rory Kinnear and Jude Law impressing, but there was far more than just Shakespeare
 
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November 2013
Henry Goodman is outstanding as Arturo Ui, the German playwright's terrifying caricature of Hitler
 
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October 2013
Vicky Featherstone’s first outing as artistic director of the Royal Court is tiresome and intolerably preachy
 
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September 2013
Lucy Kirkwood's absorbing and visually ambitious Chimerica ranks as one of the year's best plays
 
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July/August 2013

Peter Nichols’s Passion Play is a trifle dated, but it may make you wonder anxiously where your other half is

 
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June 2013
The West End’s latest box office hits specialise in existential angst and domestic backstabbing
 
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May 2013
A double bill of Alan Bennett plays expertly transports us to a world of childhood hopes and grief
 
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April 2013
The Book of Mormon has some awful jokes but ultimately succeeds because of its affection for its subject
 
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March 2013
Revivals of Harold Pinter and Simon Stephens explore memory and the consequences of actions long ago
 
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January/February 2013
Castigating conservatives on stage is now mandatory—This House at the National doesn’t, and so succeeds
 
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December 2012
Four Uncle Vanyas in a year is too many, but better Chekhov in Russian than ‘immersive theatre’
 
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November 2012
Scenes from an Execution proves that age cannot wither Fiona Shaw but Juliette Binoche's British debut in Mademoiselle Julie is a flop
 
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October 2012
Two new plays and one classic depict young women who are mad, bad and dangerous to know
 
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September 2012
Contemporary analogies and a strong cast can save below-par Shakespeare like Timon of Athens
 
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July/August 2012
The National's Antigone is politically compelling but lacks a sense of awe
 
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June 2012
Amid the fad for immersive drama, a Rattigan/Hare double-bill shows you just can’t beat good writing
 
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May 2012
Revivals from three countries explore the anxieties of superfluous men and women
 
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April 2012
A brave new play at the National challenges liberal received wisdom on multiculturalism
 
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March 2012
She Stoops to Conquer at the NT is so unsubtle as to be OTT—like many of the National’s comedies
 
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January/February 2012
The death of Christa Wolf has left Germany bereft of a powerful bridge of literary consciousness, whose universal work could talk to a once-divided nation
 
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January/February 2012
Peter Capaldi at the Gielgud is a scream but Lenny Henry at the National gets out of hand
 
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December 2011
The wonderful story of The Pitmen Painters is spoiled by Lee Hall’s insistent left-wing moralising
 
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November 2011
The West Yorkshire Playhouse’s production of King Lear is a pacy triumph
 
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October 2011
A new revival of Top Girls shows that Caryl Churchill’s Thatcherite satire retains its dramatic vigour
 
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September 2011
The Donmar’s new production of Anna Christie benefits from Jude Law’s muscular energy
 
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July/August 2011
Reworking a masterpiece can be a tricky business. The National Theatre succeeds with Goldoni but not with Chekhov
 
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June 2011
The National’s dramatisation of the Ipswich murders is touching and telling in equal measure
 
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May 2011
On the centenary of his birth, two Rattigan revivals showcase his best — and worst — work
 
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April 2011
Mike Leigh’s Ecstasy casts a chink of light on social misery. Neil LaBute’s new play lets in even less
 
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March 2011
The climate has changed for eco-dramas. Greenland at the National doesn’t work; The Heretic at the Royal Court does
 
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November 2010
By making Elsinore a modern surveillance state, Hytner’s production has added menace
 
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August 2008
Nudge is glib trickery, albeit of a very nicely spoken, bland cross-party 21st-century sort
 
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