Cillian Murphy and Sarah Morris win main acting awards

Peter Crawley’s analysis: It was a big year for villainy as Richard III took top honours

After seeing more than 130 shows, the judges have made 60 nominations in 15 categories

National theatre’s new policy sees pay ‘fall 25%’ and overall employment ‘dry up’

The performers in Kelly’s new comedy about people and things, say their lines with wit and only occasionally bump into the furniture

Actors, writers, directors, producers, designers and stage managers sign statement supporting others who ended silence about abuse of power

There’s no other play quite like Rough Magic’s Melt right now

McHugh has a skilled hand for creating mood, sly dialogue and psychological excavation, but seems less concerned with the mechanics of plot

The staging of this Abbey production is adventurous, but the production as a whole errs on the side of the traditional

Bush Moukarzel and Ben Kidd slowly strip away the trappings of form and character from Chekhov’s first work, and take a wrecking ball of theatrical convention

The moors of Emily Brontë’s novel are raging and unruly, peaceful and polite. Is the new Gate adapation torn between two worlds?

Noël Coward’s breakthrough play depicts a downward spiral, but Annabelle Comyn’s brave production feels like progress

Everyone has a double identity in Bernard Shaw’s play. So does the Gate’s new production