Theatre review:Lemons Lemons Lemons Lemons Lemons

Fresh from an As You Like It that leaned heavily on sign language, Josie Rourke directs a play that investigates communication and what happens when its methods are severely limited. I missed Sam Steiner's Lemons Lemons Lemons Lemons Lemons when it first premiered in 2015, and have felt left out having seen it mentioned in so many lists of best recent plays. But as it gets a starry West End production I'm left wondering what the fuss is about, in a play with a fascinating premise that sets the stage for a lot of interesting ideas - but runs out of things to do with them very quickly. Bernadette (Jenna Coleman) and Oliver (Aidan Turner) are a couple living in a dystopian world where Parliament has passed a law forbidding anyone from using more than 140 words, spoken or in writing, in any 24-hour period.

Theatre review: All My Sons

After a pair of more obscure plays a couple of months ago, this year's second brace of Arthur Miller plays offers up some of his most famous works; once again the Old Vic is involved in this unofficial mini-season, with Jeremy Herrin's starry production of Miller's early hit All My Sons. Bill Pullman (he's the Bill who's still alive) plays Joe Keller, a businessman whose factory became notorious during the Second World War when it was exposed as having provided faulty aircraft parts that led to the deaths of 21 airmen. Bill was exonerated but his business partner is still in jail for it. His own son Larry wasn't flying one of the affected planes but he disappeared on a mission, and three years after the end of the War everyone's accepted he must be dead except for his mother Kate (SALLY FIELD!) who still holds onto the hope that he might return. But her other son Chris (Colin Morgan) had returned home with news that will make her have to confront the facts.