John Nathan

Meet commercial theatre’s ‘socialist’ producer

The man behind Why Am I So Single? which opens this week explains why he treats actors like family and never wants to overcharge for tickets

Blink Twice review: ‘men are the enemy of women’

Revenge is best served on a toxic male tycoon’s private island in this film which starts as a rom-com but which becomes a thriller

Shifters review: ‘friends without benefits’

It is beautifully performed, but this will they, won’t they romance never quite takes off

Between the Temples review: ‘excruciating in the best way’

This comedy is based on the kind of ineffectual and hapless Jew that gentiles have long liked most, but it’s Jewish plea to live life to the full is one we can all get behind

Farm Hall review: ‘an absorbing thriller’

This is a rare example of a West End play driven by intelligent writing and excellent writing, not star power

Widow Cliquot review: ‘more prosecco than champagne’

Cliquot’s corporate story has been deemed big screen fare so I wish the film had dived into the mysterious alchemy of how the sparkling wine is made

A Chorus Line review: ‘makes the case for show’s revival’

It turns a chorus line into individuals which is exactly the point of Marvin Hamlish’s first musical

Harold and the Purple Crayon review: ‘a witless thing’

The day I had my own battle of Cable Street

As my assailant hit me, the thought occurred that this was not the first Jewish face to be punched at this location

Why our appetite for Fiddler on the Roof never wanes

As the latest production of the world’s most successful musical opens this week in London, we look back on 60 years of Tevyes

Deadpool & Wolverine, review: There’s hope for Marvel yet

Your Lie In April, review: Manga on the stage in this tale of high school violinists