Juliet And Her Romeo, Old Vic, Bristol

Who says that there are no parts for the older actress? As the debate about the problems of an ageing population intensifies, opportunities seem to be proliferating. First there was the 75-year- old Judi Dench developing a passion for a donkey less than half her age in Peter Hall's enchanting Midsummer Night's Dream. Now we have the 76-year-old Siâ*Phillips as a heart-stopping Juliet in Juliet and her Romeo, a version of Shakespeare's tragedy that's been heavily reworked (by Tom Morris and co-adaptor Sean O'Connor) to engage with the issues raised by the so-called "grey tsunami". Instead of opposition from the older generation, this Romeo (Michael Byrne) and his Juliet have to contend with the love-thwarting self-interest and prejudices of the younger folk in the shape of a scheming daughter and the medical staff in the care home where they languish.

The Tempest, BAM, New York

Some way off the perfect storm

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'I read the whole of Dickens at age 10'

The Little Dog Laughed, Garrick, London<br/>Six Degrees of Separation, Old Vic, London<br/>The Rivals, Southwark, London

A storming Tamsin Greig channels her inner bitch in a snappy US satire on Hollywood, hypocrisy and homophobia

Six Degrees Of Separation, Old Vic, London

We are getting a double helping of the paintings of Mark Rothko in the London theatre at the moment. Red, at the Donmar Warehouse, takes us into the great abstract expressionist's New York studio. And now in David Grindley's stunningly well-directed revival of the 1992 John Guare hit, Six Degrees of Separation – a piece in which the central couple of moneyed Manhattan-ites own a double-sided Kandinsky painting that twirls aloft – the designer, Jonathan Fensom, has had the inspired idea of wrapping the proceedings in the surround of a curving Rothko-esque wall.

Kim Noble Will Die, Soho, London<br/>Morecambe, Duchess, London<br/>A Daughter's a Daughter, Trafalgar Studios, London

Where else can you see a comedian pour baked beans on his private parts? Then again, would you want to? You might prefer to stick to cosy &ndash; if a bit dull

Hansel & Gretel, Old Vic, Bristol

Into the woods for Christmas fear

Sarah Sands: Women love him. Men love him. Whishaw has it all

The reason Kate Moss timelessly endures as a model is that you never tire of her face, although you see it everywhere, every day. I have the same response to Ben Whishaw, who won an Emmy last week for his role in the BBC's Criminal Justice series. He is acting incarnate, not so much a performer as a lightning conductor for drama.

Party of the Week: Legends in their own lunchtime

Lenny Henry was accompanied by his wife Dawn French to the London Evening Standard Theatre Awards at the Royal Opera House, where he won the Best Newcomer prize for his lead role in Othello.

Uncle Vanya, Old Vic, Bristol

The best news is that the Bristol Old Vic is up and running. The artistic director, Tom Morris, will announce his plans on Friday and the stage of the great Georgian theatre has been extended beyond the proscenium, making more sense of the exquisite architecture.

A frightening 24 hours for thespians

On Halloween night an eclectic bunch of actors and writers gathered in the auditorium of London’s Old Vic theatre preparing to write, rehearse and perform six plays in 24 hours to raise cash for charity.

All My Sons, Octagon Theatre, Bolton

Launching a new regime at the Octagon Theatre in Bolton, its recently installed artistic director, David Thacker, has returned to the same in-the-round concept he favoured for his Old Vic production of Arthur Miller's All My Sons 17 years ago. Beneath the glass floor of this set there's a murky layer, suggesting mechanical wreckage. The audience surrounds the communal yard where characters tread sometimes warily, sometimes recklessly, on a transparent surface that looks as treacherous as the unfolding narrative and as fragile as the threads holding the guilt-wracked Keller family together. Miller's apple tree, with its trunk snapped and its fruit fallen, is a prominent visual image.

The Power of Yes, NT Lyttelton, London<br/>The Caretaker, Everyman, Liverpool<br/>Inherit the Wind, Old Vic, London

David Hare's state-of-the-nation drama about the crash manages to entertain as it educates

Tom Sutcliffe: Ban an image and the more it is noticed

I can't recall attending a redacted exhibition before, but by the time I got to Tate Modern's new show "Pop Life" it had, in the dictionary definition of that word, been put in an appropriate form for publication, at least as far as the police were concerned. The odd, chapel-like enclosure in which Richard Prince's Spiritual America is displayed was sealed off from gallery-goers while negotiations continued about the lawfulness of an image of the 10-year-old Brooke Shields, naked and precociously sexualised.

Inherit the Wind, Old Vic, London

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