In the following essay, Cohn examines the portrayal of women in Hare's dramas and films, noting the strengths and weaknesses of the female characters in light of harsh feminist criticism of Hare's work.

In the following essay, Glenn provides an overview of the political themes, staging, and critical reception of Hare's trilogy—Racing Demon, Murmuring Judges, and The Absence of War.

In the following essay, Su examines Hare's sentimental vision of an idealized British past and its underlying function as a point of reference for interpreting contemporary political realities and moral conflicts.

In the following essay, Golomb examines aspects of Christian religious parable in The Secret Rapture, particularly within the role of the female protagonist.

In the following essay, DeVinney examines elements of bildungsroman and individual states of social and political consciousness in the television versions of Dreams of Leaving and Heading Home.

In the following review, Reynolds praises Hare's adaptation of Anton Chekhov's play Ivanov.

In the following review, Lahr offers a tempered evaluation of Skylight, which he views as an unsatisfying compromise between “conscience and comfort.”

In the following review, King offers a positive evaluation of Hare's trilogy—Racing Demon, Murmuring Judges, and The Absence of War.

In the following excerpt, Hornby complains of Hare's confused politics and “bad aesthetics” in The Secret Rapture.

In the following review, Lahr praises Amy's View.

In the following review, King offers a positive assessment of Amy's View.

In the following review, Wheen criticizes Hare's Asking Around for merely being the notes and “workings” of real-life politics.

In the following review, Kanfer offers an adverse appraisal of Skylight, finding fault in the play's one-sided sociopolitical argument.

In the following review, Lahr offers a commendatory estimation of Hare's adaptation of Anton Chekhov's play Ivanov.

In the following review, Milne views The Absence of War as less interesting than the earlier two plays in Hare's trilogy.

In the following review of Via Dolorosa, Newey finds Hare's stage persona as writer, actor, and moralist confusing.

In the following review, Jays describes Skylight as “obvious and inconsistent.”

In the following unfavorable review of Paris by Night, Moore discusses Hare's portrayal of right-wing women and sexual difference.

In the following review, O'Connor offers a tempered evaluation of Hare's adaptation of Bertolt Brecht's play Mother Courage and Her Children.

In the following review, Kauffmann argues that Hare's dramatic works have taken a change for the worse, especially as evident in Strapless.

In the following review, Lavender favorably assesses Hare's adaptation of Bertolt Brecht's play Galileo.

In the following excerpt, Hornby offers a detrimental estimation of The Judas Kiss.

In the following review, Duguid offers an unsatisfactory appraisal of Plenty.

In the following review, Kennedy cites Hare's Racing Demon as original for its focus on the search for vocation in a vacuous England.

In the following review, Weales discusses the problematic portrayal of the female protagonist in The Secret Rapture.

In the following review, Kellaway offers an affirmative evaluation of Via Dolorosa.

In the following review, Kellaway presents a disapproving estimation of The Blue Room.

In the following review, Kellaway offers a favorable valuation of The Judas Kiss.

In the following excerpt, Morrone offers an unfavorable assessment of Strapless, finding fault with the film's casting and characterizations.

In the following review, Simon praises Skylight for being “open to multiple interpretations.”

In the following review, Hebblethwaite offers a positive assessment of Racing Demon.

In the following review, Papineau calls Murmuring Judges mere “easy entertainment.”

In the following review, Simon offers a salutary estimate of Via Dolorosa.

In the following review, Lezard offers an unfavorable assessment of the film Damage.

In the following review, Brustein gives a negative evaluation of Skylight, though he praises the performance of Michael Gambon in the Royale Theatre production of the play.

In the following excerpt, Lavender compares the work of Arthur Miller and Hare, and offers praise for the Greek influence apparent in Murmuring Judges.

In the following review, Wu admires the traditional dramatic ideas of Writing Left-Handed.

In the following review, Simon praises the direction, writing, and acting in Racing Demon.

In the following excerpt, Lahr assesses Hare's The Blue Room as unsufferable and dispassionate.