Sinful pageantry: Paulette Randall’s production of Marlowe’s play brings out all its wicked humour.
What’s changed? Lisa Hammond and Rachael Spence’s show explores whether representation for disabled people has really moved on.
‘A stunning show that looks inward to thrust outwards’: Brendan MacDonald reviews Bryony Kimmings’ new solo performance
Is there digital life after death?: Brendan Macdonald’s review of Chris Goode’s performance takes the form of a Twitter feed.
Dealer’s choice: Brendan Macdonald on Ontroerend Goed’s interactive game about the world of banking.
A conversation: Brendan Macdonald reviews Ad Infinitum’s new show about fatherhood.
Simon Longman’s new play highlights the cyclical bleakness of village life.
Why not add a little camp to the divided camps?: Brendan Macdonald reviews Jonny Woo’s glam take on a glum subject.
Ian McKellan is exceptional in a King Lear that’s all about Lear.
A fictitious, dreamlike vision of Ireland: Michael Grandage’s Martin McDonagh revival loses its way amid all the blood.
Little nods to what you could become: Brendan Macdonald reviews Joe Harbot’s new show about striving for perfection.
‘This is a show, and we are living through it together’: Brendan Macdonald reviews Split Britches’s Kubrick-inspired performance.
Popularity, football, sex and drugs: Brendan Macdonald reviews Kenneth Emson’s new play set in an Essex school
Restoring the balance: James Macdonald revives this classic Congreve with wit and wariness.
Honouring the past: Brendan Macdonald reviews Matthew Lopez’s two-part play inspired by E. M. Forster