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
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
Around the block: collaborative company Kandinsky’s new show is an intelligent history of housing.
NO FUTURE: Brendan Macdonald reviews Chris Goode’s stage version of Derek Jarman’s Jubilee
The profound absurdity of identity: Told By An Idiot’s new show makes Napoleon feel very British.
The myth of childhood innocence: Brendan Macdonald reviews Monica Dolan’s monologue about a mother giving her child what she thinks she wants.
Roots and routes: Brendan Macdonald reviews Tarell Alvin McCraney’s play about identity, freedom, and brotherhood.
A talent for unearthing character interiority: Brendan Macdonald reviews Caroline Byrne’s take on Bertram and Helena’s sort-of love story.
Then and now: Ann Deavere Smith’s verbatim piece uses the past to interrogate the present.
Brash and arresting, profane and profound: Brendan Macdonald reviews a revival of Steven Berkoff’s East End play.