‘A blistering and entertaining examination of the privilege of disengagement’: Brendan Macdonald writes on Gabriel Bisset-Smith’s semi-autobiographical play.
In the bedroom: Brendan Macdonald reviews Kenny Emson’s rule-bound new play exploring the dynamics of an affair.
“Hot like gunpowder”: Brendan Macdonald writes on the Michelle-Terry-starring Henry triple bill that opens Shakespeare’s Globe’s summer season.
‘Grainy portraits’: Brendan MacDonald reviews Tom Ratcliffe’s new play, which explores the ‘struggle to find long-lasting love’ as a gay man.
Fossil hunters: Kandinsky’s new devised show brilliantly excavates the history of science to unearth the human cost of the discovery of dinosaurs, writes Brendan MacDonald.
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.