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
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.