Devastating and dignified: Peter Kirwan reviews Fiona Buffini’s timely revival of Arthur Miller’s classic American drama.
Forget heteronormativity: Sara Pascoe’s hilarious reimagined Jane Austen romance breaks all the rules.
“Invites us to share in a long wallow with a man consumed by self-pity”: Peter Kirwan discusses Matthew Spanger’s adaptation of Khaled Hosseini’s novel.
A careful balance of farcical comedy and shocking drama: Peter Kirwan reviews Suba Das’ Northern Stage revival of Ayub Khan Din’s much-loved play.
Still transcendent: Peter Kirwan revels in Bruce Guthrie’s “energetic” 20th-anniversary revival of this Broadway classic, structural flaws and all.
Energy, volume and trippy exuberance: Peter Kirwan reviews Ramps on the Moon’s superb new version of The Who’s Tommy.
Peter Kirwan reviews a production “torn between its desire to tell a specific emotional story and its impulse to universalise this narrative”.
The rituals of folding, arranging and place-setting: Peter Kirwan reviews the Nottingham Playhouse’s fortieth anniversary production of Stephen Lowe’s Touched.
The things that can and can’t be said: Peter Kirwan reviews Jane Upton’s “deeply affecting” play about child sexual exploitation.
A plea for a community to heal itself: Peter Kirwan reviews New Perspectives’ staging of a John Harvey crime novel.
Failing to dig any deeper: Peter Kirwan reviews Nick Wood’s play about the 5th Duke of Portland.
A West African remastering of The Duchess of Malfi: Peter Kirwan reviews Iyalode of Eti by Utopia Theatre.
A wish fulfilment fantasy of the Leave campaign: Peter Kirwan reviews Anthony Shaffer’s revenge play.
“An indictment of civic hypocrisy”: Peter Kirwan reviews Ramps on the Moon.
“Under it all seethes the writer’s anger”: Peter Kirwan reviews Daniel Hoffmann-Gill’s work at the Nottingham Playhouse.