Bizarre, challenging and strangely compelling: Sally Hales reviews the Royal Court’s alternative take on Christmas theatre.
Yesterday men: Sam Yates’ David Mamet revival is stilted and superficial.
Food for our fragile islander egoism? Sally Hales reviews the new staging of Agatha Christie’s courtroom drama.
A full-on feminist call to action: Sally Hales reviews Elinor Cook’s new adaptation of Ibsen.
‘Like watching a masterpiece being painted and repainted in front of your eyes for hours’: Sally Hales reviews Yukio Ninagawa’s Macbeth.
From self-aware 90s moshing to hastily resolved first sex: Sally Hales reviews a coming-of-age story set in the Scottish Highlands.
Maracas ’n’ all: Sally Hales reviews Matthew Dunster’s Mexican Much Ado About Nothing.
It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.
Spins a delicate web of collective responsibility: Sally Hales is, erm, enchanted by Pharmacy Theatre’s The Enchanted.
A revolving door of middle-aged white men: Sally Hales reviews Mehmet Ergen’s “strangely incoherent” production.
Bored by Hiddlesbum? Sally Hales does some manwatching at the Royal Court.
Rita Kalnejais’ structurally inventive play is a story of uncomplicated first love in a very complicated world.
Certainly not a dazzling discovery: a revival of a rarely staged tragedy by James Shirley.
Spectacular skill with nipple tassles: Sally Hales reviews Fancy Chance’s eclectic solo show in the heart of Soho.
David Hare might hate it, but he’d be wrong: Sally Hales exalts in Declan Donnellan’s directorial vision for this problematic play.