Emotional Labour: Sally Hales reviews Emily Schwend’s play about an overstretched Texan mother.
Words, words, words: Brian Friel’s masterful meditation on language is magnificently revived by Ian Rickson.
A beautiful, polyphonic cacophany: Philip Venables’ contemporary opera is an astonishing adaptation of Sarah Kane’s play.
Endless blue: Sally Hales on Cheek By Jowl’s wonderfully lucid staging of Shakespeare’s romance.
Black Lives Matter: Tearrance Arvelle Chisholm’s new play sets a family drama against the backdrop of Charlottesville.
Dangerously close: Alexander Matthews’ social drama set in a South London Indian Restaurant just about skirts stereotyping.
Privileged, bored and probably lazy: Sally Hales reviews the UK premiere of Amy Herzog’s relationship psychodrama.
Age of Anxiety fears: Sally Hales reviews Anne Washburn’s adaptation of the cult sci-fi series.
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.