Surgical precision: Sally Hales writes on Hedda’s struggle ‘to be seen on her own terms’ in Chelsea Walker’s crystal-clear production.
‘A quiet warning that it’s wise to believe women, even when doing so challenges your worldview’: Sally Hales writes on Katori Hall’s play about the visions of three Rwandan school girls.
Give ’em the old razzle dazzle: Sally Hales writes on an all-out (but subtly icky) staging of the musical classic.
Paralysing pontifications: Sally Hales writes on Anne Washburn’s brilliant new satire of an America that can’t save itself from Trump.
Sweating the small stuff: Sally Hales reviews Rose Lewenstein’s new play, which explores climate change through an intimate depiction of a relationship.
‘The carefully papered-over cracks in their identities are ripped open’: Sally Hales reviews Matt Jones and Kele Okereke’s timely play about an international gay couple, with music from Bloc Party.
Nights at the Circus: Sally Hales reviews an uneven attempt to bring the big top back in time.
“debbie tucker green’s genius lies in how she excavates the functioning of power” – Sally Hales writes on her new work, ear for eye.
Same old story: Nina Raine’s play ends up reaffirming a depressingly familiar set of stereotypes about childless women.
An enemy of the people: Sally Hales reviews the West End debut of Dawn King’s ‘neat, slick, streamlined four-hander’.
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.