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.
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.