A Third Way for Shakespeare: Sally Hales reviews Ellen McDougall’s vision of Othello.
Exploding brains and bunnies in binaural: Sally Hales goes deep inside Shoreditch Town Hall for the premiere of Philip Ridley’s new work.
Proof that political satire can still have teeth: Sally Hales reviews the world premiere of Oladipo Agboluaje’s New Nigerians.
A worryingly alluring lifestyle choice: Sally Hales reviews Jamie Lloyd’s new production of Philip Ridley’s debut play.
Alerts to our own weakness for soothing narratives and comforting ideologies: Sally Hales reviews a particularly timely production of Winter Solstice at the Orange Tree Theatre.
“The world’s Tamsins have no use for theatregoers’ tears.” Sally Hales reviews Katherine Soper’s Bruntwood Prize-winning play at the Royal Court.
The Bard meets Mr Potatohead: Sally Hales reviews Les Antliaclastes’ dissection of the Shakespeare industry.
When Frankenstein met Shakespeare: Sally Hales reviews a ‘dystopian pastiche’ at the Hope Theatre.
In a post-Brexit world, we will all wear patchwork denim: Sally Hales reviews the RSC’s Cymbeline at the Barbican.
“Warmth and humanity… no matter how weird things get.” Sally Hales reviews the revival of Caryl Churchill’s Blue Heart.
A plea for acceptance: Sally Hales reviews Isley Lynn’s “smart, fun and thought-provoking” show.
A more urgent cry than ever: Sally Hales reviews the Young Vic’s revival of Katori Hall’s play about Martin Luther King.
“I’m cross that I’m cross about a play being too good and too intelligent.” Sally Hales reviews Tom Stoppard’s Travesties.
A more palatable romcom: Sally Hales reviews Samantha Ellis’s take on the classic girl-meets-boy genre.
Physical, energetic, vital, confident: Sally Hales reviews the triumphant Our Ladies of Perpetual Succour at the National Theatre.