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.
The Joe Hill-Gibbins Problem: Sally Hales reflects on Marivaux’s eighteenth-century rom-com.
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.