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.
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.