Uneven, albeit thought-provoking: Victoria Willing’s new three-hander gets lost on the battlefields of the Somme, says Francesca Street.
Cognitive dissonance: Emma Smith reviews Katie Bonna’s one-woman show about lying.
A galvanising call to arms: Catherine Love reviews RashDash’s new show as part of Transform 17.
Energy, volume and trippy exuberance: Peter Kirwan reviews Ramps on the Moon’s superb new version of The Who’s Tommy.
Virtuosity hidden in the most allusive places: Chris McCormack is at Galway Theatre Festival to review Emma O’Grady’s unique solo show.
Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy’s first one-man show in over a decade.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches’s revisiting of over three decades of work.
Shock is their shtick: Catherine Love is at Transform 17 festival to review the UK premiere of Florentina Holzinger and Vincent Riebeek’s Wellness
A body squirming in the gallows: Chris McCormack heads to Galway Theatre Festival to review Brick Wall Theatre’s production of Pierre Brault’s 1999 play.
A stage awash with blood and smoke: David Ralf delves into the uneasy moralities at play in Jamie Lloyd’s production of Rajiv Joseph’s brutal two-hander.
Lessons woven from art history: Chris McCormack emerges, paint-splattered and perceptive, from Emma Jordan’s revival of John Logan’s 2009 play.
Ka Bradley reviews the Hong Kong Dance Company’s underwhelming staging of an ancient folktale.
*IF YOU HAVE NOTHING TO HIDE YOU HAVE NOTHING TO FEAR* Christine Irvine reviews Proto-type Theater’s exploration of surveillance technology.
Weirder than Westminster: Rosemary Waugh reviews Shakespeare at the Tobacco Factory’s modern Molière.
Eleanor Turney gets into the spirit of things with a shit-faced review of Shit-faced Shakespeare.