Thornton Wilder’s 1938 play is a “giddily expansive” exploration of community and the passing of time.
Forget heteronormativity: Sara Pascoe’s hilarious reimagined Jane Austen romance breaks all the rules.
“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
I thought you used to teach postmodernism? Geoff Mills provides the second instalment in his Stratford-upon-Avon play/reviews.
Sing it loud: Chris McCormack reviews a new children’s show about revolution as part of the Dublin Fringe 2017.
Somewhere between a performance installation and a tribute to Phoenix Nights: Matt Miller reviews Newcastle’s newest night of performance art.
This is how we do business: Rosemary Waugh reviews the London premiere of J. T. Rogers’ play about the Oslo Accords.
Beyond bullshit stereotypes: Hannah Greenstreet on Milk Presents’ gender fluid reimagining of the Minotaur myth.
Catherine Love reviews Daniel Bye’s new show about the “complex mix of complicity, complacency, fear and the desire to do something.”
Pop the kettle on: Brendan Macdonald reviews Alice Hamilton’s revival of David Storey’s family drama.
Roosting on Dublin’s docklands, this featherlight circus spectacle explores a place in collapse.
Shot through with nervous, defiant ecstasy: Ka Bradley reviews Hofesh Shechter’s new work based on the apocalypse.
Baggy where it should be tight, and flat where it should sparkle: Tracey Sinclair reviews the touring production of Ira Levin’s thriller
It’s like eyeliner, only cooler: Rosemary Waugh reviews Tristan Bernays’ new play about the woad-wearing warrior queen.
What does it take to become invisible? B. L. Sherrington reviews a stage adaptation of Ralph Ellison’s novel as part of Certain Blacks Harlem Festival.