“Home is not where you are born; home is where all your attempts to escape cease.” Daniel Perks reviews Inua Ellam’s spoken word performance.
Escaped Alone x 4: Rosemary Waugh provides yet another review of Escaped Alone.
Shakespeare done like it was before the Boer War: Fergus Morgan reviews Iqbal Khan’s Anthony and Cleopatra.
Things haven’t changed greatly for Chekhov’s characters since last we saw them: Chris McCormack reviews Afterplay as part of the Beckett Friel Pinter festival.
Meh. Fergus Morgan is unimpressed by the RSC’s new production of Julius Caesar.
Caught between a weighty Rattigan drama and a fizzy feel-good farce: Brendan Macdonald reviews Trevor Nunn’s combining of Less than Kind and Love in Idleness.
A study of authoritarianism: Chris McCormack reviews the final play in the Gate Theatre’s Beckett Friel Pinter festival.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
Dangerously charged: Catherine Love reviews Footprint Theatre’s performance of Daniel in Manchester.
The National Theatre of Ireland goes self-reflexive: Chris McCormack reviews the homecoming of The Corn Exchange’s play about the founding of the Abbey Theatre.
First love: Holly O’Mahony reviews Stephen Laughton’s play about identity and loss.
A musical for ballet fans: Rosemary Waugh reviews the London premiere of An American In Paris.
Belongs to another place: Catherine Love reviews a stage adaptation of Ted Hughes’ prose poem.
Honest and brave: Rachel Elderkin reviews Company Chameleon’s new double bill exploring metal health and bipolar disorder.
The juvenile nature of war: Corrie Tan reviews Yellow Earth Theatre’s production of Tamburlaine.