Add a cupboardful of theatrical tropes: Hannah Greenstreet writes a recipe review of Steve Rogers’ play, which is set in a takeaway.
Arjun Sajip reviews de Roovers’ eccentric but fun version of Arthur Miller.
An empty philosophical exercise: Corrie Tan isn’t impressed by the “flat, dry” UK premiere of Ferdinand von Schirach’s globe-trotting interactive play.
It’s all me, me, me: Miriam Gillinson reviews Branden Jacobs-Jenkins’ play set in the publishing industry.
A fragrant physical echo chamber: Anna Winter reviews a mixed bill of works performed by the Richard Alston Dance Company.
Heartache: Rafaella Marcus reviews Kneehigh Theatre at the Globe.
The here and now: William Drew reviews the transfer of Robert Icke’s Hamlet to the Harold Pinter Theatre.
The millennial sense of entitlement: Brendan Macdonald reviews Poor Michelle as part of Incoming Festival 2017.
A stand-up tragedy act: Brendan Macdonald reviews Pub Corner Poets at Incoming Festival 2017.
Gruff grunts, brash insults and fisticuffs: Brendan Macdonald reviews Theatre N16’s production of John Patrick Shanley’s play.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
Make-up smudges, hair dye stains and strings of starry-eyed text messages: Gillian Greer reviews Bea Roberts’ version of Flaubert’s Madame Bovary.
Boxed in: Francesca Peschier reviews Theatre 42’s “frightening vision of the future” at Incoming Festival 2017.
The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.
The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.