From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre’s revival of Clare McIntyre’s Low Level Panic.
The axe falls on the old society: Neil Dowden reviews the final play in the Arcola’s Revolution season.
Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.
Come Dine With Me, Take II or, What Happened Next: Daniel Parks reviews Greg Wohead and Rachel Mars’ performance at NOW17.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
A misnomer: Gillian Greer reviews a play that recognises the audience’s curiosity, but denies it.
A mixed bag, but a thoroughly engaging watch: Mary Halton reviews Tristan Bernays’ updating of biblical tales at the Vault festival.
Inspired by Vanessa Macaulay’s performance of How To Come Out Black at NOW festival, Daniel Perks offers some guidelines on how to create a satirical, multimedia performance that proves a point.
All about Richard: Brendan Macdonald reviews Thomas Ostermeier’s “confrontational, direct, and raw” version of Richard III
Proof that political satire can still have teeth: Sally Hales reviews the world premiere of Oladipo Agboluaje’s New Nigerians.
Ferociously balletic bulls: Anna Winter reviews the start of Sadler’s Wells’ Flamenco Festival with performances from Israel Galván and Eva Yerbabuena.
A wide-eyed discovery of the world: Corrie Tan reviews Superbolt Theatre’s new play about a group of martians.
Carefully constructed sloppiness, refined nasty humour, and goofy intellectualism: Amy Borsuk gets a messy history lesson from The Owle Schreame.
No-one escapes bringing their baggage to bed with them: Arjun Sajip reviews Max Gill’s adaptation of La Ronde.
The victims and perpetrators of violent crime: B. L. Sherrington reviews Brave Badger’s new verbatim play.