Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.
Simon Gwynn reviews Abigail Hood’s new play about childhood abuse and running away from home.
Lost amongst the swarm: Ka Bradley reviews an ‘enigmatic and complex’ new work by Wayne McGregor.
Mind the fake blood and bring cash for the bar: Ka Bradley reviews the latest show from Secret Studio Lab based on [redacted].
A defence, not an apology: Neil Dowden reviews Stockard Channing in Alexi Kaye Campbell’s dinner party drama.
A laboured metaphor for mercilessness: Francesca Peschier reviews a new production of Morgan Lloyd Malcolm’s The Wasp.
Francesca Peschier discovers polyamory and queer domesticity in a current-feeling revival of Kevin Elyot’s 1982 play.
Drink and dullness: Corrie Tan reviews John Tiffany’s revival of Jim Cartwright’s Road.
Stuff – just – happens: Miriam Gillinson reviews Conor McPherson’s new play based around Bob Dylan songs.
Order, order: Rosemary Waugh reviews Lucy Kirkwood’s new play at the National Theatre
A question of responsibility: Maddy Costa reviews Josette Bushell-Mingo performing at the Young Vic.
Let them eat cake: Brendan Macdonald reviews Oliver Cotton’s new play.
‘An injury to one is the concern of all’: Francesca Peschier reviews Kieran Hurley’s new show.
Maracas ’n’ all: Sally Hales reviews Matthew Dunster’s Mexican Much Ado About Nothing.
The isolation of the young and the lost: Gillian Greer reviews the 20th anniversary production of Enda Walsh’s first play.