Familiar territory revisited with humour and pathos: Laura Gilbert reviews Ian Hislop and Nick Newman’s play about a satirical newspaper in WWI.
An absolute bastard, but a charming one: Eleanor Turney reviews David Tennant in Patrick Marber’s update of Molière.
As darkly sexual and symbolically rich as an Angela Carter story: Ka Bradley reviews the ENB’s triple bill including Pina Bausch’s The Rite of Spring.
Raw and new and believable: Rafaella Marcus and David Ralf team up to produce a long-form review of Ivo van Hove’s six-hour Roman Tragedies.
“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.
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.
“The artifice of attempting to recreate a life is laid bare” in Simon McBurney’s staging of Robert Evans’ biography. Review by Holly Williams.
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.
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.
Deliberately timeless: Francesca Street reviews Matthew Whittet’s “hopeful, nostalgic love letter to adolescence”.
Southern Spain is miraculously delivered to south London: Anna Winter reviews Flamenco Express in Peckham.
“Here is a space, a space to make.” Ka Bradley reviews James Cousins’ take on As You Like It.
The use of the word ‘immersive’ is not only justified but used for more than marketing purposes: Ka Bradley has dinner in the world of Eugène Ionesco.