“It’s an almost slavish adherence, but it pays off eventually”: Corrie Tan reviews Ellen McDougall’s adaptation of Jose Saramago’s 1997 short story.
This is how we do business: Rosemary Waugh reviews the London premiere of J. T. Rogers’ play about the Oslo Accords.
Beyond bullshit stereotypes: Hannah Greenstreet on Milk Presents’ gender fluid reimagining of the Minotaur myth.
Pop the kettle on: Brendan Macdonald reviews Alice Hamilton’s revival of David Storey’s family drama.
Shot through with nervous, defiant ecstasy: Ka Bradley reviews Hofesh Shechter’s new work based on the apocalypse.
It’s like eyeliner, only cooler: Rosemary Waugh reviews Tristan Bernays’ new play about the woad-wearing warrior queen.
What does it take to become invisible? B. L. Sherrington reviews a stage adaptation of Ralph Ellison’s novel as part of Certain Blacks Harlem Festival.
Shadowy and taut: Alice Saville reviews Dominic Cooke’s magical revival of Sondheim’s classic musical.
Drama that fills out history: Naomi Obeng reviews Tanika Gupta’s new play about the fight for Indian Independence.
Words and non-words: Rosemary Waugh reviews Yaël Farber’s production of David Harrower’s Knives in Hens.
Trying to be big and brilliant: Miriam Gillinson reviews Christopher Shinn’s new play about a tech billionaire on a mission.
The witch’s rumspringa: Brendan Macdonald reviews the return of Kiki’s Delivery Service to the Southwark Playhouse.
Agree or disagree? William Drew reviews Rob Drummond’s new play that gives the audience the chance to vote.
The pains of growing old: Amy Borsuk reviews Nancy Meckler’s production of King Lear.
Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.