‘Margot didn’t lend Elle her lucky scrunchie to be almost entirely written out of the narrative’: Francesca Peschier reviews the stage version of the classic (CLASSIC) film.
‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
Hope, comedy, violence and suffering: Rotimi Babatunde’s stage adaptation of Lola Shoneyin’s novel is a sweet show that leaves a sour taste.
Messy, flawed, slippery: Rosemary Waugh on an intriguing revival of Sophie Treadwell’s 1928 play.
‘Like any fairground ride, Phobiarama is not subtle’: Alice Saville rides Dries Verhoeven’s ghost train at LIFT 2018.
“Deeply meaningful theatre”: Paterson Joseph’s one-man play about the first black man to vote in Britain is rich and resonant.
A need for connection: Berri George’s new play centres on two graffiti-obsessed, thrill-seeking teenagers.
‘Comforting and clinical textures’: Josephine Balfour-Oatts reviews Anthony Neilson’s production of two plays by Lars Norén.
The Strong Female Character and unicorns: Hailey Bachrach reviews an adaptation of Charlotte Perkins Gilman’s iconic novel.
Emotional Labour: Sally Hales reviews Emily Schwend’s play about an overstretched Texan mother.
Playing for England: Sabrina Mahfouz and Hollie McNish’s story of women and the beautiful game is touring football clubs and theatres nationwide.
Breadth and depth: Madani Younis’ revival of Winsome Pinnock’s 1987 classic is richly detailed.
‘The tried-and-true dynamic of steely mother and slightly hapless son’: Hailey Bachrach reviews a revival of D H Lawrence’s play set during the 1912 miners strike.
Taylor Swift and suburban marriages: Frey Kwa Hawking reviews the UK premiere of Mary Laws’ play about a family breakfast gone wrong.
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.