It’s the little stuff that counts: Joe White’s debut is another special play from a special theatre.
The Ibsen-ness of Ibsen: Rosemary Waugh reviews the National Theatre of Norway’s production of Little Eyolf
Female sensuality is silence and underwear: Ka Bradley reviews an immersive-dining experience billed as a ‘feast of fierce femininity’.
If Pixar did electrons… Francesca Peschier reviews a piece of circus based on the discovery of radioactivity
Dancing around the periphery: there’s a compelling story lurking somewhere in Selina Fillinger’s debut play.
An uneasy mix: Simon Dormandy’s production combines squirmy sexual politics with knockabout comedy.
It wasn’t written for me: Ava Davies reviews Guleraana Mir’s play about a British Pakistani woman and her family
Despicable acts: Rosemary Waugh reviews Shostakovich’s opera, based on the same short story that inspired William Oldroyd and Alice Birch’s recent film.
An Englishman walks into a refugee camp… Amelia Forsbrook reviews Mark Thomas’s show based on his time setting up a comedy club in Palestine.
A queasy confection: Hailey Bachrach on the uneasy laughs of a Wodehouse-inspired comedy.
Two in one: John Fitzpatrick’s play is both kitchen sink comedy and insightful study of social evolution.
Popularity, football, sex and drugs: Brendan Macdonald reviews Kenneth Emson’s new play set in an Essex school
No shoes: Francesca Peschier reviews a play inspired by the Monica Lewinsky scandal through its costumes
Weathering the storm: David Haig’s D-Day drama is old-fashioned and expertly acted.
The bees are saved, and everybody listens: Maddy Costa reviews Tim Crouch’s new show for children and adults.