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.
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 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.
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.
Patties of human flesh: Hannah Greenstreet can’t get the smell of cooking meat out of her nostrils after Sarah Kosar’s “visceral, disgust-provoking” two-hander.
A very specific evolutionary niche: Ka Bradley reviews Figs in Wigs at the Battersea Arts Centre.
“The best theatre ideas are often remarkably simple”: Duska Radosavljevic watches some toddlers crawl about on a giant, animation-filled screen at Imaginart’s Sensacional.
How did you get your scar? Hannah Greenstreet reviews a new play about Yarlswood Immigration Removal Centre.