An absurdity rooted in real life: Brendan Macdonald reviews the staging of three works by B.S. Johnson.
An honest account of heritage and prejudice: Daniel Perks reviews Joe Sellman-Leava’s one-man show at Vault festival 2017.
The 1970s in brown and orange: Rosemary Waugh reviews the UK premiere of Marielle Heller’s stage adaptation of The Diary of a Teenage Girl.
Eye opening: Daniel Perks reviews Oli Forsyth’s empathetic look at homelessness at this year’s Vault festival.
The atemporality of grief: Ka Bradley reviews Stopgap Dance’s work about the passage of mourning.
A tribute to an unsung hero: Daniel Perks reviews Viki Browne’s work in progress show about her own grandmother.
Feminist porn and a different type of fairy tale: Daniel Perks reviews a work in progress by Naomi Westerman at the Vault festival.
The magic in myth-making: Gillian Greer reviews a new play about growing old together.
The ugly side of fashion: Daniel Perks reviews Tom Brennan’s look at society’s obsession with reality television.
Daniel Perks reviews Martin Brett’s new work about “the self-proclaimed best travel agent in the business.”
The interplay between light and movement: Rachel Elderkin reviews a collection of early works by Russell Maliphant.
Grandma is the hidden star: Daniel Perks reviews Deborah Pearson’s performance at NOW17.
Fergus Morgan finds “frankness and honesty” in Paula Varjack’s show about trying to make a living as an artist.
The familiar and the everyday: Daniel Perks reviews Julie Rose Bower’s performance at NOW17.
The rest is silence: Rosemary Waugh reviews Robert Icke’s production of Hamlet, starring Andrew Scott.