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.
Existentialism and farts: Duška Radosavljević reviews Made in China’s slime-filled show.
We couldn’t, and yet, we do: Ka Bradley reviews les ballets C de la B performing Alain Platel’s work inspired by Gustav Mahler.
Sharp, zeitgeist-y, and sometimes moving: Gillian Greer reviews the problematic European premiere of Taylor Mac’s New York smash-hit Hir.
Sputters and spins like a dodgy Sputnik: Anna Winter reviews the new work by Alexander Whitley combining dance with solar physics.
Cave-man fervour: Francesca Peschier reviews a one-man musical about Fathers4Justice.
Lively and refreshing: Rachel Elderkin reviews the New English Ballet Theatre performing The Four Seasons and Other Modern Ballets.
Britain’s best-selling fish-and-chip-wrapper: Fergus Morgan reviews James Graham’s new play about the Sun.
Add a cupboardful of theatrical tropes: Hannah Greenstreet writes a recipe review of Steve Rogers’ play, which is set in a takeaway.
Arjun Sajip reviews de Roovers’ eccentric but fun version of Arthur Miller.
An empty philosophical exercise: Corrie Tan isn’t impressed by the “flat, dry” UK premiere of Ferdinand von Schirach’s globe-trotting interactive play.