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.
Exploding brains and bunnies in binaural: Sally Hales goes deep inside Shoreditch Town Hall for the premiere of Philip Ridley’s new work.
Daniel Perks finds all the fun of the fair – and some poignancy, too – in Visible Theatre’s circus-style look at sex and ageing.
Becoming an activist: B. L. Sherrington reviews a new play based on the true story of the first British-Asian Suffragette.
From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre’s revival of Clare McIntyre’s Low Level Panic.